7. Do you have any interpretation to the final moments of the film?
Matthieu seems to be drawn to a woman resewing a piece of lace in a window shop. There is this dirty, broken piece of what used to be beautiful lace that is being repaired. I think the lace could represent Matthieu's first vision of Conchita, what she stood for in his mind, then the broken lace is Conchita in reality. The lace is meant to be ripped because like Matthieu's desires, the lace must be used and aged in order to be fully appreciated. Matthieu is still enthralled by the broken lace. It is being resown just like his relationship, if you could call it that, with Conchita. Now that perhaps he is all to aware of the real person she is, what happened in the past can be mended into something that is real and able to be used. And unlike the brand new beautiful lace, it is appreciated with all it's flaws, if not better.
2. Why do you think that terrorism is an ever pervasive "background" to the events in the film?
More than anything, I believe that the terrorism speaks as the voice of lust/desire/love in this film. Matthieu's desire or blinded love for Conchita is corrupt and twisted. He is no more in love with her, than he is for what she represents. Conchita is an unattainable person to him, thus the "perfect" figure to have in Mattieu's eyes. This is what ultimately leads to his down fall, because Conchita knows the game of the chase. And like wise, she does not wanted to be treated as the object Matthieu alludes to her as. She obviously says this at one point to Matthieu... 'I am not just an object or item you can have.' The terrorism also illustrates that love of value must be fought for. Though Conchita is not the person Matthieu is in love with, she is what Matthieu must have. Only at the end, after all the downfalls, heart break, and flaws can they MAYBE have a real relationship. The terrorist attack that kills (?) or strikes them in the end, is the emotion washing over them. If their relationship is going to continue, it will not all be flowery pastures. Instead, it must be continually worked on, and their problems will not just disappear.
Sunday, November 8, 2009
Tuesday, November 3, 2009
1. I feel that Melibea and Calisto meet in the dead of night because, like their relationship, the darkness clouds the truth. They are in love with being in love, simply for the chase. Sex is the only thing central t tehir relationship. Nighttime is ofte reguared as a time for lust- a time when wild things can happen without the reason of the daylight. It is symbollic of what both charactors want out of each other, and also the appearance of their relationship to society.
2. Calisto an Melibea do not truly love each othr. As we hv taked about many times, Melibea is committed to the chase, not the relationship. Calisto on the other hand, is in love with an ethereal figure that does not exist. The word love is thrown around often by many characters, but most of all, I think it is part of Celestina's motive to let her plan follow through. Melibea's suicide is not driven by love, I feel it is out of shame. She is descending from the tower as a woman who has been defeated by her shame. I call it shame because she disappointed herself more than anyone. Rather than be broken by Calisto's death or Celestina's, Melibea points blame and suffers for it all.
3. Both characters die while descending from something. This is significant because they are both falls from grace. Neither Calisto or Melibea remain the person they began. Instead, the greediness and chase of love consume them. Celestine represents desire- once she is dead, all the characters get a reality check. They know love is not what drive them, lust does. When they all continue this game knowing the truth, their fall from grace is inevitable. They know the truth yet refuse to let it set them free.
2. Calisto an Melibea do not truly love each othr. As we hv taked about many times, Melibea is committed to the chase, not the relationship. Calisto on the other hand, is in love with an ethereal figure that does not exist. The word love is thrown around often by many characters, but most of all, I think it is part of Celestina's motive to let her plan follow through. Melibea's suicide is not driven by love, I feel it is out of shame. She is descending from the tower as a woman who has been defeated by her shame. I call it shame because she disappointed herself more than anyone. Rather than be broken by Calisto's death or Celestina's, Melibea points blame and suffers for it all.
3. Both characters die while descending from something. This is significant because they are both falls from grace. Neither Calisto or Melibea remain the person they began. Instead, the greediness and chase of love consume them. Celestine represents desire- once she is dead, all the characters get a reality check. They know love is not what drive them, lust does. When they all continue this game knowing the truth, their fall from grace is inevitable. They know the truth yet refuse to let it set them free.
Sunday, November 1, 2009
Calisto questions if consummating his desires was worth the fight. He is aware of what this love has done to himself- all that he has lost and changed in order to have it. He find it fulfilling overall, but he is probably left with an even bigger burden. Though he is completely sexually satisfied, this does not seem to be the "problem," the problem is wanting more. So, though he is almost ashamed of his happiness, he embraces it. however,he is not as fulfil ed as he expected. Once he has gotten a taste of Melibea's love, he wants the whole thing (or, more). As a whole, this reflects human desire. Human beings can never be satisfied with what they have- it is what we cannot have, what he hope for and what we want the drive us. Though he is disillusioned by what he wants out of her, sex, he realizes it is not enough at all.
Thursday, October 29, 2009
2. How do you explain Areusa and Elicia's comments about Melibea in Act IX? Is this mere jealousy or is something more going on here? (Or, you can comment about this entire scene within Celestina's house -- what does this scene reveal about this house and what occurs here?)
Elicia and Areusa's comments regaurding Melibea are purely out of jealousy. Considering her social status and the fact that THIER LOVERS are commenting upon her beauty, that could be the steam. Following, I think they are picking her apart because they themselves are insecure. Like Celstina must talk herself up to build a reputation, these two feel they must break Melibea down for comfort. The conversation takes place in Celestina's house. It is a whore house, where woman are degraded and taken advantage of. The fact that it takes place here says more about what they are talking about- Melibea herself is worthless to Elicia and Areusa as women. She must be broken down in order to be of any use.
In the beginning of act 7, Celestina feels she must illustrate her love for Pameno. She says to him "You must love if you would be loved." I think this is one statement that can be taken as genuine from Celestina. Considering her profession and her role in the community, none of it is true love. It is all an act that just build off the other. The fact that she confesses this in a way to her "almost son" does indeed show her love for him. She know that her life is not filled with love- though she is content with this, she also knows it will not come to her if she doesn't change. She wants Pameno to realize she chose her ways, but if there was love to be had, and he wanted it, he could have it. In essence, she is also saying things are what they are. Celestina is a prostitute, and that is also her lifestyle. She gets what she puts in.
Elicia and Areusa's comments regaurding Melibea are purely out of jealousy. Considering her social status and the fact that THIER LOVERS are commenting upon her beauty, that could be the steam. Following, I think they are picking her apart because they themselves are insecure. Like Celstina must talk herself up to build a reputation, these two feel they must break Melibea down for comfort. The conversation takes place in Celestina's house. It is a whore house, where woman are degraded and taken advantage of. The fact that it takes place here says more about what they are talking about- Melibea herself is worthless to Elicia and Areusa as women. She must be broken down in order to be of any use.
In the beginning of act 7, Celestina feels she must illustrate her love for Pameno. She says to him "You must love if you would be loved." I think this is one statement that can be taken as genuine from Celestina. Considering her profession and her role in the community, none of it is true love. It is all an act that just build off the other. The fact that she confesses this in a way to her "almost son" does indeed show her love for him. She know that her life is not filled with love- though she is content with this, she also knows it will not come to her if she doesn't change. She wants Pameno to realize she chose her ways, but if there was love to be had, and he wanted it, he could have it. In essence, she is also saying things are what they are. Celestina is a prostitute, and that is also her lifestyle. She gets what she puts in.
Tuesday, October 27, 2009
1. At the end of Act III we see Celestina preparing her thread with a potion for Melibea. How do we see her lack of confidence? What do you make of this?
Celestina is begging the gods to make the potion work. I found it interesting that she threatens the gods, rather than asking for their powers/help. Perhaps this is because she is notoriously getting away with things, and getting what he wants. Even though she seems powerful to everyone else, it is clear that even she knows it is an act. She has nothing in her other than to beg for their help, and rather than be nice about it, her threats make her more powerful in her mind (build upon her own ego/ appearance to others).
3. How does Melibea’s reaction to Calisto’s name either strengthen or weaken your initial reaction to their first meeting?
It strengthens my opinion that Melibea's argument was genuine in the garden; but then again, it is probably all an act of "hard to get." She certainly plays it well... everytime she hers his name she gets so angry and frustrated she makes it extremely obvious that she wants nothing to do with him at all. Its quite comical!
Celestina is begging the gods to make the potion work. I found it interesting that she threatens the gods, rather than asking for their powers/help. Perhaps this is because she is notoriously getting away with things, and getting what he wants. Even though she seems powerful to everyone else, it is clear that even she knows it is an act. She has nothing in her other than to beg for their help, and rather than be nice about it, her threats make her more powerful in her mind (build upon her own ego/ appearance to others).
3. How does Melibea’s reaction to Calisto’s name either strengthen or weaken your initial reaction to their first meeting?
It strengthens my opinion that Melibea's argument was genuine in the garden; but then again, it is probably all an act of "hard to get." She certainly plays it well... everytime she hers his name she gets so angry and frustrated she makes it extremely obvious that she wants nothing to do with him at all. Its quite comical!
Sunday, October 25, 2009
Celestina Acts 1&2
1. Analyze the opening scene in Melibea’s garden. Why a garden? What might a garden signify? How do you interpret the words of Calisto and Melibea? Why does Melibea react in this manner? Can we read these words as genuine?
The opening scene takes place in a garden. Perhaps this is because Calisto is confessing his feelings for Melibea, and like the plants and flowers, their relationship may begin to bloom, or die, through the play. Calisto is willing to led a fufiling life if it means later suffering through eturnal damnation (hell). He lives completely in the resent, and though his words are very straight forward, it reflects his lifestyle. he does not want to waste another minute without Melibea. I do believe Melibea has a genuine reaction. Unlike "beating around the bush," leading him on or tricking him, Melibea is not trying to get something out of him because of his emmotions.
3. What are our initial impressions of Celestina? What type of character is this? What does she say which influences your analysis? What about her later exchanges with Parmeno? (And this back history with Parmeno’s mother – what do you think happens here?)
Celestina is very complex. I do not think that she fits into any one category. On one hand, she is very caring for her son Sempronio and takes in Pamero as her own, on the other she is covering up her daughter's "client" so that she can have a nice visit with Sempronio. Today, I dont think it would be acceptable fo a mother to let her daughter do this, yet she is a respected person in society for her many "talents." She is used as a go between, which makes her trusted. She is upset when Parmno judges her, yet she is quick to forgive him. She is very paradoxal, at least that is how I view her. She runs a prositution house with her daughter, yet still goes to church, and although it is very obvious to everyone in town, she has many alias to cover everything up. Overall, I think with the situation between Melibea and Calisto in her hands, it should be a very interesting play!
The opening scene takes place in a garden. Perhaps this is because Calisto is confessing his feelings for Melibea, and like the plants and flowers, their relationship may begin to bloom, or die, through the play. Calisto is willing to led a fufiling life if it means later suffering through eturnal damnation (hell). He lives completely in the resent, and though his words are very straight forward, it reflects his lifestyle. he does not want to waste another minute without Melibea. I do believe Melibea has a genuine reaction. Unlike "beating around the bush," leading him on or tricking him, Melibea is not trying to get something out of him because of his emmotions.
3. What are our initial impressions of Celestina? What type of character is this? What does she say which influences your analysis? What about her later exchanges with Parmeno? (And this back history with Parmeno’s mother – what do you think happens here?)
Celestina is very complex. I do not think that she fits into any one category. On one hand, she is very caring for her son Sempronio and takes in Pamero as her own, on the other she is covering up her daughter's "client" so that she can have a nice visit with Sempronio. Today, I dont think it would be acceptable fo a mother to let her daughter do this, yet she is a respected person in society for her many "talents." She is used as a go between, which makes her trusted. She is upset when Parmno judges her, yet she is quick to forgive him. She is very paradoxal, at least that is how I view her. She runs a prositution house with her daughter, yet still goes to church, and although it is very obvious to everyone in town, she has many alias to cover everything up. Overall, I think with the situation between Melibea and Calisto in her hands, it should be a very interesting play!
Tuesday, October 20, 2009
7.3
How does the friar use language to reverse his role (and trick the woman)? What is the reality of these "titles" the characters hold?
The friar is able to sleep with the woman, clearly through trickery. However, language is his tool in doing so. He compares the closeness of the child's relationship to him (this godfather) and her husband... he differentiates roles in reguard to the child, but reasons that because the each take care of different aspects in the child's life, he should be treated like her husband. The woman DOES NOT have wit in this tale, only when it does come to trickery and fooling her husband (not logic wit). Titles such as the "god-father" the actual "father" and even religion become irrelevant. Each uses one for the advantage of the other, and are not the typical, "genuine" roles you would expect to hold.
8.8
What are Zeppa's intentions?DO you feel they are justified?
Rather than look at this tale as being tricker, I thought it was more of a revenge plot. Zeppa creates a scene where his friend who betrayed him is EVEN MORE embarrassed/ upset than when Zeppa initially finds his wife having the affair. This creates an understanding between then men, although Spinelloccio's wife is most hidden in the dark about the whole situation. In the end, the two are able to be amicable only because they experienced each other's aggravation, and they all have "embraced" one another equally.
How does the friar use language to reverse his role (and trick the woman)? What is the reality of these "titles" the characters hold?
The friar is able to sleep with the woman, clearly through trickery. However, language is his tool in doing so. He compares the closeness of the child's relationship to him (this godfather) and her husband... he differentiates roles in reguard to the child, but reasons that because the each take care of different aspects in the child's life, he should be treated like her husband. The woman DOES NOT have wit in this tale, only when it does come to trickery and fooling her husband (not logic wit). Titles such as the "god-father" the actual "father" and even religion become irrelevant. Each uses one for the advantage of the other, and are not the typical, "genuine" roles you would expect to hold.
8.8
What are Zeppa's intentions?DO you feel they are justified?
Rather than look at this tale as being tricker, I thought it was more of a revenge plot. Zeppa creates a scene where his friend who betrayed him is EVEN MORE embarrassed/ upset than when Zeppa initially finds his wife having the affair. This creates an understanding between then men, although Spinelloccio's wife is most hidden in the dark about the whole situation. In the end, the two are able to be amicable only because they experienced each other's aggravation, and they all have "embraced" one another equally.
Subscribe to:
Posts (Atom)