I Juan de Pareja takes place in various places during the 17th century. Juan, the main character in the story was born into slavery in the early 17th century. His mother was named Zulema but Juan was not told much about his father. Juan’s mother died when Juan was at age five. Juan does not the cause of death of his mother, and was told that she had went to heaven. That is basically the background info we are given at the start of the book. Let’s dive a little bit deeper into the beginning of the story Seville is a small town where Juan currently resides in with his first mistress, Dona Emilia. Juan de Pareja’s master, Basilio spent a lot of his time in the warehouse. He was frequently ill and this was apparent with his yellow skin. One day mistress decided to teach Juan de Pareja how to write so that he could …show more content…
write mistress’ letters.
Eventually Juan de Pareja’s master had died and Juan de Pareja wrote a letter to the mistress’s nephew After master's death we learn more about Juan de Pareja’s interest in painting. Juan talks about Pacheco, a great painter and how he love to visit a painters studio to, “watch him lay on the colors.” Unfortunately Juan de Pareja was typically too busy tending to mistress to visit Pacheco’s house. One day Juan de Pareja was able to get away from mistress to go to Pacheco’s house. It was a poor time to do so, since the painter’s daughter had recently died. During the funeral people talk about how, “There’s pest in the city.” Juan de Pareja was frightened by this and ran off to the bakehouse but there on the door was a red cross indicating that somebody is dying of the plague inside. Shortly after these events mistress had died, and now Juan de Pareja was ill. Brother Isidro had come to his house to cure him. Later Juan de Pareja’s house was sold and Juan de Pareja to move to Brother Isidro’s convent. Juan spends his time there taking care of the
children. Later Juan de Pareja meets Don Carmelo. Don Carmelo treated Juan de Pareja poorly on the journey to Madrid, and often beat him. He also suggested that Juan de Pareja should steal to keep himself fed. But Juan de Pareja didn’t have to endure Don Carmelo’s mistreatment for much longer. Juan de Pareja saw a baker and left Don Carmelo for him. After Juan leaves the baker he goes to Madrid where he meets his next master, velazquez. Juan’s new master was fair to Juan and did not beat him like Don Carmelo. After many years with this master Juan steals paints from him and paints. It is illegal in Spain at this time for a slave to paint. But later Juan’s master frees him. Years later Velasquez dies as well as Juan’s mistress.
Raul Ramirez is a very confident, creative student that is in Mr.Ward’s high school english class in The Bronx,New York, who loves to paint. Raul used to paint his sister by bribing her with whatever he could scunge up,but know his girlfriend just sits for him. He knows that painting will not give him much money and tells the readers by saying “People just don’t get it.Even if I never make a dime --which,by the way,ain’t gonna happen--I’d still have to paint.” Raul is also a very shy teenager that wants to be an artist and will be the first person in his family to be a painter if he becomes one. The thing is even though his “brothers” don’t support him--by laughing at him and saying he's loco-- he still wants to paint and says it by saying
Juan and Carmen, as parents, had the duty of protecting and raising their child, when they were faced with their lives at stake, they took up this duty and gave their child
...also accurately. “Salvador’s confession lasted three hours and twenty-two minutes and wrung Salvador out as if he’d been taken to the stream like a bunch of dirty clothes and his heart and soul were pounded with stones and scrubbed hard with soap” (537). Doña Margarita is pious woman along with having a great influence over Juan, which is shown above. Juan realizes that his mother is right, if he truly wants to be happy in his marriage he cannot start off with being unholy in his mind, so he must cleanse himself by going to Reconciliation. The children of the matriarch, mainly Juan because of his radical changes during his life, are greatly influenced by their mothers. They have become living embodiments of each of their mothers stand for, which was the real goal of the mothers after all.
Cleofilas, must endure the hard labor of her husband’s temper and if she doesn’t take on both gender roles for example: housework, caring for her children, and the outside duties of the home, she suffers the consequences of her husband and the beatings. Juan Pedro, Cleofilas husband is just like society in this situation, he doesn’t think twice about laying a hand on his wife. Whereas, in Cleofilas situation, society doesn’t want to get involved and will place the incident “under the rug” they don’t want to be asked questions, by the husband or the
... him and the second is a more direct discrimination of the native Andeans. The manuscript was addressed to the King of Spain, with the intention of seeking reformation of the Spanish colonial domination, to save Andean lives from exploitation and diseases. Felipe de Ayala's personal experiences during the colonial period as a Church servant, transform his believes, to realize that the Andean civilization and culture were at risk. These facts are widely portrayed in his vivid drawings as a medium full of colonial affairs. As a result of this inner awakening, he decides to dedicate the rest of his life to his people and become an activist of the colonial regime. Felipe Guaman Poma de Ayala illustrates desire for a reformation of the colonial system through an effective way of communicating his ideas, mostly through pictures, in his 1,200 letter to the King of Spain.
As a young child, Rodriguez finds comfort and safety in his noisy home full of Spanish sounds. Spanish, is his family's' intimate language that comforts Rodriguez by surrounding him in a web built by the family love and security which is conveyed using the Spanish language. "I recognize you as someone close, like no one outside. You belong with us, in the family, Ricardo.? When the nuns came to the Rodriquez?s house one Saturday morning, the nuns informed the parents that it would be best if they spoke English. Torn with a new since of confusion, his home is turned upside down. His sacred family language, now banished from the home, transforms his web into isolation from his parents. "There was a new silence in the home.? Rodriguez is resentful that it is quiet at the dinner table, or that he can't communicate with his parents about his day as clearly as before. He is heartbroken when he overhears his mother and father speaking Spanish together but suddenly stop when they see Rodriguez. Thi...
Throughout the time I spent between the covers of The Prince of Los Cocuyos, I was astounded by Richard Blanco’s dynamic relationship with the novel’s sole “antagonist”: his abuela. It seemed that no matter how many times he was chagrined at her attempts to negotiate the English language, or was forced to repress his very personhood to meet her traditional standards of manhood, she never ceased to be a pillar of support for a young Richard Blanco. But beyond his grandmother, Mr. Blanco made it quite clear that he was surrounded by a pueblo of family and friends throughout his childhood and adolescence, a village that would confound his “becoming” but foster his growth, make him question his identity and yet be intricately connected to it. It
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.
At the beginning of the story, the protagonist, Cleofilas, had an illusion that all romances are like the ones she has seen on television. However, she soon realizes that her relationship with Juan Pedro was nothing like what she had dreamed it would be. Cisneros wants to emphasize the idea that when men bring home the primary source of income in the family, they feel they have power over their wives. Cisneros uses Juan Pedro in the story to portray this idea. For instance, Cleofilas often tells herself that if she had any brains in her, she would realize that Juan Pedro wakes up before the rooster to earn his living to pay for the food in her belly and a roof over her head (Cisneros, 1991, p.249). Cisneros wants to make a point that when men feel that they have power over their wives, women begin to feel a sense of low self-worth.
Valle’s most significant contribution to the Spanish theatre is his invention of the literary style of esperpento, which is best represented in one of his most famous plays, Luces de Bohemia. Valle created esperpento with the aim of representing the harsh realities of Spanish twentieth century society through the concave lens of grotesque deformation, so that he could present the lives of the Spaniards in the light of mockery and absurdity. During his writing of Luces de Bohemia, the Spanish society has been brought to a halt, along with the lack of political progress and social improvement, therefore this concerning political situation has influenced and steered Valle towards his literary evolution, the exaggerated grotesque, which he though was the only suitable way to represent the shocking reality and problems of Spain. In this way, he could alarm the people to terminate their complacent acceptance of this reality and he could also produce a distancing effect which renders the reader immune to the play’s purpose, thus making the artistic experience more tolerable. His experience in the killing fields was what made him t...
Camillo receives multiple letters. However, the last letter posed the most threat as it symbolized hate. The fact is unbeknownst to the reader at the beginning of the short story. After Camillo receives the letter from his best friend, readers are still unable to distinguish the importance of the letter. However, readers soon discover that Villela writes the letter out of anger and suspicion that something strange was going on with his wife. Villela was determined to figure out what it was. The author, Machado de Assis, ensures that the letter and its meaning remain questionable and ambiguous throughout the story. The letter states “‘Come immediately to our house; I must talk t...
At the beginning of the story, the protagonist, Cleofilas, had an illusion that all romance is like the ones she had seen on television. However, she soon realizes that her relationship with Juan Pedro was nothing like what she had dreamed of. Cisneros wanted to emphasize the idea that when men bring home the primary source of income in the family, they feel they have power over their wives. Therefore, Cisneros used Juan Pedro in the story to portray this idea. For instance, Cleofilas often tells herself that if she had any brains in her, she would realize that Juan Pedro wakes up before the rooster to earn his living to pay for the food in her belly and a roof over her head (Cisneros, 1991, p.249). Cisneros wanted to make a point that when men feel that they have power over their wives, the woman begins to feel a sense of low self-worth.
Rivas-Rojas, Raquel. “FABULAS DE ARRAIGO VICARIO EN LA NARRATIVA DE JULIA ALVAREZ. (Spanish).” Canadian Journal Of Latin American & Caribbean Studies 33.66 (2008): 157-169. SocINDEX with Full Text. Web. 25 Mar. 2014.
Throughout his novel, Don Quixote, Miguel Cervantes effectively uses the transformation of reality to critique and reflect societal and literary norms. In three distinct scenes, Don Quixote or his partner, Sancho, transform reality. Often they are met with other’s discontent. It is through the innkeeper scene, the windmill scene, the Benedictine friar scene, and Quixote’s deathbed scene that Cervantes contemplates revolutionary philosophies and literary techniques. The theme of reality transformation does not even stop there. Sometimes the transformations of reality scenes act as mimetic devices. Ultimately, Miguel Cervantes’ use of transformative scenes acts as a creative backdrop for deeper observations and critiques on seventeenth-century Spanish society.
The emotional letter that Juan left for his mother might be one of the most emotional scenes in the documentary. The pure emotions that the letter was written by Juan to her mother leaves the audience with the bonds and emotions felt between the kids and families. Juan Carlos’s father abandoned the family years ago and left to New York, consequently Juan believe it is his responsibility to provide for his family. He also wants to find his father in New York and confronts him about why he has forgotten about them. The story of Juan is not just about migration of children, but also the issue of family separation. The documentary does not dehumanize but rather bring the humane and sensitive lens to the story of Juan where the human drama that these young immigrants and their families live. Juan Carlos is not the first of Esmeralda’s sons to leave for the United states, his nine-year-old brother Francisco was smuggled into California one month earlier. Francisco now lives with Gloria, his grandmother, who paid a smuggler $3,500 to bring him to Los Angeles, California. Once Juan Carlos is in the shelter for child migrants his mother eagerly awaits him outside. After she sees him she signs a paper that says if Juan Carlos tries to travel again, he will be sent to a foster home.