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Political essay on the dominican republic
Political essay on the dominican republic
Political essay on the dominican republic
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Salomé Ureña de Henríquez is one of the most influential poets of the Dominican Republic in the nineteenth century. Her roles as a daughter, writer, patriot, teacher, wife, and mother blended throughout her life, and inspired her acclaimed poems. As an advocate for women’s education, she opened the doors of higher education to the women of her period and then on.
Salomé Ureña de Henríquez was born 21 October 1850 in the city of Santo Domingo, Dominican Republic, to Nicolás Ureña de Mendoza and Gregoria Díaz y León. Her father was a well-educated man: a lawyer, a teacher, a poet, and as a journalist founded newspaper El Progreso in 1853. She was born in a very turbulent time, surrounded by political uncertainty. Salomé Ureña was born after the battle of Independence in 1844, and the country was still going through tough times. She also lived through the War of Restoration of 1863 which aim to restore the government, and cut ties with the Spanish Empire a second time (“Dominican Republic: 1820s to 1900”).
She was educated mainly by her father and started writing very early on. Ureña de Mendoza continued Salomé’s education after she finished elementary school, he instructed her in literature, arithmetic, botany, and the classics from Spain, France and English. She first started publishing her work at seventeen under the pseudonym “Herminia” in local newspapers, and some critics even suggested that it was her father the author of such works (Erskine). After 1874, Salome started publishing her poems under her own name, having some of the published in foreign newspapers and included on the anthology Lira de Quisqueya (Lyre of Quisqueya). In 1878, she was presented a medal from the Sociedad de Amigos del País (Society of Friends of th...
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...a of Latin America: The Age of Globalization 3 (2010). Modern World History Online. Web. 11 May 2014.
Erskine, Thomas L. “Salomé Ureña de Henríquez.” Guide To Literary Masters & Their Works (2007). Literary Reference Center. Web. 1 May 2014.
Ureña de Henríquez, Salomé. Poesías Completas. 5th ed. Santo Domingo: Dominicana 1975. PDF file. 8 May 2014.
---. Poesías de Salomé Ureña de Henríquez. Santo Domingo: De García Hermanos 1880. Google Books Search. Web. 1 May 2014.
Skinner, Curtis. “Eugenio Maria de Hostos (y Bonilla).” Contemporary Authors Online. Detroit: Gale, 2003. Literature Resource Center. Web. 10 May 2014.
100 Años de Poesía: Homenaje de la UASD a Salomé Ureña. Santo Domingo: Universitaria 1999. PDF file. 8 May 2014.
Valle, Enid. “Salome Ureña de Henriquez.” Modern Spanish American Poets: First Series (2003). Literature Resource Center. Web. 22 Apr. 2014.
It is influential to have strong people who want to fight for their rights. It is often easy to focus on oppression than it is to change it. It takes courage to be able to go against the rules of law. In both “In The Time Of The Butterflies” and “The Censors” , Juan and the Mariposas not only reveal their courage, but also develop significant symbols to the roles of each one of them during their time overcoming oppression. The Mirabal’s behavior towards their determination to fight for freedom, symbolizes the hope for freedom. The Dominicans were blessed to have four courageous women who went against the law in order to better their country for all. In the other hand, Juan role to overcome oppression resulted in his death and death to many innocent people. His behavior symbolize distrust, one cannot trust anyone, not even yourself. He was so caught up with his job, doing what he believed was right, he ended up censoring
Swanson, Philip. "The Critical Reception of Garciá Márquez." The Cambridge Companion to Gabriel Garciá Márquez. New York: Cambridge UP, 2010. 25-40. Print.
Even today, she’s still considered “La Reina de Tejano” and her legacy still lives on. Works Cited 1) http://www.biography.com/people/selena-189149 2) http://www.people.com/people/archive/article/0,,20105524,00.html 3) http://www.selenaforever.com/
Alvar Nunez Cabeza De Vaca. "The Narrative of Cabeza de Vaca" University of Nebraska Press, 2003.
Soon after the Bishop of Pubela reads one of her letters, he publishes it (without her knowing), and she responds with a respectful yet sarcastic letter (Lawall and Chinua 155-156). Cruz’s “Reply to Sor Filotea de la Cruz” was written during the period of Enlightenment of Europe (1660- 1770). This era in Europe cast an opaque shadow over women’s rights to educate themselves and self-expression. Sor Juana’s piece however is both inspirational and empowering for every woman.... ...
Author’s Techniques: Rudolfo Anaya uses many Spanish terms in this book. The reason for this is to show the culture of the characters in the novel. Also he uses imagery to explain the beauty of the llano the Spanish America. By using both these techniques in his writing, Anaya bring s the true culture of
Upon returning to the Dominican Republic after many years, Yolanda decides to take a trip across the island––something her family views as ridiculous. “‘This is not the states’ . . . ‘A woman just doesn’t travel alone in this country.” (9) This quote highlights the sexism inherent in Dominican society. Yolanda’s family is asserting that women are not individuals capable of taking care of themselves. On another hand, Yolanda’s close friendship with Mundín causes tensions as their mothers confront them about crossing gender lines. “My mother disapproved. The outfit would only encourage my playing with Mundín and the boy cousins. It was high time I got over my tomboy phase and started acting like a young lady señorita. ‘But it is for girls,’ . . . ‘boys don’t wear skirts.’” (228) This is an example of how Dominican societal norms and gender roles have impacted the sisters. Yolanda and Mundín were the only boy-girl playmates out of all the García children, yet this was frowned upon by both of their parents as to not impede the seemingly inevitable growth of Yolanda’s femininity, and conversely, Mundín’s masculinity. Moreover, this shows how societally-prescribed gender roles were instilled in Yolanda at a young age. However, this is not the only way in which women’s freedoms are
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.
Esperanza, the most liberated of the sisters, devoted her life to make other people’s lives better. She became a reporter and later on died while covering the Gulf Crisis. She returned home, to her family as a spirit. At first, she spoke through La Llorona, a messenger who informed La Loca that her sister has died. All her family members saw her. She appeared to her mother as a little girl who had a nightmare and went near to her mother for comfort. Caridad had conversations with her about politics and La Loca talked to her by the river behind their home.
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.
In the book “Bless Me Ultima”, by Rudolpho Anaya, there were two families represented, the Marez family and the Lunas family. These two families were very different, but were brought together by the marriage of Gabriel Marez and Maria Lunas. Through the eyes of their son Antonio one may see the comparison of the two. The differentiation of these two families is very clearly noticeable, such as in their personalities, the expression of their religion, and their everyday ways of life.
The Structure of families is sometimes based on gender. Gender roles in the Dominican Republic are similar to the roles that use to be the norm in America and that is still present in some households. The men are treated as superiors while women are seen as house wives. Women are the primary caregiver, either through divorce or widowhood or if the husband is working far away from home (“Roles of Women”). Also women are expected to be dedicated in being a mother and a daughter and by their late twenties to be married (“Dominican Republic Traditions and Etiquette”). It is interesting that they are expected to be married at a certain age. The men take on the role that is traditional which is being the one who enforces rules. The role of the men and women is also based on the social class they are in. The middle and upper class families are called patriarchal and the father is the norm (“Dominican Family Structure”). In the lower classes of the Dominican Republic the women are taking on the role of the men, which is to support the family. In the lower class families the structure is sometimes matriarchal because the father does not live in the house (“Dominican Family Structure”). It is interesting that depending on the social class it determines the structure of the household. Also the family structure can also depend on the oldest married couple or within their extended family the oldest male would holds authority....
...s poems publication. In `A un olmo seco', we discover references to the cemetery of Leonor's grave, and the beauty of new shoots set against the decay of the `olmo's' trunk, which evokes Machado's young wifr in her terminal condition. `A un olmo seco' is highlights the central theme of landscape and countryside, and through the physical description, Machado remembers his personal experience in Soria. The river Duero acts as a leitmotif for the cemetery where his wife was buried. In `Caminos' as Machado develops the theme of his displacement in Baeza, his mood is finally attributed to the loss of his wife. Landscape can be linked with inner emotional landscape. The landscape in this poem is ominous, violent and inflexible: "hendido por el rayo." Therefore, landscape acts as a way of revealing inner emotion and Spanish National character throughout the collection.
Rulfo, Juan. Pedro Paramo. Trans. Margaret S. Peden. New York: Grove, 1994. Juan Rulfo Pedro Paramo. Cal Lutheran. Web. 8 Jan. 2014. .
"Garcia Marquez - Papers: "One Hundred Years and Chronicle"" Garcia Marquez - Papers: "One Hundred Years and Chronicle" N.p., n.d. Web. 27 Apr. 2014.