Relevant bibliographies by topics / The House of Bernarda Alba

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  2. Dissertations / Theses
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  4. Book chapters
  5. Conference papers

Academic literature on the topic 'The House of Bernarda Alba'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 April 2022

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Journal articles on the topic "The House of Bernarda Alba"

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Stainton, Leslie, Federico Garcia Lorca, and Robert David MacDonald. "The House of Bernarda Alba." Theatre Journal 39, no. 2 (May 1987): 232. http://dx.doi.org/10.2307/3207692.

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Sullivan, Esther Beth, Federico Garcia Lorca, and Lynne Parker. "The House of Bernarda Alba." Theatre Journal 46, no. 1 (March 1994): 137. http://dx.doi.org/10.2307/3208969.

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Stephens, Jeffrey. "The House of Bernarda Alba (review)." Theatre Journal 54, no. 1 (2002): 145–47. http://dx.doi.org/10.1353/tj.2002.0030.

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Tariq, Humaira. "Protagonist: Bernarda Alba or Pepe el Romano? In Lorca’s “The House of Bernarda Alba”." IOSR Journal of Humanities and Social Science 7, no. 4 (2013): 35–37. http://dx.doi.org/10.9790/0837-0743537.

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Michelotti, Graciela. "Rosana’s house." Short Film Studies 9, no. 2 (April 1, 2019): 161–64. http://dx.doi.org/10.1386/sfs.9.2.161_1.

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This article compares Roquet’s short with García Lorca’s La casa de Bernarda Alba (1936), exploring how relationships between maids and female employers have been preserved despite the passage of time. When framed by the incidence of class differences, long-held traditions and repressed emotions, silence dominates both texts.
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Breiner-Sanders, Karen E. "Andalusian Drama in Two Takes: The House of Bernarda Alba and La casa de Bernarda Alba." Hispania 79, no. 3 (September 1996): 503. http://dx.doi.org/10.2307/345548.

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González Chacón, María del Mar. ""Speaking through Another Culture": Frank McGuinness’s Version of Federico García Lorca’s The House of Bernarda Alba (La Casa de Bernarda Alba)." Miscelánea: A Journal of English and American Studies 60 (November 28, 2019): 71–89. http://dx.doi.org/10.26754/ojs_misc/mj.20196288.

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Translation and adaptation play an essential role in Irish contemporary theatre. Irish playwrights have turned to continental writers, such as Federico García Lorca, to rewrite their culture through another culture. Frank McGuinness has followed this tradition but, while his rewritings of Euripides or Sophocles have been widely discussed by scholarship, his version of Lorca’s The House of Bernarda Alba (1991) remains an unpublished text and, consequently, has not been the object of critical attention. This article intends to engage in close analysis of the play, addressing the strategies used by McGuinness to accommodate Lorca in the Irish context, and how the Lorquian themes voice the situation of women in the Northern Ireland of the 1990s, where McGuinness’s play was first produced.
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Cifuentes, Luis Fernandez, and Dennis A. Klein. "Blood Wedding, Yerma, and The House of Bernarda Alba. Garcia Lorca's Tragic Trilogy." Hispanic Review 62, no. 1 (1994): 135. http://dx.doi.org/10.2307/474449.

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Katona, Eszter. "Bodas de sangre de Federico García Lorca en las tablas húngaras. Algunas representaciones memorables entre 1957-2014." Acta Hispanica 19 (January 1, 2014): 79–100. http://dx.doi.org/10.14232/actahisp.2014.19.79-100.

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The House of Bernarda Alba was the first play of Federico Garcia Lorca that was staged by a Hungarian company in 1955. Hungarian directors followed with close attention the dramas of the Andalusian playwright and two years later, in 1957, the Hungarian National Theater included on its program another play of Lorca, Blood Wedding, written in 1933. Since then, the popularity of this drama on Hungarian stages has not diminished at all, it also inspired dance and opera adaptations. Recently, in the 2013-2014 season, Magyar Színház theater has also staged this play. The aim of this paper, which has been inspired by the aforementioned premiere, is to offer an overview of the Hungarian reception of Blood Wedding, highlighting some important productions of the past six decades.
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Katona, Eszter. "Las interpretaciones de La casa de Bernarda Alba en los teatros húngaros en el siglo XXI." Acta Hispanica 18 (January 1, 2013): 105–29. http://dx.doi.org/10.14232/actahisp.2013.18.105-129.

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Federico García Lorca's last play, The House of Bernarda Alba was in fact his first drama that was presented to the Hungarian audience in the 1950s. Nearly sixty years have passed since then, and numerous Hungarian theaters have included this play in their repertoire. I managed to trace 19 premiers from the period of 1955-2000 and 25 since the turn of the century. However, behind these high numbers we do not always find traditional theatrical presentations working with Lorca’s text. Other adaptations, like dance or musical plays, were also inspired by Lorca's drama, but with their different forms of expression they distinguished themselves from the traditional prose theater. Nevertheless, the presentation of these performances is important as well, as they contribute to the formation of Lorca's image in the Hungarian audience. From these performances this study examines some of those from the first decade of the 21st century that, in some way, were significant, memorable or outstanding stagings.
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Dissertations / Theses on the topic "The House of Bernarda Alba"

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Lindgren, Lovisa. ""Porque quiero casarme con un varón hermoso de la orilla del mar" Un análisis de lo grotesco femenino de María Josefa en La casa de Bernarda Alba." Thesis, Högskolan Dalarna, Spanska, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:du-13621.

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This essay is an analysis of the character María Josefa in the play 'The House of Bernarda Alba' (1936) by Federico García Lorca. It is hypothesized that the character of María Josefa can be considered a distorting mirror of the femininity presented in the play, and that through María Josefa this femininity is both revealed and problematized. The analysis adopts theories from the field of the (female) grotesque, using terminology both from Mikhail Bakhtin and Mary Russo. Throughout the analysis it is demonstrated how the character of María Josefa challenges the boundaries and norms which are dictated by Bernarda to control the women of the house. These conventions are challenged by María Josefa with the use of her loud speech, her dressed up appearance, and in her physical resistance. In this manner María Josefa is creating and embodying an alternate feminine view that is uncovered through her consistent provocation and by making herself into "a spectacle", a transboundary behaviour that is well interpreted within the theories of carnival, the grotesque body, and the spectacle of the female grotesque.
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Wåhlin, Landa Helena. "Opresión, crueldad y represión sexual en La casa de Bernarda Alba." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-100265.

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Esta tesina presenta un análisis temático de la obra de teatro La casa de Bernarda Alba escrita por Federico García Lorca partiendo de las contribuciones teóricas de Michel Foucault, un enfoque metodológico inspirado por el esquema actancial presentado por Eduardo Jimenez Tornatore así como una visión histórica y biográfica de Martha Ackelsberg y Reed Anderson. Uno de los objetivos es analizar los temas relacionados con la opresión y la represión de los deseos sexuales. Un segundo, mirar las acciones e interacciones entre los personajes y cómo estas reflejan las reglas sociales de corte conservador cumpliendo una función dentro de la obra.  Los resultados muestran conflicto y tensión bajo condiciones de dominación, opresión y represión sexual como se señala en cada tema seleccionado a través de iluminar citas, símbolos y descripciones de los actos igual que dibujar paralelos a las teorías sobre la sexualidad y al modelo actancial. Palabras claves: Mujer, Costumbres, Muerte, Matrimonio, Clase, Sexualidad, Opresión, Supresión.
This essay presents a thematic analysis of the drama La casa de Bernarda Alba written by Federico García Lorca using theoretical contributions from Michel Foucault, a methodological approach inspired by the work Eduardo Jimenez Tornatore as well as historical and biographical insight from Martha Ackelsberg and Reed Anderson. One objective is to analyze the themes that surface relating to oppression and to the repression of sexual desires. A second, to look at the actions and interactions between the characters and how they relate to the societal rules at the time as well as to their respective function in the drama. The results show conflict and tension under conditions of domination, oppression and repression as pointed out in each selected theme through quotes, symbols, scene descriptions and while drawing parallels to theories on sexuality and to the actantial model.
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Carbone, Rafael. "Frustración lorquiana : Metáforas y símbolos en La Casa de Bernarda Alba." Thesis, Högskolan Dalarna, Spanska, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:du-18375.

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El presente trabajo está orientado a detectar los símbolos y metáforas ambivalentes en la obraLa Casa de Bernarda Alba de Federico García Lorca. Debido a que hay pocos estudiosdedicados al simbolismo de la frustración, se ha concentrado en analizar dicha temática. Paraanalizar el concepto de frustración, primero ha sido necesario comprender cómo eraconcebida la moral de la época en que se inscribe la obra. En segundo lugar, ha sidofundamental entender cómo surge la frustración en el ser humano. Atendiendo a estascuestiones se ha aplicado la teoría del formalismo iluminista y una visión freudiana sobre lasteorías del psiquismo. En base a estas nociones se detectaron cuatro símbolos ambivalentesque connotan sentimientos de frustración: el blanco, el olivo, la maroma y el mar. Estossímbolos antitéticos contienen una fuerza negativa que se impone a la fuerza positiva, lo cualtiene como resultado la frustración. Las fuerzas contradictorias están presentes durante laobra entera. Esta característica no solo se manifiesta a través de los tropos estudiados, sinoque también se detectó que a menudo las fuerzas antitéticas se hacen presentes enprotagonistas que forman grupos ambivalentes, donde cada personaje actúa como una fuerzaopuesta, lo cual lleva hacia una tensión permanente entre una persona positiva y otranegativa.
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Willersinn, Mario. "Federico García Lorcas "La casa de Bernarda Alba" - dramatischer Text und Aufführungspraxis eine Analyse /." [S.l. : s.n.], 2008. http://nbn-resolving.de/urn:nbn:de:bsz:25-opus-54302.

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SOUZA, Marcella Macêdo Sampaio de. "O amor, a liberdade e a morte: diálogo entre a casa de Bernarda Alba e os sete gatinhos." Universidade Federal de Pernambuco, 2002. https://repositorio.ufpe.br/handle/123456789/7881.

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Propusemo-nos fazer, nesta dissertação, uma análise das convergências e interseções das obras teatrais A Casa de Bernarda Alba, de Federico García Lorca, e Os Sete Gatinhos, de Nelson Rodrigues, sob a perspectiva do Amor, da Liberdade e da Morte. Estudamos a interação dos temas entre si e sua relação com as obras citadas, e analisamos as coincidências na estruturação das tramas e na composição das personagens levando em consideração os princípios de autoridade e liberdade, por onde os caminhos da manifestação da sexualidade/desejo são conduzidos
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Höljö, Nikolina. "El trasvase interlingüístico de las metáforas en La casa de Bernarda Alba : Un estudio comparativo del español al sueco." Thesis, Uppsala universitet, Institutionen för moderna språk, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-295661.

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En esta tesina se analiza las diferencias entre las metáforas en La casa de Bernarda Alba y sus equivalentes en una traducción sueca. Nuestros análisis se basan en la teoría sobre las metáforas conceptuales de Lakoff y Johnson (1980) con su enfoque cognitivista, además de la teoría de Gottlob Frege y sus ideas sobre sentido y significado, en el momento de compararlas. Las metáforas traducidas presentan una variedad de maneras en la traducción de la metáfora: traducir la metáfora literalmente, sustituirla por otra metáfora en la lengua meta, traducirla como metáfora que no lo era en el original y sustituir la metáfora de la lengua origen por un símil en la lengua meta. Sin embargo, el trasvase interlingüístico de la metáfora, en muchos casos, no logra mantener las connotaciones de la lengua original, algo que muestra la influencia cultural pero que significa una pérdida de las connotaciones originales. El efecto positivo, por otra parte, es una mayor accesibilidad de las metáforas para los lectores suecos.
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da, Silva Filho José Francisco. "Un análisis mitopoético e imaginal de La casa de Bernarda Alba, de Federico García Lorca, y Dorotéia, de Nelson Rodrigues." Doctoral thesis, Universitat Autònoma de Barcelona, 2014. http://hdl.handle.net/10803/133267.

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Esta investigación tiene como propuesta analizar las obras dramáticas La casa de Bernarda Alba, de Federico García Lorca (1898–1936) y Dorotéia, del brasileño Nelson Rodrigues (1912-1980), desde el marco de la literatura comparada. Se ha buscado elucidar no tanto los elementos visibles y explícitos que pueden aproximan ambos textos, sino desentrañar más el aspecto simbólico, implícito y mítico que conllevan en su interior. Como uno de los objetivos de este trabajo es hacer un análisis mitopoético, el primer capítulo inicia con algunas reflexiones sobre el concepto de mito. En la búsqueda por crear un campo de diálogo entre los relatos míticos con el corpus literario matriz de esta investigación, la segunda parte de este capítulo está dedicada a las imágenes bajo el enfoque de la psicología arquetípica, de donde se ha extraído el concepto de lo “imaginal” que apunta el modus operandi de este ensayo. Como el tipo de análisis propuesto se inserta en el ámbito mitopoético, el segundo capítulo aproxima los dos textos modernos a los relatos mítico de Psique y Perséfone. Estos dos personajes femeninos bajan al reino del inframundo, donde logran un crecimiento interior, lo que se asemeja a los procesos psíquicos vividos por los personajes principales de las obras que elegimos para esta investigación. Este capítulo, también aborda el género dramático y el teatro de Nelson Rodrigues y García Lorca, autores de las obras que consagramos para este ensayo. El tercer capítulo desarrolla un ejercicio de comparación entre Dorotéia y La casa de Bernarda Alba: primero, se aborda lo femenino y la familia como temas arquetípicos; luego, el hogar, la religión y la sexualidad como temas circundantes; y, finalmente, se aproximan las historias de Dorotéia y Psique y de La casa de Bernarda Alba y Perséfone. El último capítulo se compone de dos apartados: uno trata de los sentimientos inferiores y otro de las imágenes “almadas” de las obras –medios utilizados para acceder a la realidad psíquica de los personajes. Debido a la importancia dada a la imagen en este trabajo, hemos seleccionado unas fotografías de montajes de Dorotéia y La casa de Bernarda Alba, relacionándolas con las cuestiones que hemos tratado en los dos últimos capítulos de esta tesis, imágenes que se reproducen en el anexo de esta tesis.
The intention of this research is to analyse the dramatic texts La casa de Bernarda Alba by Federico García Lorca (1898-1936) and Dorotéia by the Brazilian Nelson Rodrigues (1912-1980) from the comparative literature framework. It has been seek not just to clarify the visible and explicit element that approximate both texts but to develop the symbolic, implicit and mythic aspect the carry within. As the aim of this work is to do a mythopoetic analysis, the first chapter starts with some reflections about the concept of myth. With the intention of creating a dialogue field between the mythic tales and the literary corpus matrix of this investigation, the second part of this chapter is dedicated to the images under the focus of the arquetipic psychology, from where it was extracted the concept of ¨imaginal¨ which points to the modus operandi of this essay. As the type of analysis suggested is inserted in the mythopoetic area, the second chapter approximates the two modern texts to the mythic tales of Psyque and Persephone. Both feminine characters go down into the underworld kingdom, where they achieve an inner growth, similar to the psyquic process experienced by the main characters of the two dramas chosen in this investigation. This chapter, approaches the dramatic genre and the dramatic works of Nelson Rodrigues and García Lorca, authors of the two dramas studied in this thesis. The third chapter develops a comparison exercise between Dorotéia and La casa de Bernarda Alba: firstly the concept of feminine and family are studied as arquetipic issues; secondly the home, religion and sexuality are studied as surrounding issues; and finally, there is an approximation of the stories of Dorotéia and Psyque and La casa de Bernarda Alba and Persephone. The last chapter is composed by two sections: one talks about the feelings of inferiority and the other about the ¨souled¨ images –means used to access the psyquic reality of the characters. According to the importance give to the images in this work, there have been selected some fotographs from the plays on stage of Dorotéia and La casa de Bernarda Alba, related to the issues treated in the last two chapters of the thesis, the mentioned images are attached to the end of this work.
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Cea, Sepúlveda Alma. "El rizoma aplicado a la dirección de escena de la trilogía lorquiana:Bodas de sangre, Yerma y La casa de Bernarda Alba." Tesis, Universidad de Chile, 2016. http://repositorio.uchile.cl/handle/2250/145268.

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Magíster en artes con mención en dirección teatral.
Uno de los objetivos fundamentales de esta exploración teórico-práctica, es vincular los principios rizomáticos a obras teatrales de origen clásico que posean un orden aristotélico; para ello, hemos seleccionado tres textos de Federico García Lorca: Bodas de Sangre, Yerma y La casa de Bernarda Alba con el propósito de observar el proceso creativo que surja a partir de una nueva estructura dramática que apele a lo rizomático. Para conseguir éste propósito, estudiaremos autores teatrales que han podido combinar estos conceptos, siendo ejemplos referenciales para nuestra investigación. El primer autor utilizado, es el Actor, director y Dramaturgo Teatral Italiano: Carmelo Bene, quien, a partir de la sustracción utilizada en sus obras, hace proliferar un relato nuevo, generando de ésta manera una ruptura de la línea estructural de la obra original, como es el caso de la obra Ricardo Tercero de Shakespeare. También será relevante para nuestra investigación, el concepto de Paisaje Dramático” utilizado por Manuela Infante, directora y dramaturga chilena.
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Swick, Janell. "La opresion del genero sexual y la expresion sexual en Bodas de sangre, Yerma, y la casa de Bernarda Alba por Federico Garcia Lorca." Click here to view, 2010. http://digitalcommons.calpoly.edu/mllsp/2/.

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Thesis (B.A.)--California Polytechnic State University, 2010.
Project advisor: Karen Munoz-Christian. Title from PDF title page; viewed on Mar. 24, 2010. Includes bibliographical references. Also available on microfiche.
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Dutra, Sandra Cristina Pereira. "As tradi??es do patriarcalismo nas obras A casa de Bernarda Alba, de Federico Garcia Lorca e Como ?gua para chocolate, de Laura Esquivel." PROGRAMA DE P?S-GRADUA??O EM ESTUDOS DA LINGUAGEM, 2017. https://repositorio.ufrn.br/jspui/handle/123456789/24192.

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Nas obras A casa de Bernarda Alba, do escritor espanhol Federico Garc?a Lorca, escrita em 1936 e Como ?gua para chocolate, da escritora mexicana Laura Esquivel, publicada em 1989, ? notado que os autores, apesar da distin??o do tempo que suas obras apresentam, abordam uma tem?tica similar, que consiste nas tradi??es e como as mesmas influenciam no comportamento dos indiv?duos. Nessas tradi??es, em ambas as obras s?o abordados o luto e o patriarcalismo como forma de castrar e reprimir os desejos das filhas das matriarcas, atrav?s de imposi??es e humilha??es. Neste trabalho, que apresenta uma compara??o entre as duas obras, pretende-se analisar as tradi??es do patriarcalismo e o seu desdobramento no universo feminino, procurando identificar a invers?o de pap?is matriarcalismo vs. patriarcalismo nas obras descritas. Estudo baseado em pesquisa bibliogr?fica, utiliza autores como Eric Hobsbawm e Terence Ranger (2002), com suas discuss?es sobre a origem das tradi??es; Friedrich Engels (2000), analisando como foi o surgimento das fam?lias e como as imposi??es foram tomando conta delas; Gerda Lerner (1990), e seus estudos sobre a cria??o do patriarcalismo; Maurice Halbwachs (2006), analisando a mem?ria coletiva; Pierre Bourdieu (1989; 2012) e seus estudos sobre a domina??o masculina e o poder simb?lico; Sigmund Freud (1913; 1948) e suas reflex?es a respeito dos tabus na regulamenta??o da sociedade; Simone de Beauvoir (1960) e seu estudo sobre a mulher, entre outros. Espera-se como resultado desse estudo a compreens?o de como a tradi??o do patriarcalismo influenciou o comportamento do indiv?duo nas sociedades retratadas nas obras analisadas.
En las obras La casa de Bernarda Alba, del escritor espa?ol Federico Garc?a Lorca, escrita en 1936 y como agua para chocolate, de la escritora mexicana Laura Esquivel, publicada en 1989, es notado que los autores, a pesar de la distinci?n del tiempo que sus obras presentan, abordan una tem?tica similar, que consiste en las tradiciones y c?mo las mismas influencian en el comportamiento de los individuos. En estas tradiciones, en ambas obras se abordan el luto y el patriarcalismo como forma de castrar y reprimir los deseos de las hijas de las matriarcas, a trav?s de imposiciones y humillaciones. En este trabajo, que presenta una comparaci?n entre las dos obras, se pretende analizar las tradiciones del patriarcalismo y su desdoblamiento en el universo femenino, buscando identificar la inversi?n de papeles matriarcalismo. Patriarcalismo en las obras descritas. Estudio basado en investigaci?n bibliogr?fica, utiliza autores como Eric Hobsbawm y Terence Ranger (2002), con sus discusiones sobre el origen de las tradiciones; Friedrich Engels (2000), analizando c?mo fue el surgimiento de las familias y c?mo las imposiciones fueron tomando cuenta de ellas; Gerda Lerner (1990), y sus estudios sobre la creaci?n del patriarcalismo; Maurice Halbwachs (2006), analizando la memoria colectiva; Pierre Bourdieu (1989; 2012) y sus estudios sobre la dominaci?n masculina y el poder simb?lico; Sigmund Freud (1913; 1948) y sus reflexiones acerca de los tab?es en la regulaci?n de la sociedad; Simone de Beauvoir (1960) y su estudio sobre la mujer, entre otros. Se espera como resultado de este estudio la comprensi?n de c?mo la tradici?n del patriarcalismo influenci? el comportamiento del individuo en las sociedades retratadas en las obras analizadas.
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Books on the topic "The House of Bernarda Alba"

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Gwynne, Edwards, ed. The house of Bernarda Alba =: La casa de Bernarda Alba. London: Methuen Drama, 1998.

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1898-1936, García Lorca Federico, and National Theatre of Scotland, eds. The house of Bernarda Alba. London: Methuen Drama, 2009.

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Munro, Rona. The house of Bernarda Alba. London: Methuen Drama, 2009.

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The house of Bernarda Alba. London: Nick Hern, 1999.

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The House of Bernarda Alba and Other Plays. London, England: Penguin Books, 2001.

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Lorca, Federico García. Three plays: Blood wedding, Yerma, The house of Bernarda Alba. New York: Farrar, Straus, and Giroux, 1993.

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The rural trilogy: Blood wedding = Yerma = and The House of Bernarda Alba. Toronto: Bantam Books, 1987.

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Blood wedding, Yerma, and The house of Bernarda Alba: García Lorca's tragic trilogy. Boston: Twayne Publishers, 1991.

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1898-1936, García Lorca Federico, ed. The house of Bernarda Alba: A drama about women in villages of Spain. New York: Dramatists Play Service, 1999.

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Andrés, Amorós, ed. La casa de Bernarda Alba. 3rd ed. Barcelona: Plaza & Janes Editores, 1998.

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Book chapters on the topic "The House of Bernarda Alba"

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KLL. "García Lorca, Federico: La casa de Bernarda Alba." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3715-1.

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Neuschäfer, Hans-Jörg. "Federico García Lorca: La casa de Bernarda Alba (1936) Die Enttabuisierung der weiblichen Sexualität." In Klassische Texte der spanischen Literatur, 198–208. Stuttgart: J.B. Metzler, 2011. http://dx.doi.org/10.1007/978-3-476-05277-3_22.

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Delgado, Maria M. "La Casa De Bernarda Alba [The House Of Bernarda Alba]." In Theatre and National Identity, 77–95. Routledge, 2014. http://dx.doi.org/10.4324/9780203366219-5.

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Soria Olmedo, Andres. "Habitar, bordar, coser. Citas del teatro de Federico García Lorca." In Biblioteca di Rassegna iberistica. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-278-9/007.

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When Bernarda Alba attributes “Needle and thread for women, whip and mule for the men”, she describes a spacial distinction, interior/exterior, and a distinction of gender that can be followed throughout Lorca’s plays. Quotes from Mariana Pineda, Blood Wedding, Yerma, Doña Rosita the Spinster, The House of Bernarda Alba, and The Public disclose the variations on the above rule in what refers to embroidering and sewing.
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Badenes, José I. "The House of Bernarda Alba by Federico García Lorca." In How to Teach a Play. Methuen Drama, 2020. http://dx.doi.org/10.5040/9781350017566.ch-043.

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"Maternity, Morality, and Metaphor: Galdos’s Doña Perfecta, Lorca’s The House of Bernarda Alba, and Andalusian Culture." In Cognition, Literature, and History, 127–45. Routledge, 2013. http://dx.doi.org/10.4324/9781315858487-15.

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"ACT THREE." In Lorca: The House of Bernarda Alba: A Drama of Women in the Villages of Spain. Liverpool University Press, 2009. http://dx.doi.org/10.2307/j.ctv16zjjdj.10.

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"ACKNOWLEDGEMENTS." In Lorca: The House of Bernarda Alba: A Drama of Women in the Villages of Spain, vii—viii. Liverpool University Press, 2009. http://dx.doi.org/10.2307/j.ctv16zjjdj.3.

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Southworth, Eric. "INTRODUCTION." In Lorca: The House of Bernarda Alba: A Drama of Women in the Villages of Spain, 1–34. Liverpool University Press, 2009. http://dx.doi.org/10.2307/j.ctv16zjjdj.4.

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"SELECT BIBLIOGRAPHY." In Lorca: The House of Bernarda Alba: A Drama of Women in the Villages of Spain, 37–40. Liverpool University Press, 2009. http://dx.doi.org/10.2307/j.ctv16zjjdj.6.

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Conference papers on the topic "The House of Bernarda Alba"

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Balaneanu, Ecaterina. "INTERPRETATION GEOTECHNICAL INDICES OF SOIL FOUNDATION TO BUILD A FAMILY HOUSE, PETRESTI LOCALITY,ALBA COUNTY." In 13th SGEM GeoConference on SCIENCE AND TECHNOLOGIES IN GEOLOGY, EXPLORATION AND MINING. Stef92 Technology, 2013. http://dx.doi.org/10.5593/sgem2013/ba1.v2/s02.030.

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Burmakina, E., and Ekaterina Hazova. "LANDSCAPE-ENVIRONMENTAL ASSESSMENT OF THE PARK TERRITORY OF CULTURAL HOUSE 50-YEARS OF OCTOBER, VORONEZH." In Modern problems of animal and plant ecology. FSBE Institution of Higher Education Voronezh State University of Forestry and Technologies named after G.F. Morozov, 2021. http://dx.doi.org/10.34220/mpeapw2021_103-107.

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The results of the landscape-ecological assessment of the park territory of cultural house 50-years of October in Voronezh are presented. This work allows you to determine the state of the object for its further use. This facility is located in the South-West district of the city and is used for recreation of the local population. The indicators of landscape-ecological assessment were determined: type of landscape, type of spatial structure, sanitary-hygienic assessment, aesthetic assessment, stage of digression. The results of the research showed that the site is in a relatively good sanitary condition, the indicator of aesthetic assessment is at a fairly high level. We also studied the plant species, which grow on the object and their condition. The assortment available in the park is represented by the list of woody plants: Robinia pseudoacacia, Betula pendula, Ulmus pumila, Acer platanoides, Tilia cordata, Populus alba, Populus pyramidalis, Sorbus aucuparia.All woody plants in the park is in good and satisfactory condition. Based on the results of the assessment of the territory, it is possible to outline design measures that will improve the sanitary, hygienic and aesthetic conditions at the facility. There is a need to design small forms of architecture (benches, urns), organize additional planting of trees, pick up flowering shrubs and create flower beds to enhance the attractiveness of the object.
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