Spanish El Recado Analasis de El Recado Elena Poniatowska escrita durante una epoca de cambio en Mexico. Antes de sus obras las mujeres mexicanas eran sometidos, docil, y pasivo. En la tiempo de sus obras las mujeres estaba tratando salir de los estereotipos de antes. Esta problema social tomo un afecto en Elena. Aunque ella no viene de un movimiento literatura directamente, ella escrita con el concepto de compremetido. En su narrative El Recado ella crea un mujer estereotipical que no puede controlar sus emociones. La titula es eso porque ella viene a ver su amante, pero el no esta, asi ella escribe las cosas que sentia. La perspectiva es de un personaje y ella nunca interacta con otros personajes. En facto la unica descripcion de un personaje otro de la protagonista es de su amante Martin. Habla de otros personajes, pero solamente de sus acciones. Porque ellas es la unica perspectiva que tenemos es sencillo a sentar compasion para una protagonista de quien nombre no aun sabemos. Ella da la descripcion de toda que vea, y mas importante todo que se sienta. Tambien tropos y figuras retoricas dan un tono significante al poema. Estos sentimientos de la portagonista y el tono emocional de la narrativa transporta una tema de una mujer estereotipical y debil quien quiere ser reconocido. El Recado es un cuento de la esperanza y amor. La protagonista viene a visita Martin, pero el no esta en su casa. Entonces ella esperas en peldano, y esperanza que el aparece pronto. Esperanza es una palabra muy importante en el cuento. La palabra es usado directamente tres veces en la obra 26, 31, y 39. Tambien en el principio de el cuento todo es de un afecto sensual. Mientras ella esta en el peldano vea el jardin de Martin. Da caracteristicas humanos (personificacion) a los flores en el jardin ( 6-7), estos caracteristicas como honesto y graves probablamente tambien de su amante. Luego ella hace una comparacion directa entre el y el jardin “Todo el jardin es solido, es como tu, tiene una reciedumbre que inspira confianza.” Este oracion no solamente tiene un simil, pero tambien ayuda en mostrando la comparacion a un mujer de un hombre. El hombre es personificado con palabras de fuerza, mientras todo el cuento muestra una mujer debil.
El texto se puedo relacionar con el poema “Hombre pequeñito” porque compara el papel de una mujer con un canario encarcelado en una jaula. Al principio el canario quiere volar y saltar de la jaula; la mujer es el canario. Luego en la línea donde dice “digo pequeñito porque no me entiendes”, el hombre no entiende a la mujer porque ella quiere volar y no quiere estar enjaulada. Al final la mujer nomas ama el hombre durante media hora y nada más. El poema no tiene una rima específica, pero usa la anáfora de “hombre pequeñito” al principio de los versos. El poema también es una metáfora de la relación entre una mujer y un hombre, pero el hombre no sabe cómo tratarla. Este poema es muy feminista porque el hombre se llama pequeñito y se ve como un tonto, que nunca entenderá a la mujer. La autora Storni básicamente se burla del hombre.
Esperanza tries to be a good friend to Sally, but ends up appearing immature and silly. Esperanza feels shame, as she “wanted to be dead”, to “turn into the rain”, and have “my eyes melt into the ground like black snails” (Cisneros 97). With sensory-rich imagery, the author uses similes and metaphors to describe Esperanza’s feelings of utter mortification as she embarrasses herself in front of Sally. Esperanza becomes confused about her newfound sexuality and her loss of innocence when she begins acting strangely, yet awkwardly around boys. She doesn’t know whether to act like a child or an adult because although she wants to be mature and glamorous like Sally, and she gets exposed to the harsh nature of society. The disillusioned view of becoming mature and having boys notice her is especially realized by Esperanza when she gets raped at a carnival. Through detailed imagery, Cisneros describes the dirtiness of the boy, elaborating on “his dirty fingernails against my skin” and “his sour smell again” (Cisneros 100) and the confusion and anger from Esperanza. After this experience, Esperanza blames Sally instead for covering up the truth about boys and is heartbroken about the real truth of sexuality and men. It is clear that Esperanza vividly remembers this awful experience, and just reflecting on this experience causes her thoughts to
Symbolism is the key to understanding Sandra Cisneros’ novel, “The House on Mango Street”. By unraveling the symbolism, the reader truly exposes the role of not only Latina women but women of any background. Esperanza, a girl from a Mexican background living in Chicago, writes down what she witnesses while growing up. As a result of her sheltered upbringing, Esperanza hardly comprehends the actions that take place around her, but what she did understand she wrote in her journal. Cisneros used this technique of the point of view of a child, to her advantage by giving the readers enough information of what is taking place on Mango Street so that they can gather the pieces of the puzzle a get the big picture.
Women are seen as failure and can’t strive without men in the Mexican-American community. In this novel you can see a cultural approach which examines a particular aspect of a culture and a gender studies approach which examines how literature either perpetuates or challenges gender stereotypes. Over and over, Esperanza battled with how people perceived her and how she wished to be perceived. In the beginning of the book, Esperanza speaks of all the times her family has moved from one place to another. “Before that we lived on Loomis on the third floor, and before that we lived on Keeler.
His collection Cuentos de amor, de locura y de muerte he explores three complex themes which have ties to the primality of human nature, often showing how they can interlink with each other and in fact be causal or consequential. The scenery for the stories is often familiar, basic almost, so as not to take away from the events which occur. In ‘Una Estacion de Amor’, the love between Octavio and Lidia is entirely idealised and too good to be true, pure in a way that one cannot find in the real world. Quiroga uses this immaculacy to then contrast it in the second act with the harsh reality of life which crushes the previously surface level love story which the reader was originally given. He touches frequently on the topic of drug addiction and morphine abuse, and in this story it is particularly jarring, as having been given a timelapse one is able to see the effects it has on one’s psyche and entire life- an additional dash of pathos is that Lidia herself has taken on her mother’s addiction. Another trope which Piglia notes is that a short story always tells two stories. This is exemplified in ‘Los Ojos Oscuros’, in which Zapiola tells another man of the unfortunate story of how he met Maria. Though the two stories are told in different timeframes, one in the present and one in the past, what is interesting is how at the end the lines between the two merge as it seems that history may repeat itself. In this
Rafaela is married to an older man and “gets locked indoors because her husband is afraid Rafaela will run away since she is too beautiful to look at” (79). The narrator Esperanza notes that because Rafaela is locked in the house she gives the passing kids money to run to the store to bring her back juice. Esperanza states that “Rafaela who drinks and drinks coconut and papaya juice on Tuesdays and wishes there were sweeter drinks, not bitter like an empty room, but sweet sweet like the island, like the dance hall down the street where women much older than her throw green eyes easily like dice and open homes with keys. And always there is someone offering sweeter drinks, someone promising to keep them on a silver string” (81). Esperanza is being to notice a common occurrence in the treatment of women on Mango Street. Rafaela is locked away by her husband as he wants to keep her from running off. This mirrors the relationship between Earl and his wife. Rafaela is described in more detail however allowing readers a deeper connection to her experience in her marriage. Esperanza witnesses Rafaela’s confinement in the house each time she passes by with friends and Rafaela sends them down money to buy her a drink from the store since she is unable to go herself. There is also an interesting comparison in which the confined room is compared to being bitter whereas the sweet drink is compared to being the
Paula Gunn Allen was an American Indian Poet that was the middle child of five siblings. She grew up on the Cubero Land Grant Reservation in New Mexico where she started her early education at St. Vincent Academy, followed by attending Missions School until the seventh grade at San Fidel in Pueblo town. She furthered her education by attending Colorado’s Woman’s College. Paula obtained her B.A. in 1966 and her M.F.A. in 1968 at the University of Oregon, that led to her receiving her Ph. D at the University of New Mexico in 1976. Paula was best known as the best Poetic, Novelist, and Critic. She wrote six volumes of poetry including her poem Recuerdo.
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.
When the audience is first introduced to Estrella, she is portrayed as an angry and confused girl who is failed by the school system. From the use of the words such as “foreign” and “jumbled” the author creates the underlining tone of confusion. In the next scene Estrella remembers her teacher asking her why her mother has never given her a bath (33). Estrella realizes that in her teachers eyes she is dirty and not worth an education, and Estrella understands that “words could be as excruciating as rusted nails piercing the heels of her bare feet”
The narrative criticizes the narrator’s actions and his views on the importance of money by the presence of Eva, his youngest daughter who detests the concept of the Semplica Girls, and by use of ambiguity and doubt in the journal entries, which casts a spotlight on the flaws of the narrator. Clearly, the work displays that the narrator is a flawed man, and he is not cast as a role-model for one to follow, however, the father is ultimately one I can relate to and understand, as while his actions deserve criticism, his motives do not.
The narrator portrays her degrading identity through her cultural detachment from Europe and Africa. The novel does not only tell the story through the exile she has suffered. At times, the narrator’s nocturnal writing offers the reader her inner thoughts, but it also displays her initiative to confide within her exile through nostalgia and lyricism. An analysis of multiple passages - regarding writing and geogra...
Leer la poesía de Julia de Burgos es abrirse paso a un mundo de emociones, luchas y temas múltiples. En sus tres poemarios, la poeta inaugura un estilo y unas temáticas que en ocasiones coinciden y en otras se apartan de los poetas entre los que convivió (López Jiménez, "Julia de Burgos” 141). Julia buscó abrirse paso hacia nuevas formas de escritura y trazar rutas alternas a los cánones establecidos, tanto por sus contemporáneos como por la tradición literaria. Poema en veinte surcos, su primer libro publicado en 1938, representa ese anhelo de trazar múltiples rutas mediante las cuales pueda realizar una búsqueda de nuevas voces, perspectivas y temáticas. Precisamente, en la poesía de Julia, sobre todo la de su primer poemario, se advierte un deseo de definirse y afirmar sus principios poéticos y políticos. Según Ivette López Jiménez, muchos poemas de su primer libro se destacan porque “se alejan de las fórmulas de la poesía criollista” y porque en ellos “la voz se afirma como una ‘rama desprendida’ o como ‘brote de todos los suelos de la tierra... de todos los hombres y de todas las épocas” (“Julia de Burgos” 143). Hay pues, un intento por alejarse de los discursos autorizados, lo que la lleva a identificarse con los espacios y los sujetos marginados. Desde esta perspectiva, Julia de Burgos pasa a ocupar el rol de “poeta cívico” y su discurso a ser uno de denuncia y protesta. Por ello, propone una reconsideración de los espacios marginales, del “otro” con el objetivo de traerlos a primer plano. Con esto, establece una “actitud a la avanzada del pensamiento y de las costumbres, sobre todo lo relacionado con los cambios necesarios en la sociedad”, en palabras de Manuel de la Puebla (16).
When Sandra Cisneros wrote “Women of Hollering Creek” she reflected back on her own life experiences. This is a story that is told from the female perspective from start to finish. Like the lead character, Cleofilas, Cisneros is Mexican-American and the only daughter in a family that has seven children. Cisneros studied creative writing at the Iowa Writers’ Workshop and earned her Masters of Fine Arts degree in 1978, (238). Growing up she traveled back and forth to Mexico to visit her father’s family and Cleofilas flees to arms of her father later in the story. She has a blended cultural identity that is relevant in the story by how she uses Mexican and English words together. For example when describing soap operas she calls them by the Spanish name telenovela. This story made me reflect on my own life experiences while I was reading it. I thought about my parents divorce, my aunt’s extremely abusive marriage of eleven years and why women, like me, tend to seek that silver lining when it comes to broken relationships.
Clarice Lispector, a Brazilian female writer of Jewish descent, tied her writing with her very life, for her writing reflects her viewpoint on many aspects of her life. She was well-known for her existentialist writing involving themes revolving around women’s roles. Through the characters and their interactions in her works, Lispector explores the societal status of women. The male subjugation of women influences many of the themes found in her works and a better understanding of women’s social status ultimately leads to a better understanding of the relationship between the characters in her works and actions by those characters. Thus, the evaluation of women in the society contemporary to the era Lispector lived in influences the overall existentialist ideas and the motif of women’s roles in her work.
...Halevi-Wise, Yael (1997). Story-telling in Laura Esquivel's Como Agua Para Chocolate. The Other Mirror: Women’s Narrative in Mexico, 1980-1995. Ed. Kristine Ibsen. Westport, CT: Greenwood Press, 1997. 123-131.