Lucila Godoy Alcayaga, better known by her pen name, Gabriela Mistral, was a Chilian writer who is most famously known for her emotional pieces of literature. (Gabriela- Facts) Sorrow, love, and Christian faith are some of her main focal points in her poetry. (Biography) Her skills in writing played a significant roll in her lifetime. Mistral was one of the most well known Latin American poets of her time. (Gabriela)
Gabriela Mistral was born on April 7, 1889, in Vicuna, Chile.(Mistral - Facts) Petronila Alcayga, her mother, was a schoolteacher and her father, Jeronimo Godoy ALcayga Villanueva, was a poet. Mistral was raised with her sister in Monte Grand solely by her mother because her father abandoned them when Mistral was only 3 years old. She started attending school at 9 years old but only went for 3 years. Her short time in school opened the door for her oncoming poetry career. (Bois) At age 16, she and her family moved to La Cantera where she had to start working as a teachers assistant to support her mother and sister. (Biography) Mistral fell in love with a railroad worker. Unfortunately, the relationship took a turn for the worst and the boy committed suicide with only a postcard from Gabriela Mistral found on him. (Bois)
Mistral saw that she had an interest in writing when she was in primary school. She had been around poetry when she was younger because of her father. After her boyfriend committed suicide, it inspired her to write about her feelings because of his actions. Mistral threw herself into her work to escape the reality of what had happened and the result were the publishing of 3 Sonetas de la Muerte (Sonnets of Death) which expressed the way she felt about his death. His death sparked her writing because...
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...lped mold her into the wonderful woman that she was.
Works Cited
"Gabriela Mistral - Facts". Nobelprize.org. Nobel Media AB 2013. Web. 3 Apr 2014.
"Gabriela Mistral." Poetryfoundation.org. Poetry Foundation, Web. 04 Apr. 2014. .
"Biography Gabriela Mistral." Gabriela Mistral Biography. Biographyonline.net, Web. 03 Apr. 2014. .
Bois, Danuta. "Gabriela Mistral." Distinguished Women of Past and Present. Distinguishedwomen.com, 1997. Web. 06 Apr. 2014. .
"The Life of Gabriela Mistral." Home.wlu.edu. A. Fraiser, 1993. Web. 06 Apr. 2014. .
Delgadillo, Theresa. "Forms of Chicana Feminist Resistance: Hybrid Spirituality in Ana Castillo's So Far From God."Modern Fiction Studies. 44.4 (1998): 888-914. Delgadillo, Theresa. "Forms of Chicana Feminist Resistance: Hybrid Spirituality in Ana Castillo's So Far From God."Modern Fiction Studies. 44.4 (1998): 888-914. .
Figueredo, Maria L. "The Legend of La Llorona: Excavating and (Re) Interpreting the Archetype of the Creative/Fertile Feminine Force", Latin American Narratives and Cultural Identity, 2004 Peter Lang Publishing, Inc., New York. pp232-243.
Teresa de la Parra, Iphigenia (The Diary of a Young Lady Who Wrote Because She Was Bored) (Ifigenia (Diario de una señorita que se escribó porque se fastidiaba))
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.
Isabel: Elpidia Carrillo an el Salvadorian, who's father was a disliked leader of a union there, an illegal alien working as a nanny for a rich couple. When she married jimmy she became, "free" but her morals and religious beliefs wouldn't let her take the vows of marriage lightly. She was a loving, persistent woman who didn't let her anger eat her alive.
When first approaching this work, one feels immediately attracted to its sense of wonder and awe. The bright colors used in the sun draws a viewer in, but the astonishment, fascination, and emotion depicted in the expression on the young woman keeps them intrigued in the painting. It reaches out to those who have worked hard in their life and who look forward to a better future. Even a small event such as a song of a lark gives them hope that there will be a better tomorrow, a thought that can be seen though the countenance by this girl. Although just a collection of oils on a canvas, she is someone who reaches out to people and inspires them to appreciate the small things that, even if only for a short moment, can make the road ahead seem brighter.
The speaker begins the poem an ethereal tone masking the violent nature of her subject matter. The poem is set in the Elysian Fields, a paradise where the souls of the heroic and virtuous were sent (cite). Through her use of the words “dreamed”, “sweet women”, “blossoms” and
Sandra Cisneros was born in Chicago and grew up in Illinois. She was the only girl in a family of seven. Cisneros is noted for her collection of poems and books that concentrate on the Chicano experience in the United States. In her writings, Cisneros explores and transcends borders of location, ethnicity, gender and language. Cisneros writes in lyrical yet deceptively simple language. She makes the invisible visible by centering on the lives of Chicanos--their relationships with their families, their religion, their art, and their politics.
In a psychological perspective, the author’s life is linked with the behavior and motivations of characters in the story. The author’s name is Edgar Allan’s Poe who portrayed his self in his writing. The miserable life of Poe can be measured through “The Cask of Amontillado” in which character named “Montressor” showed indifferent feeling towards his victim. After burying Fortunado alive, Montressor felt bad after burying his victim alive but then he attributes the feeling of guilt to the damp catacombs. To the character and to the author, it seems that ghastly nature murder and the immoral approach of treachery is merely an element of reality. This story is a true representation of author’s anguish and torment nature.
The purpose of this essay is to analyze and compare and contrast the two paired poems “My Last Duchess” by Robert Browning and “My Ex-Husband” by Gabriel Spera to find the similarities presented within the pairs. Despite the monumental time difference between “My Last Duchess” and “My Ex-Husband”, throughout both poems you will see that somebody is wronged by someone they thought was a respectable person and this all comes about by viewing a painting on the wall or picture on a shelf.
De Valera’s mother, Catherine Coll, usually known as Kate, came to the states in 1879, at the young age of twenty-three. Like so many other Irish immigrants of that time, she had suffered from poverty, and even hunger, in her native land and saw America as a place where she could go to try and get a fresh start. She first took a job with a wealthy French family that was living in Manhattan. This is where and when she met Vivion Juan de Valera. He was a Spanish sculptor who came to the home of her employers to give music lessons to the children.
Unlike in The Decameron, where the Brigata let their fear of death control the way that they live, Montaigne recognizes that death is inevitable and uses this knowledge to fuel the writing of his Essays. “But, as for death itself, that is inevitable. [A] And so if death makes us afraid, that is a subject of continual torment which nothing can assuage.” (Montaigne 19-20) He talks here about there being no point living in fear because all it does prevent you from enjoying life and accomplishing anything meaningful. In other words, do not spend your life worrying about something that you cannot control. There is no way for him to decide when he will die and so instead he decides to spend the time that he has writing something that he views as worth having spent his life on. He believed that in doing so his Essays would live on after he passed and be around to tell his story because he had no other progeny to do so. So instead of running from death, one should face it straight on and be able to say that their life meant something. Montai...
Lindberg, Laurie. "Wordsmith and Woman: Morag Gunn's Triumph Through Language." New Perspectives on Margaret Laurence: Poetic Narrative, Multiculturalism, and Feminism. Ed. Greta M. K. McCormick Coger. Westport, CT: Greenwood, 1996. 187-201.
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