The film, I, the Worst of All, holds both artistic and historical value. Personally, I enjoyed the inclusion of the theatric hesitation of Sor Juana Inés de la Cruz and the Vicereine’s secret love, although I was disappointed by its culmination of separation. The final scenes of the movie left me unfulfilled as I wanted Sor Juana Inés de la Cruz to triumph over her ecclesiastical oppressors. Unfortunately, history often ends in dominant power structures retaining and exploiting their positions. I, the Worst of All dramatically portrays Sor Juana Inés de la Cruz's life and provides insight to the often conflicting nature of religious and civil relations and inter-ecclesiastical hierarchical tensions in 17th century colonial Mexico. Sor Juana …show more content…
In the film this appears evident when Santa Cruz uses Sor Juana Inés de la Cruz as a pawn in his own political games. He encourages her to write a rebuttal to a sermon by a popular Portuguese theologian, which she does under the belief that it will remain private and unpublished. The bishop, Santa Cruz’s political rival, greatly admires the theologian’s work. Santa Cruz then publishes her rebuttal under the name Sor Filotea with a personal addendum denouncing her studies. On the other side of the issue, Sister Ursula and the bishop had previously conspired to solidify her power and tighten control in the convent. Hierarchical issues did not only occur in the Convent of Santa Paula. Ursula de Jésus, a slave who rose to become a donada in the Convent of Santa Clara in Lima, experienced such tensions. Often nuns of the black and white veils would claim that her position was worthless. She prayed to St. Francis concerning her worries and, according to her confessional, he reassured her of her worth. Nancy E. Van Deusen, modern editor of her diary, notably comments “power relations that foster stratification and hierarchy often perpetuate inequality toward those of a lower
Alfredo Corchado — is the author of the book named " Midnight in Mexico:A Reporter's Journey through a Country's Descent into Darkness”. We are, probably, all interested in finding out the facts, news, and gossips about Mexico. This country was always associated with something mysterious. For me personally, the title of the book seemed to be very gripping, I was interested in revealing the secrets of life in Mexico, thus I decided to read this book. I was really curious, what can Alfredo Corchado tell me about the life in this country, the country, where the constant massacre is the picture, people used to see. In his book, the author tells the reader about the real situations, which took place in Mexico, reveals the secrets of the people’s lives and tells the story from the “inside”. He describes the way he lives his life, and does his work. The " Midnight in Mexico: A Reporter's Journey through a Country's Descent into Darkness” is a memoir. Author tries to transform his own experience into the story line. Corchado shows the reader the darkest episodes of Mexican society, while relying on his own experience.
Doña Guadalupe is a woman of great strength and power, power and strength which she draws from her devout faith and her deep and loving compassion for her family, and power and strength which is passed down to her children. “‘Well, then, come in,’ she said, deciding that she could be handle this innocent-girl-stealing coyote inside. On going into the long tent, Salvador felt like he’d entered the web of a spider, the old woman was eyeing him so deliberately” (360). Doña Guadalupe is a very protective woman, which is extremely speculative when it comes to her children, this is especially true when it comes to boys, because she has not gone this far only for all of her hard work to be ruined by a no good boy. This shows how protective she is, she loves her family, and especially her kids so much that they themselves must pass her test before being able to pass on to her children. “The newborns were moving, squirming, reaching out for life. It was truly a sign from God” (58). Doña Guadalupe is also a very devout and faithful person. She sees God in everything and in everyone and by that fact, what she sees and who she sees is true, and she tries to be a model of clairvoyance for the family. “Doña Guadalupe put the baby’s little feet in a bowel of warm water, and the child clinging to his mother. He never cried, listening to her heartbeat, the same music that he’d heard from inside the womb” (57). Finally, Doña Guadalupe is very passionate which allows for a great model upon which her children follow. This further shows how she is clearly th...
Throughout the time I spent between the covers of The Prince of Los Cocuyos, I was astounded by Richard Blanco’s dynamic relationship with the novel’s sole “antagonist”: his abuela. It seemed that no matter how many times he was chagrined at her attempts to negotiate the English language, or was forced to repress his very personhood to meet her traditional standards of manhood, she never ceased to be a pillar of support for a young Richard Blanco. But beyond his grandmother, Mr. Blanco made it quite clear that he was surrounded by a pueblo of family and friends throughout his childhood and adolescence, a village that would confound his “becoming” but foster his growth, make him question his identity and yet be intricately connected to it. It
Upon returning to the Dominican Republic after many years, Yolanda decides to take a trip across the island––something her family views as ridiculous. “‘This is not the states’ . . . ‘A woman just doesn’t travel alone in this country.” (9) This quote highlights the sexism inherent in Dominican society. Yolanda’s family is asserting that women are not individuals capable of taking care of themselves. On another hand, Yolanda’s close friendship with Mundín causes tensions as their mothers confront them about crossing gender lines. “My mother disapproved. The outfit would only encourage my playing with Mundín and the boy cousins. It was high time I got over my tomboy phase and started acting like a young lady señorita. ‘But it is for girls,’ . . . ‘boys don’t wear skirts.’” (228) This is an example of how Dominican societal norms and gender roles have impacted the sisters. Yolanda and Mundín were the only boy-girl playmates out of all the García children, yet this was frowned upon by both of their parents as to not impede the seemingly inevitable growth of Yolanda’s femininity, and conversely, Mundín’s masculinity. Moreover, this shows how societally-prescribed gender roles were instilled in Yolanda at a young age. However, this is not the only way in which women’s freedoms are
Rather, it criticizes this culture through its portrayal of women. The narrative is focused on a male and is told by a male, which reflects the male-centered society it is set in. However, when we compare how the narrator views these women to who they really are, the discrepancies act as a critique on the Dominican culture. Yunior, who represents the typical Dominican male, sees women as objects, conquests, when in fact their actions show their resistance to be categorized as such. Beli, whose childhood was filled with male domination by Trujillo and the family she worked for, attempts to gain power through sexuality, the avenue the culture pushes women toward. This backfires, creating a critique of the limited opportunities available for women. La Inca portrays a different side to this, working quietly but in ways that are not socially acceptable through self-employment. Society attempts to cage these women, but they continue to fight against it. Diaz, in an interview, quoted James Baldwin, stating, “Not everything that is faced can be changed, but nothing can be changed until it is faced" (Fassler). He exhibits the misogyny in the system but does not support it, rather critiques it through strong female characters. By drawing attention to the problem, the novel advocates for change. Diaz writes, at the end of part 1, “Nothing more exhilarating… than saving yourself by the simple act of waking”
Castillo first shows the reader her distrust of patriarchy and its vertical structures through La Loca Santa’s death. The first structure under scrutiny here is the Catholic Church. After La Loca awakens she throws herself into the air and lands on the top of the Church, saying that those below her carry the same scent that she had smelled while in hell. With Loca high above the others she can be seen as a “substation” for a new Chicana Christ figure (Delgadillo 895). She tells those gathered below that she has been sent back to pray for them so that they would be able to see their Creator in heaven. Father Jerome pleads with her to come down so that the congregation could pray for her. She then reminds him that it is she that was sent to pray for them. With La Loca in the position of a Christ figure of the system, the structure of the system, in this case religion,...
Demetria Martínez’s Mother Tongue is divided into five sections and an epilogue. The first three parts of the text present Mary/ María’s, the narrator, recollection of the time when she was nineteen and met José Luis, a refuge from El Salvador, for the first time. The forth and fifth parts, chronologically, go back to her tragic experience when she was seven years old and then her trip to El Salvador with her son, the fruit of her romance with José Luis, twenty years after she met José Luis. And finally the epilogue consists a letter from José Luis to Mary/ María after her trip to El Salvador. The essay traces the development of Mother Tongue’s principal protagonists, María/ Mary. With a close reading of the text, I argue how the forth chapter, namely the domestic abuse scene, functions as a pivotal point in the Mother Tongue as it helps her to define herself.
Family is one of the most important institutions in society. Family influences different aspects of a person’s life, such as their religion, values, morals and behavior. Unfortunately, problems may arise when an individual’s belief system or behavior does not coincide with that of family standards. Consequently, individuals may be forced to repress their emotions or avoid acting in ways that that are not acceptable to the family. In the novel The Rain God, written by Arturo Islas, we are presented with a story about a matriarchal family that deals with various conflicts. One major internal conflict is repression. Throughout the novel the characters act in strange ways and many of the family members have internal “monsters” that represent the past that they are repressing. In his article, “The Historical Imagination in Arturo Islas’s The Rain God and Migrant Souls”, Antonio C. Marquez’s implicitly asserts a true idea that The Rain God is a story about repression. Marquez’s idea can be supported from an analysis of secondary sources and a reading of the primary text.
In this sense, the film tests the resiliency of good human nature. The modern world is becoming increasingly set in its extremes, as the lifestyle of the poor vastly contrasts that of the wealthy. The implementation of NAFTA reflects this movement toward separation, despite the fact that it was intended to boost trade between regions and create more prosperity on both sides of the United States-Mexico border. The Mexican elites saw it as their salvation. Others saw it as “ a death sentence.” The Chiapas region itself exemplifies this gap, as well. The region was split between the relatively prosperous west, which was fertile and characterized by commercial development, and the poor, subsistence-oriented east. It was not by accident that the Zapatista movement began in Chiapas as the struggle between ranchers, landowners, and subsistence farmers was intensified by NAFTA.
Sor Juana de la Cruz is born into a wealthy family in 1648 that lived near Mexico City, Mexico. After being a part of the Viceregal court and a lady in waiting, Cruz begins her spiritual journey and joins the convent. Here, Cruz explores both secular and non-secular studies. She is an exceptionally talented writer with a passion for reading, learning, and writing. She is scolded for the information she writes and is told to focus exclusively on religious dogma. Soon after the Bishop of Pubela reads one of her letters, he publishes it (without her knowing), and she responds with a respectful yet sarcastic letter (Lawall and Chinua 155-156). Cruz’s “Reply to Sor Filotea de la Cruz” was written during the period of Enlightenment of Europe (1660- 1770). This era in Europe casted an opaque shadow over women’s rights to educate themselves and self-expression. Sor Juana’s piece however is both inspirational and empoweri...
Throughout his novel, Don Quixote, Miguel Cervantes effectively uses the transformation of reality to critique and reflect societal and literary norms. In three distinct scenes, Don Quixote or his partner, Sancho, transform reality. Often they are met with other’s discontent. It is through the innkeeper scene, the windmill scene, the Benedictine friar scene, and Quixote’s deathbed scene that Cervantes contemplates revolutionary philosophies and literary techniques. The theme of reality transformation does not even stop there. Sometimes the transformations of reality scenes act as mimetic devices. Ultimately, Miguel Cervantes’ use of transformative scenes acts as a creative backdrop for deeper observations and critiques on seventeenth-century Spanish society.
...e Church. It is about the disturbance and disappointment that is reality. This reality, for the residents of Comala, and by extension, the residents of Rulfo's rural Mexico, exists only in the absolute power of the local boss and his corruption of the Church. This corrupt reality combined with a submissive population, Rulfo argues, will inevitably dissolve society to a point from which there is no salvation. This complete lack of hope for salvation is represented by the tortured souls of Comala. For these pour souls, joy and hope are elusive but misery and anguish are eternal.
Sandra Cisneros’s “Never Marry a Mexican” introduces readers to Clemencia. Cisneros eludes Clemencia as a woman who appears proud of her Mexican heritage, yet knows not how the slanderous phrase “Never marry a Mexican” uttered from her well-meaning mother’s trusty lips about Clemencia’s own Mexican father negatively foreshadows her seedy life and gloomy world perspective later down her destructive journey of adulthood.
de la Cruz, Juana Ines. "Hombres Necios." A Sor Juana Anthology. Ed.Alan S. Trueblood. Cambridge, Mass.: Harvard UP, 1988.
Life in Mexico was, before the Revolution, defined by the figure of the patron that held all of power in a certain area. Juan Preciado, who was born in an urban city outside of Comala, “came to Comala because [he] had been told that [his] father, a man named Pedro Paramo lived there” (1). He initially was unaware of the general dislike that his father was subjected to in that area of Mexico. Pedro was regarded as “[l]iving bile” (1) by the people that still inhabited Comala, a classification that Juan did not expect. This reveals that it was not known by those outside of the patron’s dominion of the cruel abuse that they levied upon their people. Pedro Paramo held...