It has been observed that occasionally, individuals can be demarcated by their names. Similarly, when it comes to Federico Garcia Lorca’s play, a woman, who has a leading role, named Yerma, is a self-defined name of the character as it instigates from the Spanish word “Yermo”. The alternative meaning of this name comprise barren, isolated, as well as infertile are all definitions of “Yermo”, thus, these all are detailed individualities of the show’s character, Yerma. This paper discusses this character who is a woman surrounded in an unproductive relation with her husband, Juan. Yerma existed in a culture which depends on parenthood, and as an outcome, rather than giving birth to a child, she is herself dejected.
Yerma in Garcia Lorca 's play
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Consequently, she discovers her womb as quarantined, just like her name meaning as well as similar to the tree which does not produce anything. This play utilises numerous fictional procedures to emphasise the isolated individualities of Yerma. Nevertheless, it is the usage of images and descriptions which brightly as well as perfectly expresses her character. Seeing this, Lorca highlights the utilisation of images to produce Yerma’s personality . The greater part of the aching, agony and ensnarement Yerma feels as well as inside the requesting society she lives in, is delineated clearly through symbolism. Therefore, her character is characterised through the symbolism of nature, birth, ripeness and barrenness. Yerma is intensely entangled not merely inside herself as she is despondent in her activities, but, likewise within the traditional Spanish culture in which she
In Julia Alvarez’s novel, In the Time of the Butterflies, a young, naïve girl transforms into a prominent figure in the revolution against Leonidas Trujillo as we read page after page of her most private thoughts. This character is Maria Teresa (Mate), the youngest of the Mirabal sisters. Alvarez weaves Maria Teresa’s story as a coming of age story under a dictatorship, and slowly, but thoroughly, shows us how it corrupts childhood innocence and forms revolutionaries. Mate’s chapters in the novel are solely journal entries. In Julia Alvarez’s words, “Techniques are just tools on the wall to help you get at what best reflects the stories in your heart to tell.
Carol Tuttle once said “Rebellion is a sign of a child fighting to be seen as who they are”. This idea of rebellion as a way to bring attention to one’s identity can be seen in the two texts “El Olvido” by Judith Ortiz Cofer and “Life in the Age of the Mimis ” by Domingo Martinez. The authors of these texts exhibit the idea that try to forget one’s identity can cause you to suffer. Have you ever wondered what wondered what would happen if you tried to rebel against your roots and forget who you truly are? In the poem “El Olvido” by Judith Ortiz Cofer.
In the excerpt from the novel Under the Feet of Jesus by Helena Maria Viramontes the protagonist Estrella goes through various changes as an outcome from prior experiences. To convey those changes Viramontes uses some literature elements such as tone and paradox. Things starts when Estrella comes upon Perfecto’s red tool chest. When she opened the box she was disoriented because she did not understand what were the functions of the the tools.
The author denounces sexism and believes in change. She demands the audience to acknowledge the injustice women have suffered in history. She demands change. In ‘El eterno femenino, she debunks popular notions of the feminine mystique. Castellanos ' method here is comic, and through a theatre language comprised of visual and verbal clichés she precisely captures, and then subverts, the many stereotypes of male-female roles and behaviour.’
In Helena Maria Viramontes’ novel, Under the Feet of Jesus, Estrella starts off as angsty and confused, but then shifts to a state of contentment and understanding, caused by life experiences. These character traits are revealed through the selection of detail, figurative language, and tone. Initially, Estrella is immediately characterized as “very angry” when she finds Perfecto’s “foreign” toolbox. She uses a tone of confusion that illustrates her unfamiliarity with the objects in the tool box by using words such as “funny-shaped”, and using a simile comparing her confusion with the tools to the alphabet which Estrella “could not decipher”.
The setting allows the reader to understand how people without honour are seen as outcasts of the society and the existence of a woman’s virginity is seen as a measure of her honour, as well as a precious commodity, which can purchase the family’s social advancement, through a marriage of convenience. Ángela states that Santiago deflowered her, but since “…she looked for it in the shadows…”, even though “She only took the time necessary to say the name.” we question this piece of information and its reliability, due to it being precise but also vague at the same time. Due to their sister stating this, Pablo and Pedro Vicario are ordered to reinstate their “…sister’s lost honour…”, ironically by their mother, to meet the expectations of the community and it is up to them to spiritually retrieve their sister’s virginity by killing Santiago. This means the brothers cannot back down from “…the horrible duty that’s fallen on them…” as “…there’s no way out of this…”.
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).
Barraza was sumitted to constant sexual abuse every time her mother ran out of money to buy beer. As a consequence, Juana became pregnate to a boy at the age of 13. These events spycological scar her for life. She blame her mother for evething and felt a great hatred towars Justa. In a final point, Juana had a different childhoold that a normal child, which consecuently mentally affect her life.
Written by Gabriel Garcia Márquez in 1958 as part of Los Funerales de la Mamá Grande, Un Día de Éstos is a short story addressing a vast theme; that of power and how it is balanced. By constructing the narrative primarily around the two characters of Don Aurelio Escovar, an unqualified dentist, and the mayor who is suffering of toothache, Márquez uses their reactions towards each other to guide the reader into understanding how easy it is to become vulnerable, notwithstanding their social class. CHARACTERISATION The theme of power is explored through the characterisations of the two men in the story and it could be said that this done primarily through continuous contrasts between them. To start with, the vocabulary that surrounds Escovar
Gloria Anzaldúa’s “La Prieta” tell her struggles with identity by talking about prejudices she dealt with while growing up. These prejudices, such as colorism, sexism, and heteronormativity, were not only held by people outside her social groups but within them as well. Anzaldúa goes on to explain the way identity is formed by intersecting factors and not only one aspect of someone’s life therefore denying one factor of identity can cause isolation and self-hatred. The fact that Anzaldúa developed faster than is deemed normal the first struggle in forming her identity.
The Rhetorical Analysis of “The Myth of the Latin Woman” There are many examples of incidents happened because of cultural differences. Some of them are short, single events, while other follow a person or social group for decades. Professor Judith Cortiz Cofer describes the second example in her essay The Myth of the Latin Woman that was originally published in Glamour in 1992. The author focused on the stereotypical view of Latin women from the perspective of the personal experience as a Puerto Rican girl and woman in the USA. Cofer based her essay on examples from her own life and observations of the problem in a broader sense.
Marco Pérez Dr. Rony Garrido The short novel, Aura, by Carlos Fuentes creates a mythical reality to reference Mexican history. He uses Aura, Felipe Montero, and Consuelo as a reflection of the past and the present, where for example, Consuelo represents the past and Felipe the present. In this paper I will explain how the love story of Felipe, Aura, and Consuelo represent Mexican history. In addition this paper will explain how myth breaks down into different elements, such as religion, legends, traditions, and beliefs, all of which are manifested in the different characters and their actions within this novel.
She poses more questions and introduces more concepts which leave the reader with this bittersweet feeling of nostalgia. In part three she touches on the subjects of genealogy as it pertains to desire. She extrapolates form the ideas of Sigmund Freud’s theory of the Psyche to argue how the Oedipus complex has left its imprint on Chicano/a cultures. She juxtaposes four “cultural bodies”, Selena, La Malinche, Delgadina, and Silent Tongue, which if read from a third space feminist interpretation shifts the perspective to unveil women’s desires through their own agency. She analyses the Oedipus complex and introduce the Oedipal conquest triangle.
The presentation of the tree as fertile and the links to Ofelia’s mother presents it as the womb of Spain withered by the effects of Franco’s fascist dictatorship. This interpretation is consistent with Ofelia’s understanding of reality, and Del Toro’s use of symbolism subtly invites the audience to draw a comparison between the two
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.