Although Sofi becomes a political leader of her hometown, it is her daughter, La Loca, who helps her transform her wrath and dissatisfaction into protests. La Loca, who is “linked to the novel’s political-activist sensibilities,” tells her mother she saw on television people boycotting Una factory, a company that produces jeans, because the factory is “unfair to its workers” (Caminero-Santangelo, 85 — Castillo, 222). Sofi, who “stared at her daughter with amazement,” starts to see La Loca’s inner resistance soul. It is Loca 's “sudden social consciousness” that leads Sofi to tell other women about boycotting the jeans factory (222). La Loca’s gesture of political resistance echoes a typical narrative of magical realism, which is to empower …show more content…
Only through the narrator’s words, her thoughts can be heard. For instance, at La Loca’s funeral, she “wanted” to scream “why?” this has to happen to her and her family, but she never screams (22). The narrator reports that she wanted to “ask” and “know,” but neither she asks nor does she know, because her voice at that moment is tamed. Sofi, exceptionally, expresses herself vividly through actions instead of words (22). In a way, her action is reflective of either her submission or resistance. For instance, her submission to Domingo, when he returns, expresses her desperation to a man in the house. She knows he might leave again, “for no apparent reason,” but she prefers to have him around (22). Obviously, their marriage lacks love or even sincerity. Still, she lets him in—maybe to shut down the rumors “circulated” around her marriage or maybe because she is powerless. It is hard to know her motivations because, again, she rarely expresses herself. Moreover, when she divorces him, she does not even “exchange two words” with him (217). There is rarely a facial depiction of Sofi’s face—she is faceless. Castillo presents Sofi as “a good daughter, a good wife, and a good mother,” but rarely as a woman (218). However, at the end of the novel, Sofi presents herself as a rebellion, a religious leader, a political figure, and a social-justice
Models for post-revolutionary Latin American government are born of the complex economic and social realities of 17th and 18th century Europe. From the momentum of the Enlightenment came major political rebellions of the elite class against entrenched national monarchies and systems of power. Within this time period of elitist revolt and intensive political restructuring, the fundamental basis for both liberal and conservative ideology was driven deep into Latin American soil. However, as neither ideology sought to fulfill or even recognize the needs or rights of mestizo people under government rule, the initial liberal doctrine pervading Latin American nations perpetuated racism and economic exploitation, and paved the way for all-consuming, cultural wars in the centuries to come.
In both the movie, La Misma Luna, and the newspaper series, Enrique’s Journey, there is a demonstration of abuse of power. Judicial policemen, immigration officers, and bandits all take part in hurting migrants in various ways. If a migrant is lucky enough to make it across the borders, then they will most certainly have physical and emotional scars. They also have their own story of survival to tell. One of the main messages sent relating to this topic is immigration officers, judicial policemen, and bandits abuse their authority by beating, robbing, and raping vulnerable immigrants in fragile situations.
Through the study of the Peruvian society using articles like “The “Problem of the Indian...” and the Problem of the Land” by Jose Carlos Mariátegui and the Peruvian film La Boca del Lobo directed by Francisco Lombardi, it is learned that the identity of Peru is expressed through the Spanish descendants that live in cities or urban areas of Peru. In his essay, Mariátegui expresses that the creation of modern Peru was due to the tenure system in Peru and its Indigenous population. With the analyzation of La Boca del Lobo we will describe the native identity in Peru due to the Spanish treatment of Indians, power in the tenure system of Peru, the Indian Problem expressed by Mariátegui, and the implementation of Benedict Andersons “Imagined Communities”.
In So Far From God, Ana Castillo uses Magical Realism, a technique in writing fiction that fuses the real and the fantastic, to empower Sofi, the novel's protagonist, to rebel against cultural inequities, religious oppression, and political establishments. After La Loca’s magical resurrection, Father Jerome, a male figure who represents the Catholic church, attributes La Loca’s unexplained reawakening to the devil. However, Sofi, La Loca’s mother, refuses his interpretation and regards her daughter’s resurrection as a miracle of God. A sign that foreshadows Sofi and La Loca rebellion against the male-dominated church. Interestingly, instead of going to the church, people come from all over the region in hopes of receiving La Loca blessing—an
The Leadership of Cesar Chavez. An Examination of His Leadership Style. Accomplishments, and Contributions to Society. Cesario Estrada Chavez, or Cesar Chavez, as he is more commonly known, was an American farm worker, community organizer, and civil rights leader who co-founded the National United Farm Workers Association in 1962.
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”
This novel is a story of a Chicano family. Sofi, her husband Domingo together with their four daughters – Esperanza, Fe, Caridad, and Loca live in the little town of Tome, New Mexico. The story focuses on the struggles of Sofi, the death of her daughters and the problems of their town. Sofi endures all the hardships and problems that come her way. Her marriage is deteriorating; her daughters are dying one by one. But, she endures it all and comes out stronger and more enlightened than ever. Sofi is a woman that never gives up no matter how poorly life treats her. The author- Ana Castillo mixes religion, super natural occurrences, sex, laughter and heartbreak in this novel. The novel is tragic, with no happy ending but at the same time funny and inspiring. It is full of the victory of the human spirit. The names of Sofi’s first three daughters denote the three major Christian ideals (Hope, Faith and Charity).
? . . . it made no difference if they studied medicine or had the right to vote, because they would not have the strength to do it, but she herself [Nivea] was not brave enough to be among the first to give up the fashion.? (6, Ch 1) The women in this society are dependant on the dominant male figure to handle political and economical duties. This point of view is intended to mimic the older generation of women ad present a foundation for the growth of an enlightened generation. Allende uses this excerpt to present a foundation of structure to the novel by beginning with the extremes of opinion, which are followed in the novel through different generations. Alba for example, become a very outspoken activist by trying to attend the student protests and follow Miguel on his demonstrations, a sharp contrast to the indifference or shallowness found in her great grandmother.
Christopher, Renny. "A State of Courage and Wisdom...Not an Uncontrollable Participation in Society: Ana Castillo's Novel of Feminist and Working-Class Resistance." Class of Its Own: Re-Envisioning American Labor Fiction. (2008): 189-200. Print.
Imagine seeing 10,000 of your classmates walking out of your school because they wanted a better education - a better way of life. In the 1960s’ Chicano students were being “pushed out”(Esparza) of school or being pushed towards vocational programs. East L.A was home to schools were “one out of every four Chicano’s completed high school”(Esparza). Instructors and the school board alike did not have an interest in helping Chicanos finish school to become someone other than a laborer and was expected of them to keep being a laborer. In “Taking Back the Schools”, Sal Castro a high school counselor claims, “I think the bottom line is the lack of concern of the teachers towards the kids and whether the kids were really getting an education or not...the reality set in that the teachers weren’t really concern for the kids.”(Esparza).
Grande introduces to the audience various characters that cross Juana 's path to either alter or assist her on her journey to find her father. Through those individuals, Grande offers a strong comparison of female characters who follow the norms, versus those that challenge gender roles that
Beli’s impulses allow her to ignore the fact that falling atomically in love with the Gangster, a man she meets in a luxurious nightclub, is wrong. In a world where no one gives her such feeling, the Gangster makes Beli feel beautiful. But, the Gangster is a pimp and exploits women, which shows the degradation of women such as Beli. The Trujillo system in the Dominican Republic, under which the Cabaral’s are associated with, exploits women and the Gangster, just like Trujillo did exactly that. This path of life that Beli embarks on is the wrong choice because it is plagued with the fukú. She sees the Gangster as an escape out of her current life because he is extremely rich. The Gangster promises her a house in Miami with as many bedrooms as she wants. Beli is naïve and does not realize that the Gangster cannot help her escape her life that she is unhappy with. Instead all the Gangster can bring to Beli is bad luck. The Gangster ends up being married to Trujillo’s sister, who is extremely cruel and lives up to the name of Trujillo. The Gangster’s wife has Beli beaten until she almost dies. Beli is vulnerable because the Gangster has power over her; she truly believes that he is an escape from her Dominican world. All along La Inca sees otherwise and tells Beli that she is crazy. La Inca also implies that a man cannot save her, but Beli continues to make
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.
The Chicano history is a history of transformation based on conquest and struggle under a racial hierarchy. The Anglo-Americans’ intentions of creation of this racial foundation and segregating culture was to justify their act of assigning socio-economic functions to Mexican-Americans, limiting them to a cycle of exploitation and poverty. The meaning behind the contradiction of double aims was identified in El Plan de Santa Barbara’s manifesto and Menchaca’s Recovering History, which emphasized the neglect and distortion of Mexican-American history as a political act by Anglo-Americans to generate a negative, inferior image of these minorities, in comparison to their progressive “American” culture. This ultimately kept the two cultures unreconciled,
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.