The moment when Rosalia and two other girls, find themselves in a motel room with two older men. Sharing a bed with the two other girls, Rosalia choosing the bed's edge, refusing to move when they girls had asked her to. Rosalia slipped out under the covers only to test the men, with no intent to escape as where would she go? She reached out for the door and unlocked it, once the men awake from their sleep. They were assertive and very cautious of her leaving, as she was their property and paid good money for her. As one of the men raised his hand up to strike Rosalia, “Not on the face!” the other man shouted. At this moment they men knew that Rosalia knew what was happening. She knew that would not be working in a ‘factory’ but in a ‘brothel’ sold as a prostitute was her fate. [ PAGE 76 – 77] …show more content…
After the incident of Rosalia testing the men in the motel room leads to a man striking er in the stomach, falling to her knees while her face is pushed into the dirty motel carpet. Rosalia did not cry, and got onto to her feet , back into bed pulling the covers up to her chin. They men take off her shoes assuming that with the lack of shoes/ footwear would stop her from running away. Rosalia smiles on the inside knowing that the men are underestimating for what Rosalia had got in her. Rosalia testing the men to see how they would react was a very intellectual choice even though she had to suffer the consequences, she had found out
Nevertheless, her attempts are futile as he dismisses her once more, putting his supposed medical opinion above his wife’s feelings. The story takes a shocking turn as she finally discerns what that figure is: a woman. As the story progresses, she believes the sole reason for her recovery is the wallpaper. She tells no one of this because she foresees they may be incredulous, so she again feels the need to repress her thoughts and feelings. On the last night of their stay, she is determined to free the woman trapped behind bars.
And readers are thus exposed to the exploitation and extortion that goes on in this cycle of sympathizers. While the gathering of the women is supposed to be a period of preparing the widows for their confinement, it turns to a period of financial exploitation of the widows. Ramatoulaye succinctly expresses her displeasure,
Additionally, this also explains a huge part of why the labor force both in the story “Malintzin of the Maquilas” and in real life is unable to fight for better working conditions and contracts. This fact is another reason why management turned to women to field their workforce. As stated by Kopinak, “Supervisors reported that whereas men and women were comparable in productivity, women made fewer claims than men before the Junta Local de Conciliaciony Arbitraje concerning the violation of their legal rights as workers” (Kopinak 32). Such a statement is proven to be true by the event that takes place in the story in which Rosa Lupe was first publicly humiliated, then sexually assaulted, and then sexually harassed. Despite the fact that all three of the above occurrences are illegal and violate both legal and moral laws, nothing was done by Rosa Lupe in terms of reporting the event to a higher authority (Fuentes 125-126). In addition to the fact that the workers of Maquiladoras felt that they had no voice nor any representation at the management level, the female workers were again falling into the “passive” role that Paz defined as one of the traditional roles for a woman (Paz 81). In the case of Rosa Lupe, she especially falls into the role of the “Chingada” in that she did “not resist violence” in terms of doing more to report what happened to her to a higher level of management (85). Without the feeling of being “macho” or powerful, it proved hard for the women of the Maquiladoras to take a stand for themselves
However, she manages to rescue six girls from that brothel. Each of the ten small bedrooms in the brothel contains two nasty, worn, and stained mattresses on the floor and bloody tissue paper in the trashcans. Each door has a lock on the outside that explains why the girls could not run away from their clients. In this one scene, there are anomalies being seen left and right. The first are the pictures of the little girls on the inside of the bedroom doors.
Phaidon Press Limited). 1975), 35. 31. What is the difference between a'smar Cook, 219, 249. Bibliography Commager, Henry Steele, and Richard B. Morris. The Spirit of ‘Seventy Six’.
Cleófilas looks over her shoulder at every turn, terrified that “Juan Pero might appear in a doorway. On the street” (Cisneros, 55), until she meets Felice, her liberator, and all her fears melt away. “Everything about this woman, this Felice, amazed Cleófilas, the fact that she drove a pickup. A pickup, mind you, but when Cleófilas asked if it was her husband’s, she said she didn’t have a husband. The pickup was hers. She had chosen it. She herself was paying for it” (Cisneros, 55). Seeing the way Felice provides for herself, doesn’t need a rich husband take care of her physically or emotionally, and most importantly, the freedom that comes with being self-sufficient, is a turning point for Cleófilas. It is through Felice’s “holler” while crossing the creek of the “weeping woman” that Cisneros paints a picture that is symbolic, not only of Cleófilas's transformation from a self-pitying and oppressed to reborn, newly confident and freedom-seeking woman, but also of a transformation that any “weeping woman” can bring about in herself, if she takes that first step towards freeing herself. Through this striking symbolism, Cisneros redefines the “weeping woman” stereotype as a new, confident, and independent “hollering woman”. Although the ending is somewhat ambiguous, the last sentence brings a bit of closure. “Then Felice began laughing again, but it
Although prostitution may be one of the world’s oldest professions to this day it is seen as a degrading and disrespectful career especially when regarding female prostitutes. In Chronicle of a Death Foretold, the town is very critical and strict about chastity and premarital sex. Maria Alejandrina Cervantes is the town madam which by society’s standards makes her to most marginalized, but ironically she is not brought down by her society’s rules. Gabriel Garcia Marquez uses characterization and irony to demonstrate Maria Alejandrina Cervantes’s contradictory role and to develop the theme of going against society in Chronicle of a Death Foretold.
When so... ... middle of paper ... ... Vol. VI: books 21-24.
...the story concludes with the woman "crouched," still naked, "in the underbrush" below her house and marveling how strange it is to be seeing her husband at last after "having wanted so desperately to get home," and yet now feeling "no emotion" at what she saw. (138)
When I read this novel last year I passed the scene of Marilia nagging about adopting a girl at a glance . However, after spending few months in women's and gender studies master program, this scene was one of th...