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Literary devices from mother to son
Literary devices from mother to son
Critical literary analysis of mother to son
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Predominant Spanish culture implements harsher societal expectations upon women, inherently provoking more oppression upon women than men. Early 1900s Andalusian culture, particularly, restricted women of many civil rights: they couldn't file for divorce, get an abortion, or place a vote. As societal norms repress the female population, women are coerced into an inferior position of submission, compelling them into heavy dependence upon the male figures in their lives. Austere societal expectations, in addition, demand chastity, respectful etiquette, and obedience in women, wherein worldviews are influenced to believe that marriage is more of a contract rather than a choice made to cater to one's preferred lifestyle. In Federico Garcia Lorca's Blood Wedding, evidence of societal values implemented in Spanish culture are primarily depicted through Lorca's use of the three leading female characters, Mother, Wife and Bride. Mother upholds the traditional role of a mother, maintaining the old-fashioned image of societal normalcy in Spanish culture; Wife, as expected by cultural expectations, is entirely submissive and inferior to her husband, Leonardo; and Bride portrays the emerging new generation of free will and feminism, a stark contrast to traditional Andalusian belief.
A well-kept woman in early Andalusia is marked by her devotion to the family, elaborating particularly on her ability to provide shelter and affection. Similarly, in Mother's worldview, a woman's priorities lie with her family, and should cater to the shared family marriage is “a man and his children, and a thick stone wall to keep the rest of the world out” (51). This family-oriented outlook equates the duty of homemaking with a sense of fear, underlying Moth...
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...ss with the freedom to determine one's own decisions in life. Yet despite the various archetypes and symbols underlying the female leads in the play, the predominant motif of fate illustrates the inevitability of loss regardless of what action is taken in measures regarding the societal values. The psychological turmoil depicted in Lorca's play evokes a sympathetic response from the reader that instigates an ambiguity concerning the effect of conformity; the aftermath of the characters' fates compels the reader to question traditional roles in society and the actual effect of acting one's independence.
Works Cited
"Lorca and Andalusia." Introduction. Blood Wedding. Trans. David Johnston. London: Hodder and Stoughton Educational, 1989. 1-5. Print.
Lorca, Federico García. Blood Wedding. Trans. David Johnston. London: Hodder and Stoughton Educational, 1989. Print.
Gabriel García Márquez, 1982 Nobel Laureate, is well known for using el realismo magical, magical realism, in his novels and short stories. In García Márquez’s cuento “Un Señor Muy Viejo con Alas Enormes,” García Márquez tactfully conflates fairytale and folklore with el realismo magical. García Márquez couples his mastery of magical realism with satire to construct a comprehensive narrative that unites the supernatural with the mundane. García Márquez’s not only criticizes the Catholic Church and the fickleness of human nature, but he also subliminally relates his themes—suffering is impartial, religion is faulty by practice, and filial piety—through the third-person omniscient narration of “Un Señor Muy Viejo con Alas Enormes.” In addition to García Márquez’s narrative style, the author employs the use of literary devices such as irony, anthropomorphism, and a melancholic tone to condense his narrative into a common plane. García Márquez’s narrative style and techniques combine to create a linear plot that connects holy with homely.
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
Meyer, Michael. The Bedford Introduction to Literature. Ed. 8th ed. Boston: Bedford/St. Martin's, 2008. 2189.
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.
Diaz, Junot. “Fiesta.” The Heath Analogy of American Literature: Sixth Edition. Ed. Paul Lauter. Boston: Wadsworth, 2006. 4070-4080. Print.
Lope de Vega’s play touches upon several key components and ideas that were brought up in many of the other stories read throughout the semester. This included the role of gender and how men and women are viewed differently in the Spaniard town of Fuenteovejuna. Another topic included the importance of family, love, and relationships and their connection on loyalty, trust, and personal beliefs. The last major influence found in other literature and in Fuenteovejuna, were the political and religious references made throughout the play. Even though Lope de Vega didn’t make these views obvious, the reader could still pick up on their connotation and the references made towards these specific ideas. With all of this in mind, each of these components played an important role in each civilization read, and even over 1,000 years later it continues to be a social topic as well as a large part of the culture. The only difference a reader or scholar could make for this particular piece of literature is its authenticity and how it was based on a true event. Regardless, new views on power and how one obtain it become apparent through the dialogue between characters like Laurencia and the Commander.
Six chapters form the core of the book. In “Women, Marriage and the Family,” the author gives specific consideration to the ideologies of gender apparent in the Church and family law, contrasting the traditions of Latin America’s different socioracial groups and economic classes. The chapters “Women and Work,” “Women and Slavery,” and “The Brides of Christ” offer summaries bolstered by statistics and specific examples of the choices and criticisms that determined the standards of women’s lives in the sixteenth and seventeenth centuries. For example, in “Women and Work”, Socolow writes, “Female silk spinners were so numerous in Mexico City that in 1788 they were allowed to organize their own guild” (115). She compellingly contends that sex was the most important element determining a person’s standing in society: “race and social class were malleable; sex was not”
...le for them throughout the play, and it came to a head at the end of their lives. This play highlights the importance of identity, by showing what happens without it. Without your identity, you will pass through life with no purpose, until you stopped living.
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.
Family is one of the most important institutions in society. Family influences different aspects of a person’s life, such as their religion, values, morals and behavior. Unfortunately, problems may arise when an individual’s belief system or behavior does not coincide with that of family standards. Consequently, individuals may be forced to repress their emotions or avoid acting in ways that that are not acceptable to the family. In the novel The Rain God, written by Arturo Islas, we are presented with a story about a matriarchal family that deals with various conflicts. One major internal conflict is repression. Throughout the novel the characters act in strange ways and many of the family members have internal “monsters” that represent the past that they are repressing. In his article, “The Historical Imagination in Arturo Islas’s The Rain God and Migrant Souls”, Antonio C. Marquez’s implicitly asserts a true idea that The Rain God is a story about repression. Marquez’s idea can be supported from an analysis of secondary sources and a reading of the primary text.
The Masque of the Red Death." The Language of Literature. Evanston, IL: McDougal Littell, 2006. 455-61. Print.
Another major theme in the play is that characters are reluctant to tell the truth because they are afraid of the consequences. In the play there are several occasions when one or more characters don’t want to tell the truth because they are afraid of the consequences. For example, Jocasta says, “Stop- in the name of god, if you love your own life, call of this search! M...
Bergmann, Emilie. "Abjection and Ambiguity: Lesbian Desire in Bemberg's "Yo, la peor de todas." Hispanisms and Homosexualities. Ed. Sylvia Molloy and Robert McKee Irwin. Durham: Duke UP, 1998.
In Latin America, women are treated differently from men and children. They do lots of work for unexplainable reasons. Others for religious reasons and family orders and others because of the men involved. Women are like objects to men and have to obey their orders to either be rich or to live. Some have sex to get the men’s approval, others marry a rich man that they don’t even know very well, and become slaves. An important book called Chronicles of a Death Foretold is an example of how these women are treated. Purisima del Carmen, Angela Vicario's mother, has raised Angela and her sisters to be good wives. The girls do not marry until late in life, rarely socializing beyond the outsides of their own home. They spend their time sewing, weaving, washing and ironing. Other occupations include arranging flowers, cleaning up the house, and writing engagement letters to other men. They also keep the old traditions alive, such as helping the sick, comforting the dying, and covering the dead. While their mother believes they are perfect, men view them as too tied to their women's traditions. The men are afraid that the women would pay more attention to their job more than the men. Throughout the book, the women receive the respect they deserve from the men and others around them.
Márquez's One Hundred Years of Solitude. María Elena de Valdés and Mario J. Valdés. New York: The Modern Language Association of America, 1990. 21-32.