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The role of nature in modern literature
Importance of nature in literature
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Odio dice que ¨El poema no es un conjunto de ideas y palabras sino un orden substancial. Un poema es la acción del Verbo. De ahí que sea imposible analizarlo, aislar hasta el último de sus acordes. Siempre
, un acto generador, un poema (Vallbona 25). Y se puede ver eso entre su propia poesía. Como en sus poemas de Los elementos terrestres, se puede sentir el acción del Verbo. No son solamente poemas sobre amor sino son movimientos de emociones, de sangre y sudor, y de la tierra. Son poemas que habla de un verdadero del alma. Eunice Odio es una poeta que pone el esencia del mente abstracto de seres humanos entre un papel. Voy a hablar sobre cómo Odio describe el amor en Los elementos terrestres, también el tipo de vocabulario que usa y como combina la naturaleza con los cuerpos de seres humanos.
Aunque Eunice Odio está conocido en la mayoría como una poeta, ella ha escribido en otros géneros. Ha escribido cuentos breves, y ensayos critícales sobre arte y literatura. Pero con todo su poesía, ella no ha ganado mucho atención con el publico de Costa Rica y críticos de literatura. Su poesía apere en muchos antologías de Costa Rica y Latino América y periódicos, pero hay pocos libros escolásticos que han escribido sobre ella. Alfonso Chase, un critico de Costa Rica, dice que el razón que hay poco atención ha Odio es porque ella está muy vocal con su opinión con Puerto Rico (Vallbona 1). Su poesía es especial porque ella escribe con el punto de visto de una mujer. Cuando escribe sobre el amor, traiga aspectos de la naturaleza y con esos metáforas ella puede crear versos de amor con un sensación erótico, que nunca habemos visto salir de una mujer con tanta fuerza.
Eunice Odio nació en San José, Costa Rica, el dato exacto de su nacimiento no está claro, pero que sabemos es que ella nació en punto entre 1919 y 1922. Ella era un niña con mucho curiosidad y cuando tenia cuatro años, elle mostró su independencia y frecuentemente se corrió de su casa solo para andar en la ciudad. En un entrevista Odio dice que ella aprendió como leer en solamente dos días de escuela(Jiménez 1).
Cuando tenía nueve años ella se puso muy enferma.
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.
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
Literature shows us the changes of our society from time to time. It also gives us an idea about people, culture, politics, gender traditions, as well as an overall view of previous civilizations. As a part of literature, poetry introduces us to different cultures with different perspectives. Ancient Egypt and ancient China may differ in terms of culture, politics, economic stability, tradition, or even in religious belief. However, in poetry, especially in love lyrics both Egyptian and Chinese poems portray common area of describing women, social attitudes toward love, sexuality and the existence of romance or selfishness in relationships. . If we look at the Egyptian poem “My god, my Lotus” and the Chinese poem “Fishhawk”, we will see both poems have similarities in describing relationships. Also, they have the similarity of imagining the lovers and their expression of love toward each other. However, both poems have some significant differences in terms of representing female sexuality, gender disparity and the display of love.
The way the Gurlesque applies mockery and exaggeration through a feminist perspective is more often than not directly linked with a subverted language, a language that purposefully deviates from what is standardized as “the proper language for a woman”. Refusing such standardization and responding to masculine “high-art”, the poems exhibit a political stance through the Gurlesque which employs the feminist understanding that multiplicities and even conflicting alternatives could very well coexist (Irigaray 28-29). The aesthetics of the distasteful comes into question in that regard and constitutes the third completing element of the Gurlesque. The Gurlesque copies the masculine culture without identifying with it, that is to say, it kitschifies
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.
Allende spent her early childhood in Peru and did not see Chile, her homeland, until she was four years old. Her father had abandoned the family and her mother was forced to move back to Chile with her three children. They lived in her maternal grandparents' house in Santiago, Chile. With divorce illegal in Chile at the time, Allende's mother obtained a legal separation only after Allende's grandfather utilized his political status. Allende's mother married a man named Ramón Huidobro, also a diplomat, but could never legalize the union because of her previous marriage. Much of her childhood was spent in Bolivia and Lebanon.
...tyle that alludes to the multitude of constantly changing and sometimes even contradictory elements in each characters journey to racially and sexually define themselves. Audre, Miguel and Leticia hold multiple racial and sexual identities in a fluid constant that change depending on their location and social context. Instead of serving as a bridge for their families, these characters break free of their place of origin and connect the multiple elements that inform their realities in order to adapt them to their present. Race and sexuality are inextricably linked. To believe in one true sexual or racial identity allows for a feeling of safety, as the aim is then find a definable, core sense of self; however, these three texts illustrate that a singular form of identity is insufficient at defining the complexity of human racial and sexual experiences.
People have relationships with other people and animals. “Moco Limping” is about a man being disappointed with his dog. His dog has a leg that he drags behind him. “Oranges” is about a guy remembering the first time he walked with a girl. These poems, “Moco Limping” and “Oranges”, have different tone expressed by the authors word choice.
One of the most prominent expectations of women in Latin America, and certainly the main idea surrounding “Chronicle of a Death Foretold”, is the idea that women should be pure, maintaining their virginity, prior to marriage. In the novel, Angela Vicario was forced by her parents and family into accepting a proposal from Bayardo San Roman, none of whom knew she was no longer a virgin. Knowing that her future husband would expect to spend their wedding night with a virgin, Angela scrambled to find ways to reinstate her virginity and deceive San Roman so he would not detect her impurity. Angela's friends assured her that “They only believe what they see on the sheet..and they taught her old wives' tricks to feign her lost possession” (Garcia Marquez 38). Unfortunately, Angela was ill-advised by her friends and San Roman was not fooled the night of their wedding. Being a man of high expectations, San Roman did not settle for his impure wife, as Angela's friends had suggested he might, rather he marched her back to her parents' home and simply returned her- as if she was a purchase he could merely give back. Angela's actions brought shame and dishonor upon her family. What Angela did was so reprehen...
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.
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.
Bergmann, Emilie. "Abjection and Ambiguity: Lesbian Desire in Bemberg's "Yo, la peor de todas." Hispanisms and Homosexualities. Ed. Sylvia Molloy and Robert McKee Irwin. Durham: Duke UP, 1998.
The poets integrated ?metaphysical conceits? as focal parts of these poems. Along with these, they used effective language as a basis for their convincing arguments, they included subjects of periodical importance (e.g. ?courtship? and ?religion?), and use very clever structures that are manipulated in order to make the poem read in the desired way. The very clear indication of the theme in question was strongly aided by the way in which the personas portrayed the emotions they felt and the way they showed their attitudes towards the subject. Considering all these factors, the poets made critical arguments to the mistresses in order to alter their views, thus changing their minds, on denying the poets the sex that they desired so strongly.
Confessional poetry of women poets of the then 1950s and 1960s opens a new vista for them to express their ‘self’ and to foreground their identity. These poets feel the need for self-affirmation because of their experience of marginalization in society. They found all the experiences are gendered in the 1950s and 1960s patriarchal society and so they also develop a gendered image of their ‘self’ in their confessional poetry. At the time when Sexton and Plath were children, the authoritarian figure within the nuclear family was the father and so he was the representative of society’s rule. Hence, the delineation of the Electra complex in their confessional poetry is one of the approaches of scratching their gendered ‘self’ because through the Electra complex the poets inscribe the female sexuality into the text. So, “with their autobiographical works, they write themselves into the canon and represent and deconstruct cultural images and linguistic codes of ‘woman’ and suggest alternative modes of self and identity” (Carmen
An analysis of Pablo Neruda’s “Sonnet XVII,” from the book 100 Love Sonnets: Cien sonetos de amor, reveals the emotions of the experience of eternal, unconditional love. Neruda portrays this in his words by using imagery and metaphors to describe love in relation to beauty and darkness. The poem also depicts the intimacy between two people. I believe the intent of the poem is to show that true love for another abolishes all logic, leaving one completely exposed, captivated, and ultimately isolated.