Beauty In Isabel Allende's An Act Of Vengeance

Josie Mendez-Negrete’s novel, Las Hijas de Juan: Daughters Betrayed, is a very disturbing tale about brutal domestic abuse and incest.  Negrete’s novel is an autobiography regarding experiences of incest in a working-class Mexican American family.  It is Josie Mendez-Negrete’s story of how she, her siblings, and her mother survived years of violence and sexual abuse at the hands of her father.  “Las Hijas de Juan" is told chronologically, from the time Mendez-Negrete was a child until she was a young adult trying, along with the rest of her family, to come to terms with her father 's brutal legacy. It is a upsetting story of abuse and shame compounded by cultural and linguistic isolation and a system of patriarchy that devalues the

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

Thesis statement: Esperanza has a variety of female role models in her life. Many are trapped in abusive relationships, waiting for others to change their lives. Some are actively trying to change things on their own. Through these women and Esperanza’s reactions to them, Cisneros’ shows not only the hardships women face, but also explores their power to overcome them.

Stereotypes are dangerous weapons in our society. “The Myth of the Latin Woman: I Just Met a Girl Named Maria” is a short essay in which the award winning poet and professor of English, Judith Ortiz Cofer, wishes to inform and persuade the audience that labels and stereotypes can be humiliating and hurtful. The author targets the general public, anyone that doesn’t understand that putting someone in a box because of a stereotype is wrong. Cofer starts out the essay by telling the reader a story with a drunk man who re-enacted “Maria” from the West Side Story, and how angry that made her feel. She continues by explaining how she grew up in the United States being a Puerto Rican girl trying to fit in, but always being labeled as an island girl. Cofer carries on by explaining why Latin people get dressed and act a certain way. Then she recalls some more stereotypical incidents.

Julia Alvarez uses a strong vocabulary to show the violence in the book. A lot of hidden violent diction is represented in Chapter Six: when Enrique Mirabal leads Minerva into the garden down the driveway, "The moon was a thin, bright machete cutting its way through patches of clouds." (89) The use of the moon symbolically seems to indicate the level of violence. This metaphor is a foreshadoiwing about Minerva getting a "sharp" slap, as she describes it, from her father. The usage of metaphors in the book is very frequent. Author tries to describe the violence not through the direct telling. But in the Chapter Twelve, Trujillo says :«My only two problems are teh damn church and the Mirabal sisters.»(281), which shows his open distaste for theMirabal sisters. This is a rare example of the direct quote from the character that openly shows

In this article, “The Myth of the Latin Woman” Cofer has talked about many incidents from her life where she was talked about, from a young girl the adult life. Ortiz Cofer is so ardent about this topic of stereotyping Latin women because she was a native women of the Puerto Rico area who really grew up in the United States. There is how she witnessed firsthand how hurtful stereotyping could be. In “The Myth of the Latin Woman”, She has repeated use of Spanish words in the essay to shows her audience how proud she is of the Latin heritage. she continuously uses other words, such as Puerto Rican, and Latina to stress the names she heard growing up. Because she has been brought up to love her Latin culture, she was often stereotyped here in the United States. As you can see, this is why she became so involved with trying to bring people so much awareness to the

Death is a word associated with loss, grief and sadness, but in the novel In the Time of the Butterflies we see death in a whole new perspective; martyrdom. Strong, independent, caring, honest, and having firm beliefs are all characteristics we see in a martyr especially in Patria. In the novel we explore the wonders of Julia Alvarez’s writing and get to witness Patria as a martyr and an individual who fought for the right of women against a dictator: Trujillo.

For decades Minerva, Maria Teresa, Patria and Dede’s bravery and heroism have lived in the heart of many Dominicans who suffered from the ruthless dictatorship of Rafael Leonidas Trujillo. The Mirabal sisters were four brave women who defied the traditional role of women in their Era and had a major role during revolution against Trujillo. Much of their story has been told in books and in movies from many different accounts. In Julia Alvarez’s novel “In the Time of the Butterflies”, she writes fictionalized personal accounts of the Mirabal sisters. Julia Alvarez structures her Novel in three parts with each chapter having a first person narrative for each sister. Alvarez personalized the way each of them would speak, feel and think, to even structuring Maria Teresa parts in the Novel as journal entries. This paper is an attempt to analyze how the structure of Julia Alvarez’s novel “In the Time of the Butterflies” can give the reader a better understanding of the Mirabal sisters, while utilizing Manuel F. Medina’s “Writing From Memory: History, Stories And Narrative Voices In In The time of The Butterflies by Julia Alvarez”.

Sandra Cisneros’s short story “Never Marry a Mexican” deals heavily with the concept of myth in literature, more specifically the myth La Malinche, which focuses on women, and how their lives are spun in the shadows on men (Fitts). Myths help power some of the beliefs of entire cultures or civilizations. She gives the reader the mind of a Mexican-American woman who seems traitorous to her friends, family and people she is close to. This causes destruction in her path in the form of love, power, heartbreak, hatred, and an intent to do harm to another, which are themes of myth in literature. The unreliable narrator of this story was created in this story with the purpose to show her confusion and what coming from two completely different

Rafael Trujillo, a Dominican dictator, developed a harsh reputation as being one of the most violent and domineering leaders of South America in his thirty-one years of power. In The Time of the Butterflies, Julia Alvarez provides insight into the effects of Trujillo’s infamy by sharing the stories of three Dominican sisters and their struggles to gain independence and speak their truth. The Dominican-American author dramatizes the lives of the Mirabal sisters, three historical women who were assassinated in 1961, for their involvement in the anti-Trujillo movement. Roberto Gonzalez Echevarria, a Cuban critic of Latin American literature, provides a bias insight with regards to the novel.

As a woman, Angela Vicario is the epitome of a traditional Colombian woman. A traditional Colombian woman is expected to be virgins when they get married; but Vicario defys this social custom causing Vicario to get “softly pushed his wife into [her house] without speaking,” (46). These details emphasize the idea that women are given different standards than men. The details help highlight Marquez’s criticism of how the traditional Colombian woman is treated as and thought of as. From a very young age Vicario and her sisters were taught “how to do screen embroidery, sew by machine, weave bone lace, wash and iron, make artificial flowers and fancy candy, and write engagement announcements,” (31). These skills were taught to better prepare the girls for marriage; displaying the difference in gender roles. Marquez uses parallel structure to emphasize the amount of skills one has to learn before they can be considered as good and pure. Many years after Bayardo San Román returns Vicario she still does “machine embroidery with her friends just as before she had made cloth tulips and paper birds, but when her mother went to bed she would stay in her room until dawn writing letters with no future,” (93). The diction of the words “no future” and “still” suggest that Vicario’s life is stuck in

Indeed, a woman should soften but not weaken a man. This supposition exemplifies the character Casilda from “The Judge’s Wife” short story by Isabel Allende. Although not seen by all as the main character, Casilda is the strongest and most evolutionary personality of the short story. “The Judge’s Wife” is an exceptional tale that follows the progression of characters as they fight against their predetermined destinies and how they are viewed in others’ eyes. Casilda is a catalyst for the evolution of almost every character in the story. Not only does her character grow in “The Judge’s Wife,” but she is also a medium for the growth of the two other main characters in the story. Casilda molds the personality of a majority of the characters in the story, distinctly Judge Hidalgo and Nicolas Vida.

Dulce Rosa lived an easygoing life in Santa Teresa since her father was the most powerful man in the province. She was a young girl of average beauty, but immense talent and charm. With these qualities, she gained admiration from many

To further illustrate, for example, the literary themes in the preceding scene to the narrator’s defloration draws a parallel between her misperceived sense of control in this scene and her natural world. Does the narrator have real power in the relationship? Is a question that may be answered by analyzing the lines in this scene to the actual facts of the narrator’s relationship with her lover. The narrator says, “I’d rather you didn’t love me. But if you do…do as you usually do with women” (36), suggesting her feeling of control. The comparison between the details in her relationship to her lover in this scene and her relationship she has with her family, brings upon, a debatable question. If the narrator has real power in her life, then why do the facts of these relationships suggest otherwise? For example, in her initial meeting with the lover the narrator states her lover is under her spell. Even though, throughout the relationship the lover initiated contact, pushed towards intimacy, and, lastly, ended the relationship. This illustrates the untruthfulness of the facts the narrator portrays. In the previous scenes the narrator states that her lover “lacks the power to understand [her]” (36), in other words, she’s under the impression that others don’t understand her complexity. When in fact, the lover “looks at her in horror” in response to the narrator insistent demands of wanting him to “do as [he] usually [does] with women (36). Duras encourages this type of analysis through her sequential transition of the scenes, by continuously revisiting certain images, furthermore, attempting to reconstruct the narrator’s memories. These, in turn, play off the idea that the narrator’s sense of control in the relationship is misguided. That is to say, she continues to believe she is in control, even if, the lover’s prominent

Después de Lucía (2012) is the second feature film written and directed by Mexico City native, Michel Franco. The film tells the story of Alejandra (Tessa Ia) and her father, Roberto (Hernán Mendoza) as they move from Puerto Vallarta to Mexico City to start a new life (IMDb). The purpose of this essay is to examine how physical, sexual, psychological violence are directed toward women and the effects it has when not confronted. I will also analyze the value of having a woman’s narrative when focusing on women’s issue in the film Después de Lucía (2012).