Dear Franco, Was there anyone you didn’t hate? Love, Leksa

So in this post I will attempt to give you a bit of historical background for the setting of The Shadow of the Wind. Please forgive any bias (ok, there’s a lot of bias) that may present itself in this writing; in this informal setting of the blog I’ll probably let loose my own personal opinions a bit more than in my final paper. But here goes:

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Arab-American Music

Over the past few weeks, after changing my focus, I’ve seen examples of Arab music in several different settings.  At the Islamic Center of Greater Toledo, the largest mosque complex in North America, I heard a band consisting of several young Lebanese professionals along with two students of European descent playing traditional Middle Eastern instruments.  They had songs in Arabic, including folk songs and pop songs, and not a single one of the members was a professional musician.  After their performance, I talked with them, and found out that they were simply a group of friends with a shared interest in music and Lebanese culture.  They practiced in living rooms and basically made up the adult version of a garage band, playing when and where they could.  Arab music provided them with a means of exploring their cultural heritage and a release from the stresses of the everyday grind.

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Mutual Dependency In Every Era

My project resulted in more research than I could ever have imagined, with each of Austen’s novels opening up a whole new dimension and insight into my efforts. As a result, I narrowed my focus on three of her most relevant works in terms of the Cinderella motif, rather than attempting to tackle all five of her popular novels. I therefore compared primarily “Pride and Prejudice”, “Sense and Sensibility” and “Mansfield Park.”

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Practicality and Idealism: Meshed in Austen’s Romantic Notions

In case everyone completed forgot about my project due to a quite lengthy absence from the blogging scene, let me update all my eager listeners.

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