How are the patriarchal and class systems presented in García Lorca's "La casa de Bernarda Alba"? In the twentieth century, women were finding it hard to express who they were in a patriarchal system that generally refused to let them choose. Many women expressed themselves anyways and exposed the conditions that they face in public. One novelist that was writing about such topics was Federico Garcia Lorca. He wrote about one the of serious topics at the time about patriarchy in Spain and the way classes were run. An example to show how class systems were portrayed was from his play titled "La casa de bernarda alba" de Garcia Lorca. In the play, there are various characters that play a significance in the patriarchal systems and how they role as it centres on the events of a house in Andalusia during a period of mourning. Throughout this essay, one will discuss how patriarchal and class systems were presented through the various characters in the novel, which represented the different types of people at the time living in Spain. Throughout the play, we see various scenarios which tests out the class systems that runs in Spain. At the beginning of act 1, we see Ponica carrying out orders to Criada, as if she is running the household. Nonetheless, if Bernada was there, she knew she wouldn't get away it. " ¡Maldita sea! ¡Mal dolor de clavo le pinche en los ojos!" (Act 1, pg48). This indicates how violent and bossy Bernada can be. Bernarda thinks of the poor as petty people and seems to be passionate only about material things. According to the class systems in Spain, the higher up in society than you're based in, the more power tend to have over others. Even though both Ponica and Criada are both housemaids, Poncia would be h... ... middle of paper ... ... in society. The extent of Lorca's tragedy acts out the denial to their freedom. Lorca does a good job of portraying a serious theme such as patriachical society and does this, in the one way he does best i.e. his plays. He writes these plays during the Spanish civil war as he is aware of the issues that are of threat in that century. Bibliography Gabriele,J.P. Of Mothers and Freedom: Adela’s Struggles for Selfhood in La casa de Bernarda Alba. Symposium, Vol 47. No 3. 188-199. 1998 Galén,E. La casa de Bernada Alba: Federico García Lorca. Claves De. Ciclo. 2nd Ed. Madrid:Spain. 21-52. 1996. García Lorca,F. La casa de Bernarda Alba. Alianza Editorial: Biblioteca García Lorca. Ed. M.Hernádez. Madrid:Spain. 2008.
The Carrillo Adobe is in a dire situation. It has not only fallen into disrepair from the many years of weather and use by so many individuals, but by visitors and citizens have been less that kind and considerate of its age and the prominence that it deserves. After Carrillo’s death her house was given to three of her daughters, Marta, Juana, and Felicidad. Then her belongings were distributed between all of her children. In the first decade after her death her different children each occupied the house at different times. One of her daughters, Juana and her husband ran the home as a tavern. They then converted the adobe into the first post office in the town of Santa Rosa. After her daughters no longer had a need for the adobe it was turned into a trading post where numerous individuals...
Colonial Latin American society in the Seventeenth Century was undergoing a tremendous amount of changes. Society was transforming from a conquering phase into a colonizing phase. New institutions were forming and new people and ideas flooded into the new lands freshly claimed for the Spanish Empire. Two remarkable women, radically different from each other, who lived during this period of change are a lenses through which many of the new institutions and changes can be viewed. Sor Juana and Catalina de Erauso are exceptional women who in no way represent the norm but through their extraordinary tales and by discovering what makes them so extraordinary we can deduce what was the norm and how society functioned during this era of Colonial Latin America.
In the novel, Pedro Páramo, by Juan Rulfo, settings serve the purpose of being much more than merely locations. Various settings are utilized to represent symbols throughout the novel in order for Rulfo to develop the plot of the novel. Comala is a location that clearly acts as a symbol in Rulfo’s writing; however, to truly recognize the symbolism in the novel and to acknowledge the presence of key themes such as those of purgatory, religion, and oppression, it is necessary to analyze less conspicuous settings, particularly, the home of doña Eduviges, the church, and the Media Luna.
At the beginning of the story, the protagonist, Cleofilas, had an illusion that all romances are like the ones she has seen on television. However, she soon realizes that her relationship with Juan Pedro was nothing like what she had dreamed it would be. Cisneros wants to emphasize the idea that when men bring home the primary source of income in the family, they feel they have power over their wives. Cisneros uses Juan Pedro in the story to portray this idea. For instance, Cleofilas often tells herself that if she had any brains in her, she would realize that Juan Pedro wakes up before the rooster to earn his living to pay for the food in her belly and a roof over her head (Cisneros, 1991, p.249). Cisneros wants to make a point that when men feel that they have power over their wives, women begin to feel a sense of low self-worth.
At the beginning of the story, the protagonist, Cleofilas, had an illusion that all romance is like the ones she had seen on television. However, she soon realizes that her relationship with Juan Pedro was nothing like what she had dreamed of. Cisneros wanted to emphasize the idea that when men bring home the primary source of income in the family, they feel they have power over their wives. Therefore, Cisneros used Juan Pedro in the story to portray this idea. For instance, Cleofilas often tells herself that if she had any brains in her, she would realize that Juan Pedro wakes up before the rooster to earn his living to pay for the food in her belly and a roof over her head (Cisneros, 1991, p.249). Cisneros wanted to make a point that when men feel that they have power over their wives, the woman begins to feel a sense of low self-worth.
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.
Maria de los Angeles Fernandez hija de el alcalde de San Juan, Don Fabiano Fernandez es la protagonista de esta novela. Ella aspira ser bailarina. En cambio la sociedad en que ella víve, tiene otros planes para su vida. El colegio Católico, en el cual Maria de los Angeles es una exelente estudiante la quiere monja. “No puedo negarle que en su hija habiamos cifrado nuestras esperanzas de que algun día recibiera el premio mas alto de nuestro colegio'; (Ritos, 166) “las alumnas que han recibido este alto honor, muchas han sentido la llamada de la vocación'; dice la Reverenda Madre Martinez en una carta que le escribió a los padres de Maria de los Angeles, despues de enterarse de lo impropio el espectaculo que dió ella, en su último recital. La familia Fernandez por supuesto tenia diferentes planes para esta joven.
The objective of my essay will be to render a comparative analysis of the similarities and differences in the way Rosario Sanmiguel and Elena Poniatowska use their characters to address the roles that have been relegated to women within the Mexican culture. I will mainly focus on the short stories of “Under the Bridge” by Sanmiguel and the novel “Here's to you, Jesusa!” from Elena Poniatowska. While both authors use fictitious characters to discuss the roles of the Mexican women within the Mexican society, they both do it in a different manner. Poniatowska novel is based on an earlier time and she addresses the roles of women and their struggles during the Mexican revolution. Her depiction of women is mostly done through the experiences of Jesusa Palancartes in a time where the Mexican ideology saw women as a men’s property. Sanmiguel however, focuses on the women from the Mexican border, she also details in many ways how women have overcome the disadvantages of being women and gives a vivid description of the day-to-day lives of women from
At the turn of the nineteenth century, Latin America was still a highly patriarchal society wherein men and women each upheld specific gender roles. The “Chronicle of a Death Foretold” exhibits the harsh expectations of women in Latin America. These unfortunate women were expected to remain pure before marriage, while men were able to sleep with whomever they chose without punishment; women were expected to be submissive while men remained in control; and women were expected to strive only to be the best homemakers. Works Cited Garca, Márquez Gabriel. Chronicle of a Death Foretold.
Kumaraswami (2007) identifies that the females presented are stereotypical in their nature; this is to say that they either exist in the domestic atmosphere or that they have lost their purity due to being forced into the revolution. Although Camila and Pintada are complete opposites, the similarity lays in the fact that they both fit different parts of society at that time: “En combinación, forman una síntesis de dos extremos irreconciliables que se le presentan a la mujer mexicana y entre los cuales tiene que escoger” (Clark, 1980). In this sense, the mexican women were in two different situations, those who wished to remain traditionalistic and those who sought self-advancement through the likes of previously considered male characteristics. One can see the traditional character through Camila, Azuela has ensured that initially Camila would fit the traditional role of the female, caring, weak, and doting to the men’s needs. Thus Camila seems to be a flat stereotypical character that is expected to appear in novels of this era if women were to appear at all. Nevertheless, the character of Camila becomes more dynamic as Los de Abajo develops, thus she becomes more of an indication as to how women involved in the revolution did not remain ‘sana y buena’. On the contrary, the almost paradoxical characteristics of Pintada seem to confuse Azuela. Pintada is an emasculated character but only in the sense of
Federico García Lorca’s poem “La casada infiel” depicts the story of a gypsy who makes love to a married woman on the shore of a river. When looking deeper into the poem, Lorca appears to provide a critical observation on the values of the conservative society at the time in which he lived. The woman, at her most basic reading, is treated as an object, elaborating on the sexist values in society at the time. Lorca addresses issues of sexism as well as issues of sexuality within society mainly through the poem’s sexist narrative voice, objectification of the female character and overriding sense of a lack of desire throughout the poem. His achievement to do so will be analysed throughout this commentary with particular attention to Lorca’s use of poetic techniques such as diction, personification and imagery.
Lope de Vega’s play touches upon several key components and ideas that were brought up in many of the other stories read throughout the semester. This included the role of gender and how men and women are viewed differently in the Spaniard town of Fuenteovejuna. Another topic included the importance of family, love, and relationships and their connection on loyalty, trust, and personal beliefs. The last major influence found in other literature and in Fuenteovejuna, were the political and religious references made throughout the play. Even though Lope de Vega didn’t make these views obvious, the reader could still pick up on their connotation and the references made towards these specific ideas. With all of this in mind, each of these components played an important role in each civilization read, and even over 1,000 years later it continues to be a social topic as well as a large part of the culture. The only difference a reader or scholar could make for this particular piece of literature is its authenticity and how it was based on a true event. Regardless, new views on power and how one obtain it become apparent through the dialogue between characters like Laurencia and the Commander.
Surrounded by a society in which poetry was the fashion, Lorca wrote this set of poems at an early age. `Poetry was a social, friendly accomplishment, natural to the society in which Garcia Lorca was born'. He was very attached to his hometown and drawn to his own culture. The poems he wrote in 1922 from the popular Andalusia music were an inspiration to many other poets. Lorca wrote Poema del cante jondo in the attempt to approximate language through his poems, and music through methods to make the writing rhythmic. He also wanted to sanitise music from a very ancient tradition known as the flamenco, which used to mainly take place in brothels. He saw it as corrupted and wanted to give it that sense of purity back. In one of his lectures, Lorca describes the origins of the Cante Jondo. These poems originally songs coming from India were brought to Spain by the gypsies. Maurer describes Lorca's most frequent style of writing as popular or traditional art . Many of his poems used to be popular songs such as weddings, ballads, religious chants, love lyrics and lullabies. Yet, could his poems be described as popular?
Rivas-Rojas, Raquel. “FABULAS DE ARRAIGO VICARIO EN LA NARRATIVA DE JULIA ALVAREZ. (Spanish).” Canadian Journal Of Latin American & Caribbean Studies 33.66 (2008): 157-169. SocINDEX with Full Text. Web. 25 Mar. 2014.
Isabel Allende’s novel, Eva Luna, amalgamates many of the techniques and conventions associated with the picaresque tradition, magical realism and bildungsroman in order to present a critique of dominant Eurocentric ideologies of the patriarchy and oligarchy in 20th century Latin America and to valorize the voices and experiences of the marginalized and oppressed. A prominent aspect of Eva Luna which acts as a vehicle for the novels critique of the patriarchal oligarchy are the numerous motifs and symbols utilized throughout the novel. The manner in which Allende introduces and develops symbols and motifs throughout the novel functions to set up a number of oppositions which portray a sense of loss of freedom and expression under the oppression of the colonizing oligarchy, illustrate the superficiality of oligarchic power and align the reader with expression over silence and transgression above oppression.