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represents the symbols Alain Robbe-Grillet and The Secret Room

Alain Robbe-Grillet and The Secret Room

     On page 2032 of the classs anthology, there is a work by Alain Robbe-Grillet entitled The Secret Room. What interests me about this work is that I thought that this topic or story is deep and hard to get the idea. So, I wanted to know about Alain Robbe-Grillet and wanted to get the idea. In this connection, the question that I want to research is who Alain Robbe-Grillet is and what is this story about.
     First of all, Robbe-grillet, he was born in Brittany, France, where was the place for scientists and engineers. At first, he was not a writer. He earned the degree in mathematics and natural science. He started working at National Institute of Statistics and published an article on livestock possibilities before deciding to work part time in his sisters biology laboratory and write a novel. The first novel he wrote was A Regicide in 1949. But, it didnt published until 1978 which was the time after he became a successful novelist.
Robbe-Grillet was one of the foremost filmmakers and the novelists of the French new novel, of the twentieth century. Frustrated about the lack of progress and innovation in the art of the novel since the nineteenth century, Robbe-Grillet and Nathalie Saurrate began to write complex novels that interrogated and challenged conventional narrative modes, novels that altered or abolished fictional elements such as character, plot, setting, point of view, and chronological time in favor of repetitions, an absence of emotion, minute objective and sometimes geometric descriptions, the lack of authorial analysis, and the deconstruction of time. His films also reflect his desire to challenge the conventions of filmmaking, but he is recognized principally as a novelist.
The novels of Robbe-Grillet all challenge their readers to reevaluate the way they read, the way they think, and the way they visualize the world around them. The novels are vastly different from each other. The Erasers concerns a police inspector, Wallas, and his search for a man who has supposedly killed another man who, in actuality, was not killed. The novel is set in a small Belgian city, a city with a considerable network of canals and bridges and boulevards that all look the same; throughout the novel, the city becomes a type of labyrinth, adding an ambiguous complexity of space to the novel's non linear chronology.
     The Erasers is more accessible than his later novels like Jealousy and In The Labyrinth, both penultimate examples of the New Novel. The erratic chronology, suggested symbols, circular repetitions, and stylized description deconstruct time and space in these novels forcing the reader to reconstruct the plot. These writerly texts transport readers to complex fictional, hence illusory, universes. The visual nature of Robbe-Grillet's books continue in his later novels, of which the collaborative novel La Belle Captive, a novel written by Robbe-Grillet with paintings and illustrations by the surrealist Ren Margritte, is a perfect example where art informs art and the two mediums color the "reading" of each other. Recently, in 1995, Robbe-Grillet finished a trilogy: a fictional autobiography. Embracing the vogue genre of the autobiography and foregrounding its inherently subjective nature, Robbe-Grillet continues to brave the edge of his art in the same spirit of innovation that has marked all his work.
     Robbe-Grillet, he is very good at describing scenes. He describes the room, the victim, and also light and smoke. So, we can imagine what happened in this room even though he didnt mention what was happened in this room.
     The title, The Secret Room, it is about the dark, basement room where the murder is taken place. This room has so weak light which is not known where is comes from, and also its hard to determine the dimension is. I think it represents the mystery. Also, the first scene which the man appears is just a silhouette which is also mysterious.
The girl who is killed, she lies down without cloth. The narrator says that shes completely nude. It represents the eroticism. The author said her body is completely nude. It represents the eroticism. The author said her body is rounded but not heavy. And its no longer useful. He emphasizes ... more

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Botticelli's Spring

The
renaissance was a time of wonderful art, though one artist in particular stood
out, that was Sandro Botticelli. This man created some of the most renowned
pieces of art in European history; one great painting was Allegory of Spring.
This mythological artwork was an amazing change from the normalcy of past times.
Botticellis Allegory of Spring, painted in 1482, is one of the most
remarkable and astounding pieces of renaissance art with the wondrous symbols,
style, story of the piece and also the intriguing history of Botticelli himself.
Botticelli is considered one of the greatest artists of the Renaissance; one of
his finest works was Allegory of Spring. Botticelli, originally named Alessandro
di Mariano Filiapepi, was born in Florence, Italy in 1445. He was nicknamed Botticelli;
meaning little barrel, this name was originally bestowed upon his older brother
but for some reason passed on to and adopted by his little brother (4:68). He
was first an apprentice to a goldsmith, though at about age thirteen or fourteen
he stopped training and traded to painting. He was an apprentice to Filippo
Lippi. This mans style formed many of Botticellis early works. Botticelli
also worked with painter and engraver Antonio del Pollaiuolo. Botticelli had his
own workshop by 1470; there he spent most of his life working for many great
families in Florence at the time, especially the Medici family. As one of the
artist in the court of Lorenzo de Medici, he was immensely influenced by its
Christian Neoplatonism (5:7). With this in mind he tried to reconcile classical
and Christian views. Though working for himself a lot he was also commissioned
by many others. He joined Perugino, Ghirlandaio, and Rosselli from 1481 for one
year to paint frescos for the Sistine Chapel. Botticelli worked with some
consequential artist of the Florentine Renaissance, which would shape and change
his style of painting. Botticellis works are seen as a landmark of high
renaissance. He created some of the greatest works of this time. His early
pieces were mostly of the virgin and child (1:78). He first made a name for
himself when in 1470 he was public commissioned to paint Fortitude, which would
be hung in the Trade law court in Florence. One of his first real milestones was
the creation of the Adoration of the Magi, which he painted around 1473-1475.
This painting veered away from some of his earlier more morbid content. This was
one of the first pieces commissioned by the Medici family, who in this case gave
many guidelines for the young Botticelli to follow. Botticelli would go on to
paint Portrait of an unknown man with a medallion of Cosimo the Elder, in the
same time period (5:42). Then he would create one of the most well known
Allegory of Spring, quite different subject matter from times before with the
conceptions of mythological characters and a defined plot. Then in 1481 he went
to Rome to work on frescos of the Sistine Chapel ordered by Pope Sixtus IV.
After this he went on to create the sister painting to Allegory of Spring, Birth
of Venus. Botticelli continued to create heroic works of art portraying many
different stories and characters. He painted an array of religious artwork as
well as portraits and mythological pieces. He was a well-rounded painter who
will influence the art world for centuries after his death in 1510.
Botticellis style of painting was a combination of the influences of his
teacher, but the time and his own creative energy help determine much of his
work. Botticelli was an apprentice to Lippi who had a huge influence and him
defined many of his early works. Lippi taught Botticelli the concept of drawing
outlines, this was to create the effect of transparency, and to give the
painting a certain fluidity and harmony (2:69). A viewer can see this in many of
Botticellis work including Allegory of Spring. Botticelli was also influenced
by the Pollaiolo brother whom he also works with. These men taught him emotive
force and also the usage of color. An obvious idea, which can be viewed in many
of Botticellis allegorical paintings, including Allegory of Spring, is the
greater amount of luminosity, as well as a softer look of pride (2:70).
Botticelli wanted to accentuate the elegance of the pose and the decoration of
the characters also. This artist held a great adhesion to the neo-platonic style
of Marsilio Ficino and Agnolo Poliziano. Not only was Botticelli influenced by
certain people of this time he was also influenced by ... more

represents the symbols

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