Lieutenant Nun: Memoir of a Basque Transvestite in the New World is a memoir by Catalina de Erauso detailing her experiences during the early 1600’s in South America and Spain. She was born in 1585 into a well off Basque family and her parents were native-born residents of San Sebastian Spain. This book is one of the earliest known autobiographies by a woman and details the events that took places when Catalina escaped a Basque convent dressed as a man. During this time she served as soldier in the Spanish army, traveling to Peru and Chile, and even becoming a gambler. Being that my major falls under sociology, I will be looking at themes surrounding the constraints of females in Spanish society in the 1600’s and how this affects Catalina. …show more content…
While she is on the convent she creates a disguise using the clothing available to her. This not only allows for her to hide her femininity, but it also allows for her to create a masculine façade. Throughout these two decades of living as a man, Catalina cultivates a masculine persona, and by the time this book comes to an end there are no traditional female characteristics obvious in her nature. During her time disguised as a man, De Erauso tests her disguise by going back to the convent where her mother and father are. No one at the convent recognizes her, which in turn boosts her confidence. The clothing she uses in her disguise is a symbol of the self, and the ability to transform her identity. Each piece of clothing mentioned throughout the book only reasserts her identity as a man and allows her to continue with the masquerade. Continuing with the themes of disguise and masculinity, a notable factor in this novel is Catalina’s sexual preference. As mentioned in class, it is not explicitly stated in the book what her sexual preference is while she is living as a man. In chapter 7 she describes herself as always having a taste for “pretty faces”, but I’m not sure that offers enough evidence of her sexual preference. Regardless of her sexual preference, the thought of a woman thinking that way about another female was seen as taboo in the
Elizabeth Salas’s piece Soldaderas in the Mexican Military is a historical nonfiction work which addresses the role of the soldadera in Mexican warfare. Written from a modern perspective, the piece intends to expose the true lives of the soldaderas and dispel preconceived notions that many incorrectly hold regarding these women. Thus, Salas writes in an argumentative and persuasive manner in order to propagate her claim that the soldaderas played a more imperative role than what history gives them credit for. Her writing is intended for those who have no background knowledge on the soldaderas or those who hold incorrect preconceived notions about them. Myths that surround the soldaderas stem largely from an era in which the only people who
There’s a very clear distinction between roles for women and roles for men. From the first two stanzas the narrator has “invented a game” which gets her father to “look up from his reading” and notice her (3,4). Prior to her dressing like a boy, he had not paid any attention to her and she feels that in order to get his attention she has to pretend to be a boy. The last stanza is where there is the clear message of the different roles for men and women. The woman narrating describes how by shedding her outfit she “returns invisible” as herself (27).
In her article, “Three Inventories, Three Households”, Laurel Thatcher Ulrich argues that women’s work was crucial not simply for subsistence but that “women were essentials in the seventeenth century for the very same reasons they are essentials today-for the perpetuation of the race” (Ulrich 51). She believes, women were expected to do everything. They were not only to take care of the children, but they were also cook, clean, raise the greens and ranches. Mainly, women plays important role for the survival and continuation of life.
The next chapter highlights the gendered division of labor and the difficulty to keep a family as a slave. Chapter six and seven moves on to the eighteenth century and shows how women have improved in areas such as more political participation and increasing social class of
In colonial North America, the lives of women were distinct and described in the roles exhibited in their inscriptions. In this book, Good Wives the roles of woman were neither simple nor insignificant. Ulrich proves in her writing that these women did it all. They were considered housewives, deputy husbands, mistresses, consorts, mothers, friendly neighbors, and last but not least, heroines. These characteristics played an important role in defining what the reality of women’s lives consisted of.
Up until the late 1910’s, women did not have much say with what went on in society, nor did they have much control over their own lives. It had been tradition that a woman obeyed without question and did anything in her power to please those around her. Such ideals are seen in Like Water for Chocolate, however, instead of having to follow a male figurehead, Tita, her sisters, Pedro, and even Mama Elena must obey the invisible laws of society. However, everyone finds a way to bend these laws and help get a foot into the threshold of how things are in the modern day. Through Tita, Gertrudis, Mama Elena and other characters actions, it is shown that women do have a tremendous amount of power in regards to what they do.
Lola takes advantage of her deteriorating mother whose illness represents the declining hold of the norms over Lola. Since her mom “will have trouble lifting her arms over her head for the rest of her life,” Lola is no longer afraid of the “hitting” and grabbing “by the throat” (415,419). As a child of a “Old World Dominican Mother” Lola must be surrounded by traditional values and beliefs that she does not want to claim, so “as soon as she became sick” Lola says, “I saw my chance and I’m not going to pretend or apologize; I saw my chance and I eventually took it” (416). When taking the opportunity to distinguish herself from the typical “Dominican daughter” or ‘Dominican slave,” she takes a cultural norm like long hair and decides to impulsively change it (416). Lola enjoyed the “feeling in [her] blood, the rattle” that she got when she told Karen to “cut my hair” (418).
Luce begins with a lighter and subtle tone, calling the women, “Sisters” and presenting on how women “still have lipsticks, and even silk stockings… [and] have gone into uniforms… [that] are made of good cloth and are well cut”. By providing examples of women’s lavish outlook, Luce defines women’s lifestyle as “glamorous”, expressing how fortunate the women are.
They both adopted a strictly religious life of obedience and asceticism. Other’s claim that when Marina grew up to be a young woman, her father was motivated to seek out a husband for her in order to give her away in marriage as he also wanted to become a monk. Upon hearing of this news, Marina strongly opposed her father’s plans and asked him why he was essentially damning her while intending to save his own soul. Marina’s father was unsure of what to do with her, but she solemnly stood by what she had told her father and decided to shave her head and wear men’s clothing so that they could both be accepted in the monastery. Realizing that his daughter was serious, he sold all of their belongings and they both went off to live at a monastery where he proceeded to change her name to Marinus.
The Roles of Women in, “Three Girls” by Joyce Carol Oates In the story “Three Girls” by Joyce Carol Oates, the author uses the characters to define women in several ways. Three girls hide their individualities because they live in a world that is not ready to except their true identities. Oates places Marilyn Monroe, into the story to introduce the sexuality between the two young girl-poets. Their encounter with someone like Marilyn Monroe brings romance to their concealed relationship.
Institution and Character: Duality in Diderot’s The Nun (Prompt #2) In Denis Diderot’s The Nun, the world in which protagonist Suzanne inhabits features no singularly central villain or antagonist, but instead an institution and larger system that oppresses her to the point of an eventual suicide. While several characters serve as persecutors of the inarguably pure Suzanne, they exist rather as mechanisms of a system which Diderot clearly detests.
After all, to have a character confined to the private space places limits on where the writer can set scenes. Far easier to have her dress as a man and then she can traverse the masculine public space. Yet the complete lack of men cross-dressing as women (even for comedic scenes) and the popularity of the mujer de la hombre device with the audience (more specifically the mosqueteros; more on that later) and in a country with such stong patriarchal ideals rather suggests it was used for titillation. This is also evident in the text of Life is a Dream where Rosaura is still sexually attractive to Segismundo though he believes she is a man, "I am so bewitched I can no longer think" (Act I, 174), strongly hinting that the actress would play this role with a wink to the audience, playing up on her sexual appeal. It is unlikely that Calderon was writing the first quasi-homesexual romance of the Golden
The novel ‘Nada’ written by Carmen Laforet is a twisted heart-breaking tale about a year in the life of the 18-year-old female protagonist Andrea. Throughout this year, Andrea spends in Barcelona with her relatives, she developed various relationships, both homosexual and heterosexual. For the purpose of this essay I will discuss Andrea’s highly affective homosexual relationships with her best friend Ena and her aunt Gloria and how she views and describes both woman differently. I will also briefly contrast her homosexual relationships with that of her heterosexual relationships with Pons and her uncle Román. I will begin with discussing Adrea’s relationship with Gloria, as this relationship began before her relationship with Ena did.
I think her clothing shows that she isn’t shy of scared to be herself. Chaucer describes her in a sexual way while talking about her body features. He talks about her clothes, legs, feet, hips, and her gap- tooth, which during that time symbolized lust.
In Pramoedya Ananta Toer’s book This Earth of Mankind, the depiction of the Natives in this novel permits the author to expose the effects of colonization by the Europeans in Indonesia. Throughout this novel, the Natives are consistently portrayed as the social group, who is deemed inferior in comparison to the Europeans, which contributes to their oppression. The two characters that represent this attribute are Nyai Ontosoroh and Minke. Despite her backstory and status as a concubine for Herman Mellema, Nyai Ontosoroh is one of the central characters in this novel. She is described as a formidable Native woman, “...this Nyai Ontosoroh who was talked about by so many people...”(29).