Since many individuals of the Latin American society who chose to write become intellectuals, these intellectuals, specifically women, whom have brought the social and development divisions of the Latin Americans into writing providing a variety of knowledge. Focusing on Latin American poetry, Julia de Burgos is commonly known as one of the greatest poets in Puerto Rico and Latin American history. In 1938 at the age of twenty-four, Julia de Burgos self-published a series of poems, Poema en veinte sucos, which portrayed her exploration of differing writing styles of Puerto Rican writers of that time, consisting of Luis Palés Matos and Luis Lloréns Torres. Through a developed skill of lyricism and unique imagery, Julia de Burgos expresses the …show more content…
According to Tompkins and Foster, “Apart from the respect for her poetry, her situation as a lonely and suffering woman, her solidarity, and her will to struggle mirror the collective conscience of thousands of Puerto Ricans outside the island” (pg. 59). In Julia de Burgos’ volume of poems, Poema en veinte sucos, she argued against the ideas of imperialism and committed a majority of her writing to her feminist and patriotic ethics in support of Pedro Albizu Campos, the leading father of the Puerto Rican independence movement. The author’s perspective and opinion on how women in her Latin American community were treated and how they had to live through the control of men is thoroughly expressed through her poetry, specifically from a lyrical voice and free …show more content…
143). In Julia de Burgos’ poetry, this particular abstract deception is flowing throughout her poetic lines, especially in her recognized A Julia de Burgos, which depicts comparisons to consider the disguise of the women in her society. Among the first two lines of A Julia de Burgos, the author immediately introduces the two differing inner selves, which is the speaker’s real self being a intimidation to society’s woman. This particular introduction stanza reads, “Already the people murmur that I am your enemy/ because they say that in verse I give the world your me” (Agüeros, pg. 3). The audience of the poem is able to identify the speaker as being the “enemy,” since she discloses her inner thoughts and opinions that typically aren’t voiced, including her political views and sexual cravings. As the poem continues, the speaker defends herself and defines her point of view, consisting of the action of denying what other people say and implying that the social self be executed. In the second stanza, Julia de Burgos illustrates the segregation between the two selves and continues to characterize them, all while exposing identity as an
José Martí, born in Havana, Cuba in 1853, experienced many hardships throughout his lifetime. All through his adolescence, José Martí struggled against poverty. He would not have attended primary or secondary education without the support of a famous Cuban writer, Rafael María de Mendive. This education, from both school and mentor, enabled him to express his thoughts on freedom and publish his first poems at fifteen. Due to his intellectual capabilities and brilliance with words, he was jailed for six years and exiled to Spain by the Cuban go...
The poem “Exile” by Julia Alvarez dramatizes the conflicts of a young girl’s family’s escape from an oppressive dictatorship in the Dominican Republic to the freedom of the United States. The setting of this poem starts in the city of Trujillo in the Dominican Republic, which was renamed for the brutal dictator Rafael Trujillo; however, it eventually changes to New York when the family succeeds to escape. The speaker is a young girl who is unsophisticated to the world; therefore, she does not know what is happening to her family, even though she surmises that something is wrong. The author uses an extended metaphor throughout the poem to compare “swimming” and escaping the Dominican Republic. Through the line “A hurried bag, allowing one toy a piece,” (13) it feels as if the family were exiled or forced to leave its country. The title of the poem “Exile,” informs the reader that there was no choice for the family but to leave the Dominican Republic, but certain words and phrases reiterate the title. In this poem, the speaker expresser her feeling about fleeing her home and how isolated she feels in the United States.
She continued publishing short stories and was later deemed as the “master of the short story” in the Dominican Republic. She’d become well known for her Afro-Dominican context, which at the time was an uncharted territory within Dominican literature.
Miguel Melendez’s book, “We Took the Streets” provides the reader with an insightful account into the activities of the Young Lords movement established in the latter years of the 1960s and remained active up until the early seventies. The book’s, which is essentially Melendez’s memoir, a recollection of the events, activities, and achievements of the Young Lords. The author effectively presents to the reader a fascinating account of the formation of the Young Lords which was a group of college students from Puerto Rico who came together in a bid to fight for some of the basic rights. As Melendez sums it up, “You either claim your history or lose authority over your future” (Melendez 23). The quote is in itself indicative of the book’s overall
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
Sor Juana Ines de la Cruz, born as Juana Ramirez de Azbaje, is a well-known extraordinary figure from the colonial period. Sor Juana had a desire for education at such a young age. In the seventeenth century, it was the intellectual midpoint of Spanish colonial America. During this time Mexico City was politically and religiously the center of New Spain; the terrains went from California to Central America. In Latin American history the church and state defined women’s roles, which eventually change over time. Sor Juana Ines de la Cruz articulated her experiences though writing, she broke silence about racial and gender inequality, and her legacy remains today.
Junot Diaz’s novel The Brief Wondrous Life of Oscar Wao is focused on the hyper-masculine culture of the Dominican, and many argue that his portrayal of the slew of women in the novel is misogynistic because they are often silenced by the plot and kept out of the narration (Matsui). However, Diaz crafts strong women, and it is society that views them as objects. The novel recognizes the masculine lens of the culture while still examining the lives of resilient women. In this way, the novel showcases a feminist stance and critiques the misogynist culture it is set in by showcasing the strength and depth of these women that help to shape the narrative while acknowledging that it is the limits society places on them because of their sexuality
The experiences she had when she was still living in the Dominican Republic combined with the separation from the country she immigrated to and the symbols of the fantasy of American life demonstrate her internal conflict further. The poem makes one wonder how they would have felt in the shoes of the subjects. Having to deal with a new style of living while leaving almost everything from the old one behind is something that many people are lucky to never have to go through. Many people, likely including Julia Alvarez, think they take that for granted. Her purpose for writing the poem was most likely to capture the readers minds and be thankful that these are things that they do not and will not likely have to deal
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.
La autora Puertoriqueña Rosario Ferré sin duda pertence a ese grupo the escritores que critícan la sociedad en la que les tocó vivír en sus creaciónes literárias. Ferré nació en Ponce, Puerto Rico la ciudad mas grande y poderosa del sur de la isla. Su familia es una de las mas importante economicamente y politicamente poderosa. Su padre fue gobernador de la isla durante los años del 1968 al 1972. Como todas las mujeres en esa época se casó y comenzó una familia, destinada a una vida como dama elegante y ociosa. Pero se dió cuenta que su vida pertenecía a la literatura. Ella rompió un taboo y molde cultural, que convertía a las mujeres de clase media alta, en muñecas. Esa generación de mujeres exigiendo cambios en la sociedad se encontraban en el medio de la revolución femenina. Cualquier mujer que quisiera cambiar su vida o trabajar era considerada extraña o loca. Esta opreción se convirtió en su inspiración. Ferré nos comunica a travez de esta novela, la realidad de la mujer puertoriqueña a mediados de siglo. En La Bella Durmiente, Rosario Ferré muestra la mujer como sujeto y objeto. Esta obra es un manisfiesto de los derechos de la mujer y del inconformismo femenino que eventualmente lleva a la mujer a rechazar la realidad. Analizare y demonstrare por medio de este ensayo, los papeles que le toca jugar (a la mujer) en esta sociedad, la corrupcion moral y social que le rodea y su reacción ante todo esto resultando en un trágico final.
It is influential to have strong people who want to fight for their rights. It is often easy to focus on oppression than it is to change it. It takes courage to be able to go against the rules of law. In both “In The Time Of The Butterflies” and “The Censors” , Juan and the Mariposas not only reveal their courage, but also develop significant symbols to the roles of each one of them during their time overcoming oppression. The Mirabal’s behavior towards their determination to fight for freedom, symbolizes the hope for freedom. The Dominicans were blessed to have four courageous women who went against the law in order to better their country for all. In the other hand, Juan role to overcome oppression resulted in his death and death to many innocent people. His behavior symbolize distrust, one cannot trust anyone, not even yourself. He was so caught up with his job, doing what he believed was right, he ended up censoring
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.
Chick critiqued Judith Ortiz Cofer’s Silent Dancing by advising that it is a collection of fourteen essays and poems. It talks about Cofer’s adolescence and how she did not achieve the expectations for her to become a traditional Puerto Rican woman (AEW 381). Initially, Mamá is portrayed as an authority figure because she keeps her family in control just by the use of storytelling. With Chick’s point of view, I cannot disagree since it is accurate. Cofer, also disagrees with becoming the traditional Puerto Rican woman from receiving an education and going on her own path to becoming a writer. It is interesting how some of the characters are perceived, although they are considered as fiction since their identities are hidden. Cofer achieves her storytelling by being half fiction and auto-biography since it is written by herself. She reevaluates how women should be known as, but specifically the means of the life of a Puerto Rican
...contrastes. A pesar de que presentan una diferencia de casi sesenta años respecto de sus fechas de publicación, los temas centrales que abordan son prácticamente los mismos: la representación de la pobreza y marginación de los sectores urbanos capitalinos, las luchas por la preservación de las comunidades del Caño, la división de clases y espacios, el anhelo por tener una mejor calidad de vida, la resistencia al sistema capitalista, entre otros. El poema de Julia de Burgos muestra un espacio olvidado por la Historia y la literatura, con el propósito de indagar sobre el mundo social y realizar una crítica a los sistemas que lo oprimen. Más aún, se adentra a una problemática que hoy todavía existe, por tanto, su poema mantiene la misma vigencia y pertinencia que tenía cuando fue escrito. Y aquí radica la importancia, no solo de dicho poema, sino de su obra en general.
In Prida’s “Beautiful Señoritas,” Latin-American women are products instead of people, but attempt to find their humanity through bonding with an “ocean” of Latin-American female community. The first lines of the play “Beautiful Senoritas,” introduce the feminist voice of Dolores Prida. Written in the 1970s, this piece of literature reflects the Women’s Rights Movement and employs the liberation theme of many female writers during this decade. “Beautiful Señoritas” is a play that depicts feminist oppression, magnifying the lack of civil rights of Latina women. Although the rights of women were being recognized in the United States, the women of Latin America were still oppressed by masculine domination. In Prida’s play, she showcases this oppression and also the stereotyped gender roles of women.