Throughout the two novels, women are associated with domestic affairs and undermined by men. The readers’ first introduction of Maria is when she serves food to the men, holding a big iron cooking platter. This scene depicts the stereotypical roles of men and women in the novel. Hemingway deals with masculine and feminine identity, portraying that women are appealing when they cook and serve to the men. Robert Jordan believes “Spanish girls make wonderful wives” (164) and Maria wishes to be Jordan’s wife evident when she responds to Jordan’s loving remarks with “I love thee too, and I am thy wife” (262). This continues with several demeaning acts by Robert Jordan, who focuses on her physical attributions. He confesses his love for Maria’s …show more content…
Rinaldi’s comments towards Catherine implies women as an agent for men’s promiscuity: “‘So you make progress with Miss Barkley?... You have that pleasant air of a dog in heat’” (23). Overall, not only are women a tool to fulfill men’s lust, they are trapped in a traditionalist period, represented as supporting the household, holding trivial occupations, and following the orders of the men.
Regardless of the feministic portrayal towards women, Pillar serves as the antithesis, representing herself with charisma and independence. She is the leader of the band of guerilla men and represented as rather “very barbarous” (26) and unwomanly. She is “a woman of about fifty almost as big as Pablo, almost as wide as she was tall… a brown face like a model for a granite monument. She had big but nice-looking hands” (30). The physical description towards Pillar contradicts the expected beauty in a female and rather shows masculine features. She is also courageous and praised by Rafael, often considered “A hundred times braver than Pablo’” (26). The remarks are a rare description for a
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Comparably, Maria manifests as an autonomous figure through her cope of devastating events. From the beginning, the readers are informed of Maria’s tragic incidents, including the death of her parents, sexual and other physical assaults. The severity of her condition is notified through the different recounts by the characters. Rafael informs Robert Jordan upon her rescue and how “‘she would not speak, and she cried all the time and if any one touched her she would shiver like a wet dog. Only lately has she been better’” (28). Pilar confirms with Rafael, as she says “‘I have had her crazy before and I have enough without that’” (33). Despite the tragedies, Maria emerges as an individualistic woman, consisting the ability to manage her situation. Maria shows no hesitation to address her condition and rather informs Robert Jordan. When Robert Jordan notices her short hair, she laughs and say “‘That’s the way I comb it… Go ahead and eat. Don’t stare at me. They gave me this haircut in Valladolid. It’s almost grown out now’” (22). Her action shows her attempt to lead the conversation and even criticizes Jordan to stop looking at it. She has the strength to control the actions of a man but also has the power to publicly admonish them. Several instances show her reference to her sexual assault as instead of dismissing her
The colors and styles of Maria’s attire reveal her reasoning and mindset through the diverse situations she faces in her life. In the beginning of the story, while the narrator describes Maria being struck by the train, Eva Luna states, “She was picked up from between the rails, seemingly unharmed, she had only a few scratches and had lost her hat” (Allende 154). The representation of losing her hat can be interpreted as Maria losing her head or losing her mind, which further reveals the imagery that although she looks fine on the outside her mind is permanently deficient. Allende uses this
As the next few weeks go on we see Pedro and Tita's relationship develop. The biggest change is when Pedro's son Roberto is born. Tita begins to breast feed Roberto because Rosaura had no milk after the strain of her pregnancy. The author uses imagery to express the feelings of longing between Pedro and Tita by writing about the looks they gave each other. Specifically when Pedro looked at Tita, it was a look that, when matched with Tita's "fused so perfectly that whoever saw them would have seen but a single look, a single rhythmic and sensual motion." This look changed their relationship forever, it bonded them together and they would never be separated in their hearts. This shows that the theme of, true love can withstand anything, is true. After this interaction between them they had been less careful about hiding from Mama Elena and when the baptism rolled around Mama Elena had seen enough. She decided, in the middle of the party that Pedro, Rosaura and Roberto would be moving to San Antonio to be with her cousin. They left and after about a year Mama Elena passed
One night Rodolfo overhears Sofia from the attic telling her mother that she is engaged; he is not happy about it but eventually comes to terms and accepts for Sofia to get married. Meanwhile he also tries to connect with his smaller daughter Ana Paula since he has come to realize that his relationship with his older daughter is non-existing. Eventually the family finds out that he has been staying in the attic and Miriam allows for him to move back into the guest room. They agree that he will live there until Sofia’s wedding day. During this time he begins to work on the leaks of the house and restores the house for Sofia’s wedding, meanwhile both Miriam and Rodolfo seem to miss each other and find connections again yet they don’t admit it to each other as well they both stop seeing their lovers. The day of the wedding comes and Rodolfo keeps his word and moves out to his own apartment. The divorce also goes through although it seemed they both new they were making the wrong decision. In the end Rodolfo gains the courage to take serenade to Miriam and they get together again. Sofia ends up getting the blessing from her parents to get married, Victoria gets a scholarship to go study journalism abroad and Ana Paula has gained more attention from both her parents. Rodolfo finds the perfect job that pays well and Miriam comes to feel like more than just a house wife, also they do end up
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.
For her 15th birthday, Mariam asked Jalil if he could take her to his cinema to watch Pinocchio. She also asked if Jalil could bring her brothers and sisters so she could meet them. Both Nana and Jalil thought it wasn’t a good idea, but Mariam insisted on going, so Jalil said he would send someone to pick her up. Mariam did not like this idea and said that she wanted to be picked up by Jalil. Jalil reluctantly agreed. Later that day, Mariam gets the backlash and hate from her mother from her decision: “Of all the daughters I could have had, why did God give me an ungrateful one like you? …How dare you abandon me like this, you treacherous little harami!” Mariam wakes up the next day, disappointed and fed up since Jalil did not come to pick her up. She heads out to town to find Jalil herself. She makes it to his house when a chauffeur tells Mariam that Jalil was “away on urgent business.” She slept outside of his house and was awoken by the chauffeur, telling her that he would take her home. Mariam snatches away from the chauffeur’s grip and turns around towards the house, to see Jalil in an upstairs window. It was then that Mariam figured out that all she was to Jalil was a disgrace. Jalil had always been careful with the information he told Mariam. He may have loved her, but only on his own terms. Once Mariam realizes that her father allowed her to sleep on the street rather than bring her into his
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”
Set in the Roaring ‘20s, The Great Gatsby focuses mainly on the lives of men as Tom Buchanan and Jay Gatsby. However, it also clearly outlines the lives of several women : Daisy Buchanan, Myrtle Wilson, and Jordan Baker. On the surface, the lives of these women couldn’t be more different. Daisy, a rich debutante, is torn between her husband, Tom, or her first love, Jay Gatsby. Lower on the social ladder is Myrtle, who is having an affair with Tom, hoping to rise above her station in life. Jordan, on the other hand, is unmarried and a successful golfer, who travels the country participating in tournaments. While these women may have seemed independent, they’re still subject to the will of society which sees them as inferior and objects to be controlled by men.
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
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 protagonist, Maria, understands first-hand the struggle that she must endure when her family forces her to pay for her sister’s baby’s care without being able to enjoy any of the money she worked hard for. Maria starts to work for Javier, a representative of the cartel that attempts to smuggle drugs into the United States for money. She needed to swallow pellets of heroin that were to be well wrapped. It was a struggle for Maria to consume sixty-two pellets at first and it was difficult for her to endure her trip with the pellets inside of her belly, knowing that there was a risk that the pellets could open up and kill her quickly and painfully. Lucy, one of the women on board the flight that Maria was on, had a pellet rupture inside of her upon her arrival to New York. She died shortly after meeting with the drug
Some of the areas that Maria would like to address are marital concerns (the romance, hanging out with people other than her husband’s coworkers, communication, spend more time doing outdoor activities), concerns regarding pleasing her parents even during adulthood (the guilt she feels about her parents making sacrifices to send her to the United States to obtain her college degree), and the pressure of her religious background (being Catholic and feeling that she could not divorce her husband, even if she wanted).
From start to finish, one could see how much Mariam values Laila, Aziza, and their friendship. The first example is when Mariam vows to help Laila while they are in the hospital for Laila’s unborn child: “I’ll get you seen, Laila jo. I promise” (287). This simple promise is a deep portrayal of Mariam’s desire to help Laila find a doctor and deliver her baby. Additionally, one can see Mariam’s love for Laila when she protects her from Rasheed’s grip of death, “‘Rasheed.’ He looked up. Mariam swung. She hit him across the temple. The blow knocked him off Laila” (348). Rasheed was going to kill Laila, but Mariam steps in and knocks him off of her with a shovel to save her life. Mariam forms a tight-knit bond with Laila, and when Hosseini includes their relationship, one can see how Mariam values Laila enough to kill another man. The author also describes their relationship after Mariam and Laila discuss plans for leaving: “When they do, they’ll find you as guilty as me. Tariq too. I won’t have the two of you living on the run like fugitives.” … “Laila crawled to her and again put her head on Mariam’s lap. She remembered all the afternoons they’d spent together, braiding each other’s hair, Mariam listening patiently to her random thoughts and ordinary stories with an air of gratitude, with the expression of a person to whom a unique and coveted privilege had been extended” (358). The love Mariam has for
Throughout time women have been written as the lesser sex, weaker, secondary characters. They are portrayed as dumb, stupid, and nothing more than their fading beauty. They are written as if they need to be saved or helped because they cannot help themselves. Women, such as Daisy Buchanan who believes all a woman can be is a “beautiful little fool”, Mrs Mallard who quite died when she lost her freedom from her husband, Eliza Perkins who rights the main character a woman who is a mental health patient who happens to be a woman being locked up by her husband, and then Carlos Andres Gomez who recognizes the sexism problem and wants to change it. Women in The Great Gatsby, “The Story of an Hour,” “The Yellow Wall Paper” and the poem “When” are oppressed because the fundamental concept of equality that America is based on undermines gender equality.
Through the characters' dialogue, Hemingway explores the emptiness generated by pleasure-seeking actions. Throughout the beginning of the story, Hemingway describes the trivial topics that the two characters discuss. The debate about the life-changing issue of the woman's ...
In the beginning of “I Only Came to Use the Phone,” Maria sets herself up to be trapped after her car breaks down, and she gets on the bus. “Maria looked over her shoulder and saw that the bus was full of women of uncertain ages and varying conditions who were sleeping in blankets just like hers.” (72) this should foreshadow that something is not right to Maria, but she just goes with it. Maria is the only women that talks on the bus, she is not acting like the other women at all. “She was less certain when she saw several women in uniform who received them at the door of the bus, pulled the blankets over their heads to keep them dry, and lined them up single file, directing them not by speaking but with rhythmic, peremptory clapping.” (73) Maria realizes once again that she is out of place and that she should get out of here as soon as possible. The first line of the poem Exile, “The night we fled the country,” (1) this family is taking a risk as they are leaving their country illegally. The family is setting themselves up to be trapped if they get i...