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Gender Roles in Literature
Gender Roles in Literature
Analyzing gender roles in literature
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cFeminism in the book Like Water For Chocolate The novel, Like Water For Chocolate, is a story revolved around love, war, and delicious food. Throughout the book, there are times when the book has been arguably a feminist novel and that “Esquivel reinforces the idea of a community of women” (Ibsen 3). It involves mostly women, and each woman has their own distinct personality trait and shows a version of feminism with many male-like characteristics. The definition of feminism is the belief that men and women should have equal rights and opportunities. Feminism supports the theme in the book that no matter the circumstance women can overcome anything. The author shows how feminism is a big part in Mexican culture by showing key characteristics …show more content…
Mama Elana and her childrens key characteristics. Throughout the novel by Laura Esquivel, Mama Elena De la Garza is an example that women can take the role of being head of the household, and basically be in charge of everything.
She is shown to be “overwhelming socio-cultural” because she is represented with male characteristics (De Valdes 4). She forbiddens Tita to marry anyone because she is the “youngest daughter [which] means you have to take care of me until the day I die” (Esquivel 10). This statement is an example of women’s role in society, in which it makes the culture “a women’s culture within the social prison of marriage” (De Valdes 1). Through all of the restrictions that Mama Elena gives Tita, she is able to overcome them. Unlike Tita’s other sisters, she “speaks out against her mother’s arbitrary rule” (De Valdes 3). Most women would not “dare to stand up to her mother” and to their oldest sister because of how dominant they are (Ibsen 3). There are many instances when Tita is a brave soul and is able to provide her own opinion. When Tita first found out that she was not able to marry the man she has fallen in love with, she has the courage to say “in my opinion…”(Esquivel 11). In many other households, a woman would not have the courage to do …show more content…
that. In the novel, the first daughter, Rosaura, is a common woman in the Mexican culture, but in this novel, she is very frowned upon and not really liked.
When “Mama Elena came into the kitchen and informed that she has agreed to Pedro’s marriage- to Rosaura”, (19) both sisters, especially Gertrudis who says that Rosaura “showing no loyalty, not caring a damn that [Tita] really loved him”, are very upset with Rosaura for not trying to change Mama Elena’s mind, (Esquivel 14)/ (Esquivel 190). Another example being a common woman is “when [she] insists upon preparing her only daughter to be her caretaker” (Ibsen 2). Most women back then would take after their family tradition and not try to fix anything about it, so when Rosaura states that, Tita is very mad at her and Rosaura is frowned
upon. Gertrudis, like Tita, is an outspoken person, which is a characteristic that is found in a lot of women and men. Many woman back then would do everything in a very traditional way, especially marriage, but Gertrudis is very different. In the novel, when she runs from the shower naked and sees the man of her dreams, she openly lets him “put his arm around her waist, and [lifts] her onto the horse in front of him, face to face, and carried her away” (Esquivel 57). After this incident, Mama Elena disowned her daughter. Most daughters would be upset by this information, but Gertrudis did not care about what her mother wanted and only cared about her own happiness, which is very unlikely in the Mexican culture. In conclusion, Laura Esquirel uses the traditional view of women in the Mexican culture and changes them by portraying women with a lot of male-like characteristics, which gives off a very feminist point of view. The story shows many points and sides that were not usually acceptable at that time. Esquivez intertwines feminism into this book just enough to make a perfect story.
Commentary on Like Water for Chocolate by Laura Esquivel The novel Like Water for Chocolate is the story of a woman fighting tradition in quest for love and freedom. The novel has diverse relations of apathy and love between the characters. The author Esquivel illustrates these relations by the use of the colors red and white. Throughout the novel Like Water for Chocolate, Laura Esquivel uses the colors red and white to symbolize love and apathy in the relationships between the characters.
As much as men are working, so are women, but ultimately they do not face the same obstacles. For example, “Even if one subscribes to a solely economic theory of oppression, how can one ignore that over half of the world's workers are female who suffer discrimination not only in the workplace, but also at home and in all the areas sex-related abuse” (Moraga 98). This gives readers a point of view in which women are marginalized in the work place, at home, and other areas alike. Here Moraga gives historical accounts of Chicana feminists and how they used their experiences to give speeches and create theories that would be of relevance. More so, Moraga states how the U.S. passes new bills that secretly oppress the poor and people of color, which their community falls under, and more specifically, women. For instance, “The form their misogyny takes is the dissolution of government-assisted abortions for the poor, bills to limit teenage girls’ right to birth control ... These backward political moves hurt all women, but most especially the poor and "colored." (Moraga 101). This creates women to feel powerless when it comes to control one’s body and leads them to be oppressed politically. This places the government to act as a protagonist, and the style of writing Moraga places them in, shines more light to the bad they can do, especially to women of color. Moraga uses the words, “backward moves”
“Like Water for Chocolate” by Laura Esquivel, is a beautiful romantic tale of an impossible passionate love during the revolution in Mexico. The romance is followed by the sweet aroma of kitchen secrets and cooking, with a lot of imagination and creativity. The story is that of Tita De La Garza, the youngest of all daughters in Mama Elena’s house. According to the family tradition she is to watch after her mother till the day she does, and therefore cannot marry any men. Tita finds her comfort in cooking, and soon the kitchen becomes her world, affecting every emotion she experiences to the people who taste her food. Esquivel tells Titas story as she grows to be a mature, blooming women who eventually rebels against her mother, finds her true identity and reunites with her long lost love Pedro. The book became a huge success and was made to a movie directed by Alfonso Arau. Although they both share many similarities, I also found many distinct differences. The movie lost an integral part of the book, the sensual aspect of the cooking and love.
In the book "Like Water for Chocolate," a major revolution develops between mother and daughter, Mama Elena and Tita. Like most revolutions, traditions are the major factor in the revolution that happens between these two; Tradition states that the youngest daughter must not marry, but must take care of the mother until she dies. Nevertheless, when a young man decides to ask for Tita's hand in marriage, Mama Elena flat out refuses to hear any more about the subject. She says to Tita on page 10, "If he intends to ask for your hand, tell him not to bother . . ." Then Tita realizes the hopelessness of her situation and from that moment on she swore "to protest her mother's ruling" (11). The revolution continues to build until finally after many years of torment by her mother, Tita leaves the family ranch. Then after awhile, when Mama Elena becomes paralyzed by bandits, Tita feels compelled to return to the ranch and care for her mother. In returning Tita felt that her return humiliated her mother because how cruelly she had treated her daughter in the past (130).
Women are seen as failure and can’t strive without men in the Mexican-American community. In this novel you can see a cultural approach which examines a particular aspect of a culture and a gender studies approach which examines how literature either perpetuates or challenges gender stereotypes. Over and over, Esperanza battled with how people perceived her and how she wished to be perceived. In the beginning of the book, Esperanza speaks of all the times her family has moved from one place to another. “Before that we lived on Loomis on the third floor, and before that we lived on Keeler.
wedding of her sister Rosaura and Tita's forbidden lover. At conflict with her sister for
Azuela shows these impacts by the progression of Camila, from a sweet innocent woman, to joining the rebel forces, and lastly to being killed. Symbolically, Azuela kills off Camila almost immediately upon her rise to power and drops her from the novel’s plot. This shows the how insignificant of an impact that women had on the battles, and how easily they were forgotten after death. Women still struggle today with gaining equal rights and treatment within the Mexican culture. It has taken nearly 70 years for women to gain equality with men in the workforce, gaining rights such as voting, and having a shared family responsibility with the male figure (Global). Unfortunately, many women within the working-class household still suffer from the traditional norms and values regarding the roles of men and women. In addition, these women were often subjected to control, domination, and violence by men” (Global). This validates Azuela’s stance on how women should stay within their traditional roles because fighting for equality has been ineffective even still
An oppressed soul finds means to escape through the preparation of food in the novel, Like Water for Chocolate (1992). Written by Laura Esquivel, the story is set in revolutionary Mexico at the turn of the century. Tita, the young heroine, is living on her family’s ranch with her two older sisters, her overbearing mother, and Nacha, the family cook and Tita’s surrogate mother. At a very young age, Tita is instilled with a deep love for food "for Tita, the joy of living was wrapped up in the delights of food" (7). The sudden death of Tita's father, left Tita's mother's unable to nurse the infant Tita due to shock and grief. Therefore Nacha, "who [knows] everything about cooking" (6) offers to assume the responsibility of feeding and caring for the young Tita. "From that day on, Tita's domain was the kitchen" (7). Throughout the novel, food is used as a constant metaphor for the intense feelings and emotions Tita is forced to conceal.
As the first major U.S. success for a Spanish language film, Como Agua Para Chocolate (Alfonso Arau, 1992) has had a major impact on Hispanic culture and the future of Hispanic cinema. This film has many implicit and explicit layers that challenge typical cultural ideals, not only in Hispanic culture, but in various cultures across the world. Based on his wife, Laura Esquivel’s novel, Arau used this film, known commonly as Like Water for Chocolate, to bring to the surface the liberation of females through the empowerment of food. Although food and cooking are often associated with the oppression and generalization of Hispanic women, Like Water for Chocolate captivates an empowering view of women using intimate and heightened cinematography of the food.
The role of strong female roles in literature is both frightening to some and enlightening to others. Although times have changed, Sandra Cisneros’ stories about Mexican-American women provide a cultural division within itself that reflects in a recent time. The cultural themes in Cisneros’s stories highlight the struggle of women who identify with Mexican-American heritage and the struggle in terms of living up to Mexican culture – as a separate ethnic body. The women in Sandra Cisneros’ stories are struggling with living up to identities assigned to them, while trying to create their own as women without an ethnic landscape. In Sandra Cisneros’ stories “Woman Hollering Creek: and “Never Marry a Mexican” the role of female identities that are conflicted are highlighted, in that they have to straddle two worlds at once as Mexican-American women.
Kumaraswami (2007) identifies that the females presented are stereotypical in their nature; this is to say that they either exist in the domestic atmosphere or that they have lost their purity due to being forced into the revolution. Although Camila and Pintada are complete opposites, the similarity lays in the fact that they both fit different parts of society at that time: “En combinación, forman una síntesis de dos extremos irreconciliables que se le presentan a la mujer mexicana y entre los cuales tiene que escoger” (Clark, 1980). In this sense, the mexican women were in two different situations, those who wished to remain traditionalistic and those who sought self-advancement through the likes of previously considered male characteristics. One can see the traditional character through Camila, Azuela has ensured that initially Camila would fit the traditional role of the female, caring, weak, and doting to the men’s needs. Thus Camila seems to be a flat stereotypical character that is expected to appear in novels of this era if women were to appear at all. Nevertheless, the character of Camila becomes more dynamic as Los de Abajo develops, thus she becomes more of an indication as to how women involved in the revolution did not remain ‘sana y buena’. On the contrary, the almost paradoxical characteristics of Pintada seem to confuse Azuela. Pintada is an emasculated character but only in the sense of
In the novel Like Water for Chocolate, Laura Esquivel exposes her strong feminist attitude through a controlling first person limited narration and a detailed, descriptive portrayal of the characters. This exploitation of feminist views supports two major themes: change in traditional attitudes towards authority and freedom of expression. In this novel, Laura Esquivel shows how Mexican women can overcome the powerful traditional authority of men and the traditional mindset of women; and how women can overcome society's suppression and express themselves freely. . These two themes have a direct correlation to women's breakthroughs all over the world; especially throughout Latin America.
Pedro ends up marrying one of Tita's sisters, Rosaura, in order to be close to Tita. Tita was practically raised in the kitchen and she communicates her love for Pedro through the dishes she prepares, and he in. turn shows his affectionate gratitude. Tita's quest to be with Pedro is over. shared only with Nacha, the main cook and helper at the ranch.
Tita’s rebelliousness shows many times, but Mama Elena is there to conceal it by reprimanding her. At one point, Mama Elena gets exasperated of Tita’s acts of rebelliousness and confronts her about it, “ ‘Are you starting up with your rebelliousness again?...’ ” (12). The fact that Mama Elena is always there to prevent Tita from rebelling, means that it wasn’t prevalent for a woman to oppose orders. By doing so, Tita, as a result, breaks the gender stereotype of being submissive and doing what she is told. Tita’s rebelliousness displays once again when she decides to keep quiet after John asks why she remains reticent, responding with, “...’Because I don’t want to’...” (118). This time, Mama Elena isn’t there to stop Tita from gaining a sense of freedom, interpreting it as her first actual act of rebelliousness. Once again, Tita’s behavior breaks gender stereotypes by going against what she is told. Moreover, Tita is also outspoken. Tita’s erratic tendency to reveal what’s truly on her mind constantly gets her into trouble. After hearing the calamitous news of Roberto’s death, Tita, whose blood is practically boiling, blames her nephew’s death on Mama Elena, “ ‘You did it, you killed Roberto!’ “ (99). With her actions, Tita breaks the stereotype of being quiet and not speaking out loud. Another time where Tita’s verbal outbreak shows, is when she finally admits to Mama Elena what she’s been wanting to say for the longest time, “ ‘I hate you, I’ve always hated you!’ “ (199). Tita’s sudden reveal of her feelings breaks the stereotype of girls being quieter than men and are not to speak out. Because Tita is outspoken, she’s very open about the way she feels and isn’t afraid to tell everyone. Gertrudis, however, identifies as a feminist for entirely
...Halevi-Wise, Yael (1997). Story-telling in Laura Esquivel's Como Agua Para Chocolate. The Other Mirror: Women’s Narrative in Mexico, 1980-1995. Ed. Kristine Ibsen. Westport, CT: Greenwood Press, 1997. 123-131.