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Critically analyse the character of Emma
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Recommended: Critically analyse the character of Emma
My short story “Mi Casa et su Casa” focusses on the theme of a veneer which is also addressed in Sam Mendes’ film American Beauty. The intention of the text was to present the narrator’s mother, Alejandro, in the way in which she represented in central concept that was also portrayed through various characters in the film. Significant motifs and symbolism present in American Beauty was mirrored in the narrative to place emphasis on important events and objects. Like the Character of Lester in the stimulus material, Alejandra comes to a resolution about the beauty of life, especially the one she once possessed in Mexico, coming to understand what is really beautiful about life.
The character of Emma’s mother, Alejandra, endeavors to portray
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her family as typically American, masking their true ethnicity behind a constant false preoccupation. This concept of a veneer is also conveyed through various characters within the film American Beauty and is highlighted through the statement of Buddy Kane “In order to be successful, one must project an image of success at all times” (IMDb, n.d.). Like Alejandra, Angela portrays the false veneer of a sexually experienced teenager which enables her shallow understanding of self to be fully recognized. Through the film she is depicted criticizing others for their ordinary and common demeanor “I don't think that there's anything worse than being ordinary”, whilst she worries that this in fact her defining quality; Angela Hayes: Yeah? Well, at least I'm not ugly! Ricky Fitts: Yes, you are. And you're boring, and you're totally ordinary, and you know it. (IMDb, n.d.) This personal front can also be viewed in reference to the character of Carolyn who, like Alejandra constantly attempts to live the American dream through her materialistic views, compromising her marriage. Carolyn Burnham: This is a $4,000 sofa, upholstered in Italian silk. This is not just a couch. Lester Burnham: [shouts, pounding a couch pillow to each syllable] It's just a couch! Lester Burnham: This isn't life, it's just stuff. And it's become more important to you than living. Well, honey, that's just nuts. (IMDb, n.d.) Like these characters before her, Barbara Fitts conveys the appearance of a veneer through the state of her immaculate house for which is apologies “I'm so sorry for the way things look around here” (IMDb, n.d.).
However, through the progression of the film the audience recognizes that Barbara’s mental health and the condition of her marriage with a homosexual man is far from perfect. This is present in the creative piece where Alejandra attempts to control the activities of her children and furnishes her home with ideal American décor, like the Statue of Liberty. As with all the characters mentioned above, Alejandra coveys a false portrayal of herself to mask her true identity in the attempt to be seen and perceived as perfectly ordinary.
The concept is also significantly impacted by the use of a mirror which appears in both the stimulus and creative text. This object is included in the scene when Emma notices the hat as it is a reflection. The inclusion of this image through the mirror depicts something of altering appearance which largely impacts the dynamics of their household and unlike the characters fronts within the texts; the mirror shows a realistic reflection of their actual appearance with an inability to mask any
feature. Devices placed within the creative were used to communicate a deeper meaning to enhance the thematic link between the story and the stimulus text. The object of the cordovan hat was included as a classic symbol of Mexican Culture. The description of its colour, which is red, was included in reference to the film American Beauty in which this is used to significance an object of great importance. Like the cordovan hat, the statue of liberty was also used to signify a culture. For many people immigrating to the United State, the Statue of Liberty was recognized as a beacon of hope. Due to its location, it was often their first view of the United States and signified a life of new opportunities (U.S. National Park Service, n.d.).Both of these key objects were included as their underlying symbolism conveyed the merging and collision of two cultures, similar to the colliding worlds of Lester and Ricky witnessed in the stimulus text. The names of both children, Emma and Noah, also conveyed an underlying symbolism as they were both, based on the Social Security Administration’s May 2015 Statistics, the most popular American name(Family Education, 2015). This signifies the great extent of Alejandro’s need for an American appearance and the great length she went to in order to achieve ‘normality’. Through this we can determine the similarities present with Lester who took extreme measures including illicit drug use to achieve his false appearance.
“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.
A debutante’s life came at a price; for the 16 year-old Dolores it was an arranged, loveless marriage to lawyer Jaime Del Rio. Jaime was 18 years her senior, his family one of the oldest and most influential in Mexico. Their wealth allowed for a European honeymoon, where they were invited to dine with the Spanish Royal family. The honeymoon morphed into a three year romp, with Dolores delighting in voice and dance lessons at stately Madrid and Paris schools. In 1921, the couple returned to Mexico City, Jaime intent on advancing his career whil...
Grande introduces to the audience various characters that cross Juana 's path to either alter or assist her on her journey to find her father. Through those individuals, Grande offers a strong comparison of female characters who follow the norms, versus those that challenge gender roles that
Junot Diaz’s novel The Brief Wondrous Life of Oscar Wao is focused on the hyper-masculine culture of the Dominican, and many argue that his portrayal of the slew of women in the novel is misogynistic because they are often silenced by the plot and kept out of the narration (Matsui). However, Diaz crafts strong women, and it is society that views them as objects. The novel recognizes the masculine lens of the culture while still examining the lives of resilient women. In this way, the novel showcases a feminist stance and critiques the misogynist culture it is set in by showcasing the strength and depth of these women that help to shape the narrative while acknowledging that it is the limits society places on them because of their sexuality
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.
Elena Poniatowska escrita durante una epoca de cambio en Mexico. Antes de sus obras las mujeres mexicanas eran sometidos, docil, y pasivo. En la tiempo de sus obras las mujeres estaba tratando salir de los estereotipos de antes. Esta problema social tomo un afecto en Elena. Aunque ella no viene de un movimiento literatura directamente, ella escrita con el concepto de compremetido. En su narrative El Recado ella crea un mujer estereotipical que no puede controlar sus emociones. La titula es eso porque ella viene a ver su amante, pero el no esta, asi ella escribe las cosas que sentia. La perspectiva es de un personaje y ella nunca interacta con otros personajes. En facto la unica descripcion de un personaje otro de la protagonista es de su amante Martin. Habla de otros personajes, pero solamente de sus acciones. Porque ellas es la unica perspectiva que tenemos es sencillo a sentar compasion para una protagonista de quien nombre no aun sabemos. Ella da la descripcion de toda que vea, y mas importante todo que se sienta. Tambien tropos y figuras retoricas dan un tono significante al poema. Estos sentimientos de la portagonista y el tono emocional de la narrativa transporta una tema de una mujer estereotipical y debil quien quiere ser reconocido.
In this short story Sandra uncover the tension between Mexican heritage and demands of the American culture. Cleofilas life consisted of never ending chorus, no good brothers, and a complaining father. She is so excited when the day come for her to become married so she can move away from her town where she grew up, were there isn’t much to do except accompany the aunts and godmothers to the house of one or the other to play cards. She was excited to be far away, all she could think about was to have a lovely house and to wear outfits like the women on the tele. Her picture of the ideal Mexican wife soon became a nightmare when she finally arrived to Texas, where she
Imagine being born into a rich, wealthy family, where your last name is respected and well-known by many. To say, living in a big, beautiful house and able to wear fancy silk dresses, so fortunate, that you have servants to cook and clean for you, and every year when it’s your birthday, it’s celebrated big, just as Esperanza Ortega did. Throughout the story of Esperanza Rising the author Pam Munoz Ryan ( 2013) illustrates an image to the reader of a young, rich, Mexican girl who is forced to mature and grow up much faster than expected. Correspondly, at the beginning of the book, Esperanza lives a rich life, to say, she had it “all,” but a sudden tragedy quickly changed her and her family’s life, whereas by the end of the story, Esperanza
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.
Federico García Lorca’s poem “La casada infiel” depicts the story of a gypsy who makes love to a married woman on the shore of a river. When looking deeper into the poem, Lorca appears to provide a critical observation on the values of the conservative society at the time in which he lived. The woman, at her most basic reading, is treated as an object, elaborating on the sexist values in society at the time. Lorca addresses issues of sexism as well as issues of sexuality within society mainly through the poem’s sexist narrative voice, objectification of the female character and overriding sense of a lack of desire throughout the poem. His achievement to do so will be analysed throughout this commentary with particular attention to Lorca’s use of poetic techniques such as diction, personification and imagery.
She has ambitious dreams, dreams of success (The American Dream), luxury served on a silver platter which was molded by the numerous movies and novels she watched and read growing up in Mexico. Some also shaped by what she has witnessed growing up, most of the men who travelled from Tepoztlan
It is easily inferred that the narrator sees her mother as extremely beautiful. She even sits and thinks about it in class. She describes her mother s head as if it should be on a sixpence, (Kincaid 807). She stares at her mother s long neck and hair and glorifies virtually every feature. The narrator even makes reference to the fact that many women had loved her father, but he chose her regal mother. This heightens her mother s stature in the narrator s eyes. Through her thorough description of her mother s beauty, the narrator conveys her obsession with every detail of her mother. Although the narrator s adoration for her mother s physical appearance is vast, the longing to be like her and be with her is even greater.
This essay will attempt to compare and contrast two films directed by Spanish director actress Iciar Bollain. The films to be compared and contrasted are “Hi, are you alone? (“Hola,estas sola?”) and “Flowers from another world” (“Flores de otro mundo”). The most apparent reason for comparing and contrasting these two films is that both focus their attention on women’s affairs and behaviours in today’s Spanish society, both display similarities in their content but most important is the differences that one may find in the portrayal of women the director seems to be interested in.
The story is permeated with softly fragrant. At first, the narrator romances their poverty. Della suffered the strong desire and poverty, she was so disappointed.
As such, she is able to create new formulations of identity all the while the viewers are witnesses to the “new transgressive possibilities” (hooks, “The Oppositional Gaze” 202) such formulation entails, one that is not necessarily defined by garments, but by the gaze, the body and the ways it maneuvers itself, as well as the objects it holds on to. Such transgressive possibilities materialize in Edita’s gaze, one that seems to suggest, in hooks words: “Not only will I stare. I want my look to change reality” (“The Oppositional Gaze” 180). Beyond mere cosmetics, it is in fact Edita’s oppositional gaze that which allows for the disidentification with the domestic worker reality, and the movement from object to