An Allegorical Reflection on the Mexican Revolution

In analyzing portrayals of women, it is appropriate to begin with the character of Margarita. For, within the text, she embodies the traditionally masculine traits of bravery, resilience, and violence as a means of liberating herself from an existence of abuse and victimhood. Even more, the woman plays upon stereotypes of femininity in order to mask her true nature. The reader witnesses this clever deception in a scene where the character endures a “wholesome thrashing” from her huge, violent, and grizzly bear-like husband, Guerra (81). Although Margarita “[submits] to the infliction with great apparent humility,” her husband is found “stone-dead” the next morning (81). Here, diction such as “submits” and “humility” relate to the traits of weakness, subservience and inferiority that are so commonly expected of women, especially in their relationships with men. Yet, when one

The Mexican Revolution brought multiple parties and movements out of the woodwork. In John Womack’s Zapata and the Mexican Revolution, a story of one state’s drive for agrarian reform and its people’s evolving mission was told, with Emiliano Zapata as a pivotal leader. The dynamics of the revolution, however, reach deeper than Womack’s account portrays. While Womack documents the revolutionary path of the Zapatistas from the southern state of Morelos, the story of Pancho Villa, an arguably parallel character fighting for states in the North against the repressive powers of General Victoriano Huerta, reads more as a subplot. The writings of Samuel Brunk, Ana Maria Alonso, and Mariano Azuela shed light on the less simplistic dynamics of

I chose Carlos Merida and his Mexican murals because they consisted of popping color schemes and had an abstract vibe to them that attracted me and stood out from the rest of the artists to choose from. My three favorite works by Carlos would have to be La Máscara Mágica, Dancers of Mexico, and El Dios del Fuego. He was a well-known Guatemalan muralist and he became interested in the social revolution that was taking place in Mexico City, known as the Mexican Revolution. As Diego Rivera’s assistant he became involved in the artist revolution in Mexico that consisted of murals. His murals and art became influenced by the revolution and his art proves this.

The Mexican Revolution is a complicated part of the Mexico history and it is very hard to pin down when the revolution had ended. It is something that is highly debated about even in today. History of this period of Mexico is every changing as people interpret what the revolution was about. Some Scholars say 1940’s like Mexican historian Daniel Cosio Villegas while other professors would say that it ends later or early then that. It depends on what you think the Revolution was being fought for. I think that is some ways the Villegas is right, but that depend on my definition of the Mexican Revolution, but overall I must disagree with the statement. I think that it had the end of the tail end of the 1910’s into the 1920’s. I believe in some

This essay will be discussing how gender is portrayed in the films Todo Sobre Mi Madre (All About My Mother) and Tacones Lejanos (High Heels), both directed by Pedro Almodóvar. The use of the theatre and performance, along with the audiences that come with it, enables these films to explore the manner in which gender is unstable. Gwynne Edwards writes that Almodóvar often pays tribute to the stage . Almodóvar dedicates All About My Mother “to all the actresses who have played actresses, to all women who act, to men who act and become women” , which is also relevant to High Heels. He uses the stage setting as a platform to show the instability of gender, not only on a physical stage but also in the characters’ lives: “The dialogue of his films has the cut and thrust, and very often wit, of stage plays. There are also soliloquies, and one of them – in All About My Mother – is even delivered to the audience from the stage of a theatre” . Russell Jackson suggests that this is done as a method for the characters to “find the sometimes onerous ability to deal with and describe their past, and to create a future in the face of death and desertion.” The character ‘La Agrado’ in All About My Mother as well High Heels’ Femme Letal (Letal), will be considered - both the manner in which they carry themselves throughout the film, as well as the their performances on stage. In the following paragraphs, I will illustrate how performance and the stage are vital in Almodóvar’s exploration

You can see how Maria’s El Salvador is empty of people, full only of romantic ideas. Jose Luis’s image of El Salvador, in contrast, totally invokes manufactured weapons; violence. Maria’s “self-projection elides Jose Luis’s difference” and illustrates “how easy it is for the North American characters, including the big-hearted María, to consume a sensationalized, romanticized, or demonized version of the Salvadoran or Chicana in their midst” (Lomas 2006, 361). Marta Caminero-Santangelo writes: “The main thrust of the narrative of Mother Tongue ... continually ... destabilize[s] the grounds for ... a fantasy of connectedness by emphasizing the ways in which [Maria’s] experience as a Mexican American and José Luis’s experiences as a Salvadoran have created fundamentally different subjects” (Caminero-Santangelo 2001, 198). Similarly, Dalia Kandiyoti points out how Maria’s interactions with José Luis present her false assumptions concerning the supposed “seamlessness of the Latino-Latin American connection” (Kandiyoti 2004, 422). So the continual misinterpretations of José Luis and who he really is and has been through on Maria’s part really show how very far away her experiences as a middle-class, U.S.-born Chicana are from those of her Salvadoran lover. This tension and resistance continues throughout their relationship.

During the Mexican Revolution, Mexico as a nation torn in many directions, people gave up simple farming lives to take up arms against causes that many of them did not fully understand. Gender roles during the period in Mexico were exceptionally degrading towards women. Having little more rights than slaves and treated as trophies or property more than human beings, women role in society was nothing near that of a man’s. In The Underdogs, Mariano Anzuela highlights the issue of gender roles by continuously illustrating the punitive role of women and their mistreatment. Augmenting Anzuelas work with citations from Oscar Lewis and Stephanie Smith will paint a picture of the degrading gender roles for women during the Mexican Revolution. Highlighted points brought up by Azuela are how men speak with and treat women, women’s place in society, and general disregard for women’s feelings.

     The author of Mexican Lives, Judith Adler Hellman, grapples with the United States’ economic relationship with their neighbors to the south, Mexico. It also considers, through many interviews, the affairs of one nation. It is a work held to high esteem by many critics, who view this work as an essential part in truly understanding and capturing Mexico’s history. In Mexican Lives, Hellman presents us with a cast from all walks of life. This enables a reader to get more than one perspective, which tends to be bias. It also gives a more inclusive view of the nation of Mexico as a whole. Dealing with rebel activity, free trade, assassinations and their transition into the modern age, it justly

The Underdogs by Mariano Azuela is arguably the most important novel of the Mexican Revolution because of how it profoundly captures the atmosphere and intricacies of the occasion. Although the immediate subject of the novel is Demetrio Macias - a peasant supporter of the Mexican Revolution -, one of its extensive themes is the ambivalence surrounding the revolution in reality as seen from a broader perspective. Although often poetically revered as a ‘beautiful’ revolution, scenes throughout the novel paint the lack of overall benevolence even among the protagonist revolutionaries during the tumultuous days of the revolution. This paper will analyze certain brash characteristics of the venerated revolution as represented by Azuela’s

Like Water for Chocolate by Laura Esquivel is a powerful novel that serves as a great introductory guide to the Latin-American culture. The novel consists of primarily female characters, the De La Garza family, where each one portrays a female stereotype, or perhaps their role in the society. The setting of the story takes place during arise of the Mexican Revolution in 1910, which helps to further distinguish the roles of the women and how they go about living their everyday life. Like Water for Chocolate can be looked at as a story about two women, a daughter and a mother, Tita and Elena De La Garza. Tita, our protagonist, struggles against her mothers’ tradition, to “serve” her until the day she dies, without having a life of her own.

In The Underdogs written by Mariano Azuela, we are introduced to a character that strongly symbolizes the fuel of the Mexican Revolution. Heroes like Demetrio Macias brought the Serrano’s hope of giving them what they felt they truly deserved. Although Demetrio Macias, the general (colonel) of a rebel army is hunting down the army of Pancho Villa, he seems to have the same ideals as the enemy. In addition to Demetrio Macias, we meet women like Camilla and War Paint who represent the different roles that women played during the Mexican Revolution.

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

The emasculation of Pedro in Esquivel’s novel deconstructs the prescriptive roles of romance and Mexican society, redefining the patriarchal context in a 3rd wave feminist ambition. Esquivel’s textual construction mirrors the genre of Mexican women’s fiction. Through these codes as a foundation of the novel’s structure, Esquivel parodies the formulaic roles of the feminine, and wages an assault on these constructs, empowering the women of the text. Furthermore the traditional romantic narrative arc in which the text follows is unhinged through Pedro’s emasculation, disregarding the male hero figure, and vilifying the expectations of a patriarchal

The film, Like Water for Chocolate, represents a story through incorporating the idea of food as feelings and expressing the woman’s roles during the Mexican Revolution. The film is a romantic-comedy showing many joking ways of hard times and soft issues and the way of life. The most striking and theme seems to be how women seem to be in charge rather then males; during this time period, I thought that men were more likely to be the head of the household and in charge.

Like Water for Chocolate belongs to the genre of magical realism, a literary style first developed 1949, commonly recognised in Latin-American literature and was proposed as a natural outcome of postcolonial writing. (Britannica, n.d.) In terms of Mexico, Esquivel describes the country’s cultural myths and historical context to uphold the values and standards of gender throughout the Mexican Revolution.