That Obscure Object of Desire

1. Why do you think the film is titled That Obscure Object of Desire? What is this “obscure object”? How does the film present it as such? Use specific imagery or scenes from the film in your answer.

The film is titled That Obscure Object of Desire because the 'obscure object' represents sex or, more specifically, and orgasm. I also noticed later that 'orgasm' begins with the same letter as the words 'obscure,' and 'object.' I believe this is a deliberate use of alliteration in the title. The entire movie is about sex, so it makes sense. Matthieu lusts after Conchita and chases her but is unable to catch her; she leads him on over and over again. This reminds me of the story of Calisto and Melibea; she leading him on and he burning with desire to catch her and make her his. However, since he loves the surreal image of her rather than Melibea herself, he quickly loses all passion once he sleeps with her. This is the exact same with Matthieu; once he gets to sleep with Conchita he is denied his pleasure which makes me believe the importance is in the hunt rather than the catch.

4. What do you make of the animal imagery in the text (the mouse, the fly)?


 There is a lot of animal imagery seen throughout this film, although the main ones are the fly and the mouse. This is interesting because both animals are prey, the ones who are hunted. The mouse, trying vainly to get some cheese, gets caught in a trap. This relates to Matthieu, who I believe is a lot like that mouse; he goes after what he wants without realizing the dangers and because of that he is often tricked by Conchita and stumbles into traps, just like that poor mouse.

Celestina Day 5

 Act 18 - What is Areusa's motive for plotting to murder Calisto? Is she just being cruel or does Calisto deserve it? Why do you think Elicia says, "Punish him with a beating, but don't kill him." Is she being sincere when she says this?

According to Areusa, she wants revenge on Calisto for upsetting both her and her cousing Elicia. Calisto’s a fool, but I don’t think he deserves to be killed for such a petty revenge as hers. She’s being a bit cruel, saying “why be merciful? Let him get on with it and kill him however it takes his fancy. Let Melibea cry like you have.”

And when she states, “punish him with a beating, but don’t kill him,” she’s being insincere, since she really wants him dead. 

Act 20 - Did it surprise you when Melibea commits suicide or were you expecting it? Were you expecting her to go through with it or did you think Melibea's father would somehow stop her?

Oh, I was completely expecting it. That’s why this story is categorized as a comedy/tragedy. The whole 'Romeo/Juliet' tragedy is so typical, that if Melibea didn’t kill herself I think I’d be really shocked. Her father tthought it is an illness he can cure, but it's impossible to cure a broken heart with "herbs, stones or words." He tried to stop her, but since he didn't understand her feelings it was impossible for him to. She distracted him by telling him he could help by bringing a stringed instrument, so she can plan the way she will die. In death, she plans to meet up with Calisto again.

Celestina Day 3

Chapter 8

On page 98, Sempronio says: “not everything is white that isn’t black and not everything yellow and shiny is gold.” What do you think this means?

This philosophical phrase means that nothing is straightforward; there is no clear-cut beliefs and thoughts, and the world isn’t just black and white. There are gray patchy areas, and I believe at the moment Calisto is stuck in one of them, lamenting his love for Melibea and how it will ruin him, and wondering why she hasn’t come to satisfy his desires yet. Only outsiders can see how ridiculous he looks; he can’t recognize it himself. A night and most of a day passes by without Calisto even noticing. 

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Chapter 11

Calisto describes himself as a captive of love, as Melibea’s vassal. Is this true, given Celestina’s role in their affair?

Calisto definitely is a captive of love; although he may not consider himself so, his companions Parmeno and Sempronio see him as a love-struck fool. All he thinks about day and night is Melibea. Therefore, he can be considered as love's vassal, it's captive, but he is not a vassal to Melibea. I believe that both he and the woman he loves are Celestina's vassals, since it is Celestina who holds all the power in this story. She is the connector between Calisto and Melibea; she holds tremendous power over both of them, which I find to be ironic since not only is she a woman, she is an old woman, scorned by everyone while Calisto, a wealthy man, holds no power over himself and others; none over his servants, none of Melibea, and certainly none over the wily Celestina.

Celestina Day 1

1. The ‘garden’ is thought of as an image of innocence and purity. It is also symbolic of a woman’s virginity. Melibea and Calisto exchange their feelings for one another in a garden in the opening of chapter 1. Calisto is overwhelmed by her beauty and desires her, whereas Melibea asks him why he bothers pursuing a virtuous woman like her, and scorns him “Begone, you selfish fool.” Although the garden symbolizes a woman’s virginity, and Melibea is first seen in a garden, I believe that she is a trickster, and also a harlot like Celestina. I cannot believe her to be virtuous or chaste at all, like she claims to be. In this instance, the garden is acting as an image of the Garden of Eden, where Adam is tricked by Eve. This is implying that women are tricksters.

2. Calisto and Sempronio discuss Calisto's malady. As it happens, he is truly and hopelessly love-struck by Melibea. Calisto waxes on about Melibea and her flawless charms, alternating between anger and grief. Sempronio, having no loyalty for his master as far as I can see, listens to him just to save his own skin should something befall Calisto. Meanwhile, he mocks him and Melibea under his breath. Calisto is so blinded by love he scorns God, saying that his 'god' is Melibea and there is no other. This blasphemy is something I believe no man in his right mind would say willingly, and just further proves what Rojas seems to say in the first two chapters that women are all tricksters and push men to madness. 

Decameron (Day 6)

9.2: How do the Abbess actions/ her physical appearance
change the outlook of the Nuns at the end of the story?

This story is very similar to a previous story I remember reading. In story 9.2 the other nuns play a trick upon a nun who is sleeping with a man. However, when they tell the Abbess to hurry up and catch the nun in the act, she herself is in bed with a priest. I found this very ironic; in another story Boccacio mentions that priests commonly sleep with women, yet I think it's a whole different thing for a priest to sleep with a nun. Talk about taking lust to the next level. Trickery is a prevalent theme in this story- the nuns trick the sinful nun, the Abbess tricks those very same nuns and attempts to chastise the nun who had been committing the exact same crime she was. And after the Abbess was found out because she mistakenly placed the priest's pants atop her head. I found this hilarious, especially how she so quickly changed her tune after being caught herself, and how both nuns from that point on got to continue fulfilling their desires. 

9.3: What is Boccaccio trying to show with the reoccurring
theme of women causing conflict and the physical abuse that
result from it?
I also really loved this story because of its comedy and sense of uniqueness. Trickery is the main theme here, too. Calandrino is tricked into believing he is pregnant and that it is his wife's fault for -of all things!- sleeping on top. The top is considered a position of power and control, and in the Middle Ages and even, sometimes, in this day and age the bottom is considered the proper place for women. Calandrino's wife Tessa is a modest woman, although apparently this is mostly an outer facade since in story 9.5 she physically and verbally abuses her husband. However, in this story Calandrino says that if he were well, he'd "give her such a beating {he'd} break every bone in her body."

Decameron

7.3 Question --- What is the central theme that drives the main characters’ actions in this story? What, if anything, does Bocaccio have to say about this theme? Use examples from the text to support your answer.
The prevalent themes that drives Rinaldo are lust and gluttony. He lusts for Madonna Agnesa, and constantly pesters her. His lust causes him to go so far as to become her child's godfather. When she denies him, and become a friar. Then his gluttony emerges. Even as a friar, Rinaldo buys expensive clothing and drinks, and sins as much as he wants. Boccaccio states that this is quite common, however; "Is there a friar that does not act this way?" (pg. 498) After the Madonna accepts his urges, he also uses trickery and wit to get through a tough situation.

"All About My Mother"

6. A character study of Agrado (especially her speech - how can she claim to be "very authentic"?), Manuela, Huma, or Rosa.

Agrado is a fascinating character. She speaks gruffly and is constantly calling her best friend Manuela a ‘bitch,’ but she means it as an endearment. She has silicone breasts, and her nose, cheeks, and butt aren’t natural either. (Neither is her dick). She is always wasting her money on the newest plastic surgery the market has to offer. She dyes her hair and is always wearing a ton of make-up.

However, I believe she can claim to be very authentic because she speaks her mind. She cares for her friends, knows who she is, and is content with the person she sees herself as. She hates goodbyes, but hates not saying goodbye even more. She is a confidant and tough lady who can take care of herself out on the street, and she is eventually able to find a better job. 

2. The theme of communication or the lack thereof in the film. How does Almodovar emphasize this in the film, among which characters, and why?

Communication (more like, the lack of it) is very present in this film. Esteban writes his wishes in a notebook instead of telling them to his mother directly. He wanted to know more about his father since all he'd been told was, "your father died long before you were born." Manuela would have told him all about his father, i'm sure, if only he'd made clear how empty he felt and how it felt as though half of his life was missing.
There is also miscommunication between Manuela and Lola. She doesn't tell him about Esteban; rather, she runs off and doesn't see Lola again for 18 years. Only then does he find out, and it is such a shame. He is delighted to know he had a son and desires to see him, but he cannot because Esteban is dead. This was my favorite part of the film.