Analysis of Cervantes' Techniques in His Literary Works Essay

A girl is taught that she must follow the path of womanhood, a girl is teached these things by her mother doing these things, and the the child such as Esperanza has no other choice but to want to do what there parents do, because an innocent child assumes good, and bad. Mothers like Alicia that have fallen in the trap of womanhood in a marginalized community’s, those are the people showing the next generation to follow their path into womanhood through example. Even though Women have fallen into the traps males have set in a marginalized community, girls have been relatively young when they were blinded by male dominance. The instances when young girls are captured by the monster of male figures is worse, because it could take apart a family in an instance, for example on vignette number thirty three, “Minerva Writes Poems”, Esperanza claimed when she is describing Minerva's life “Minerva is only a little bit older than me but already she has two kids and a husband who left. Her mother raised her kids alone and it looks like her daughters will go that way too. Minerva cries because her luck is unlucky. Every night and every day. And prays”(Cisneros 84). The power that males have on a community like in Esperanzas, is overwhelming, the power to make or break a family like Minerva's, the power to force a woman to leave her own family for the chance of

Martirio once had a man interested in her but that opportunity was snatched away from her by Bernarda. On page 191 Poncia says, “Martirio is lovesick, I don't care what you say. Why didn't you let her marry enrique Humanas? Why, on the very day he was coming to her window did you send him a message not to come? And Bernarda responded, “... My blood won’t mingle with the Humanas’ while I live!” This is an example of how different Martirio’s circumstances were from Adela and Angustias. Martirio was repressed from her desire for freedom from her mother and became jealous when her sister’s were not denied in the same way. These two themes lead the characters to believe that escaping one prison will make them free, only to be confined to another. This is the situation the women in the play recognize as a inner conflict. An example of this is on page 169 when Amelia says, “These days a girl doesn't know whether to have a beau or not.” Additionally, On page 208 Adela says, “ I can't stand this horrible house after the taste of his mouth. I’ll be what he wants me to be.” This quote shows how the girls view men as an escape from their sheltered home. Men represent freedom as well as repression. For Example, On page 169 it says “... Her sweetheart doesn't let her go out even to the front doorstep.” This shows us that Bernarda’s daughters realize if they stay at home forever, they will be controlled by their mother,

Oftentime men can be seen controlling women throughout the novel. In a patriarchal society, this is customary to a certain extent. However, many of the men in the novel go so far as to abuse women as objects to relieve their sexual needs. Trujillo himself is one of the worst offenders. He becomes infatuated with

The short story of Benito Cereno cannot do much justice the first time around, as one must read it a minimum of two times to really understand the material. Melville's prose, which is paced rather slow and methodically, diction, and syntax, is not hard to read, but is quite difficult to piece together. However, as the strange incidents begin to pile up – the young black slave hitting the white boy without any reprimand from Cereno, the Spanish sailors seeming to motion to him, the whispering between Cereno and Babo, and the two blacks knocking down the sailors – the readers, as Delano himself, soon discover that all is not what meets the eye.

Such an argument would not be a ludicrous one to make, particularly given the prevalence of the misogyny that exists in the letters among Usbek, Rica, and the eunuchs. There is the constant reminder that despite Usbek’s absence, the women remain subject to his authority as exercised through his proxies, the eunuchs, who are instructed to remind the wives “of their total dependence” (5). Although the women do issue commands to the eunuchs, they still remain subject to a trifecta of restraints — the seraglio, society, and their husband. Even while the women may be able to revolt internally within the seraglio, externally in the world their subordinate status remains unaltered. Hence, in the grand scheme, the domestic turmoil within the household is inconsequential. Montesquieu even presents instances of women who savor in the cruelty shown to them by their spouses (66), who are valued based on the preservation of their virginity (99), and whose reputations are damaged by the sexual whims of men (37). In his inclusion of such anecdotes, Montesquieu refutes the notion that women are little more than inferior to men; otherwise it is plausible that he would have omitted the aforementioned passages. Likewise, not only does the rhetoric of the men in the novel reinforce the inadequacy of women, but also does

First, imitating the literal separation of the marginalized text from the content of the body, Yunior undoes the authority that Trujillo wrongfully gained through suppressing others by making him the subject of a majority of the novel’s footnotes. In doing so, Yunior establishes a reversal of roles between Trujillo and the marginalized people of the Dominican Republic. In addition, Yunior’s inclusion of footnotes creates a double narrative containing the contesting authorial voices that are found within the margins and in the main text. In addition to asserting the dangers of a single voice, Yunior’s use of footnotes enable him to neatly intertwine the historical facts of the Trujillo’s dictatorship with the fictional narrative of the Cabral family. This nuance between history and narrative obscures the line between fact and fiction and allows Yunior to undermine the authority associated with history’s characteristics of being linear, singular, and

Cisneros writes about her life in metaphors and symbolism, as a painting infused with strokes of colors made up with her silky words. I respect Cisneros’ authentic decision to write about herself as another character; Esperanza. In chapters like “Cuatro Arboles Flaquitos,” Esperanza sees herself reflected in Four Skinny Trees who are rooted between concrete; four trees who fight for their spot in the city and whose only purpose

Horacio Quiroga and Edgar Allan Poe are two of the most influential writers in history. They both wrote disturbing stories that are based upon their similarly rough lives. In fact, Quiroga has been referred to as “The Poe of Latin America” (Niece 1). However, it is important to note that although these authors have many similarities, they also have several significant differences, both in their writing and in their personal life stories.

A narrator of a literary work is the only window an audience has to peer into a story and in Edgar Allan Poe’s short story, “The Cask of Amontillado,” Poe reveals Montresor’s untrustworthy narration due to Montresor’s previous internal conflicts, inhumane behavior and moral decisions that Montresor chooses to ignore by continuing to immolate a close friend. Poe realizes the deceitfulness he creates within the main character; this makes Montresor complex despite the fact that Montresor chooses to remain a static character throughout the course of the shot story. Montresor betrays his loyal friend of many years, just so he can achieve a sense of satisfaction closure when he attains his revenge, the crime that Montresor committed half a century ago.

In the short story’s “Initiation” by Sylvia Plath, “The Cask of Amontillado” by Edgar Allan Poe, and “The Scarlet Ibis” by James Hurst, it can be hard for the readers to tell who the true protagonist is in each of the plots (Transition). Imperfections and eccentric

This semester was packed with new readings on levels I had yet experienced. I was introduced to new cultures, lifestyles, and the histories attached. These poems and novels all contained the most unique characters, all of who experienced the most unusual situations. There was not a character that could match another, each expressing different talents, flaws, and desires. Amongst our readings, one character sat on my mind. Isabel Allende’s The House of the Spirits had an assortment of characters, with Esteban Trueba catching my attention the most. He is a drastically flawed man who craves power, wealth, women, and even love. This project has caused me to question myself, as I am curious to why I would want to do a project on such a control freak. I have concluded that I am drawn to Esteban as a character because of his flaws, but also due to his ability to claim what he wants, whether he is in the right or the wrong. He is the only character that survives through the entire book, changing rapidly over the years. My understanding of Esteban has led me to express his character through art.

Edgar Allen Poe tells his macabre story “The Cask of Amontillado” through the eyes of a man so obsessed with family pride that he turns his back on acceptable society and allows himself to be swept away with his thoughts of revenge and murder. The reader watches as Montresor leads his victim, Fortunato, deeper into the catacombs of his family home to exact his murderous vengeance. However, it is not madness that led Montresor, a noble aristocrat, to murder, nor is it passionate love or hate. It is pride that led to Montresor’s murder of Fortunato, but not just Montresor’s pride in his family. A combination of Fortunato’s foolish self-pride and Montresor’s deadly pride in his family that lead to Fortunato’s untimely death. The central theme of Poe’s story is deadly pride, as represented through Fortunato’s actions, Montresor’s actions, and how, eventually, it is their pride that leads to their downfall.

Natalia’s character can be applied universally to many women during the 1930’s and 40’s, as per many women in this time period, she is unhappily married but has no way of fixing her situation. As stated by Natalia, “My mother had never told me about men. She and my father had spent many years quarreling and many more not even speaking to each other” (28). Rodoreda shows how Natalia is ignorant to healthy relationships and knows even less about men in general because it has never been discussed with her, leading the reader to understand a taboo of the time period. Natalia is near powerless to even attempt to leave Quimet, she

Entering a fantasy land like Disney World is one thing; reconstructing the real world into a fantasy land is another. The reconfiguration of the real world into an imaginary one summarizes what Part One of Don Quixote, written by Miguel de Cervantes, is about. The story narrates a parody of Spain's historical idea of chivalry by starring Don Quixote, a man obsessed with nobility. Don Quixote walks through a knight-errant journey with the faithful peasant Sancho Panza and creates the journey by mentally transforming everything, such as Spain's prostitutes into ladies, windmills into ferocious giants, inns into luxurious castles, etc. Contrary to the main overview of the story, Cervantes didn't simply write Part One of Don Quixote to poke fun

“Eleonora” use the significant settings to develop a conflict. In “The Cask of Amontillado,” the