Baccinelli, Mitchel

Borges’s literary production, particularly between 1923 and 1955, drastically changes in its depiction of Buenos Aires. The city that Borges considered his home was the center of various political and cultural changes in Argentina during those years, and the more that Argentina changed, the deeper Borges’s disillusionment became.
Examining these changes in the depiction of themes such as city, community, and history, we can better understand the process of disillusionment by which Borges begins with a utopic view of Buenos Aires that becomes dystopic before it is abandoned in order to imagine a new utopia.

Renaissance and Baroque drama offers a view into gender dynamics of the
time. What is seen is a development in the allowed expression and manifestation of
desire by females, beginning from a point of near silence, and arriving at points of
verbal statement and even physical violence. Specifically, in La Mandragola by
Niccolò Machiavelli, Romeo and Juliet by William Shakespeare, and Fuenteovejuna
by Lope de Vega, there appears a chronological progression, whereby using desire
and its expression as a metric in conjunction with modern concepts of gender and
sexuality to measure a shift in relation to what is and is not allowed to be expressed
by women.