Dona Perfecta

In the book Alvarez informs us that this takes place during Trujillo 's reign over the Dominican Republic in the 1930’s to the 1960’s. Throughout history dictators have risen and fallen all across the world. Many have been seen as evil, and sometimes good to others, but no matter what a persons view tend to be there are some who even consider them god. Due to a dictators extensive powers and complete control over every aspect of a persons life this is what comes to be. Trujillo is just the same, at first his true motives were questioned and it wasn’t apparent to all what he really was. As the Mirabel sisters grow up it becomes clear that Trujillo is in control of more of their lives than it may seemed. Trujillo leads a complete authoritarian rule over the Dominican Republic with spies everywhere, this can suggest that he trying to assume the role of a terrible god, who is always watching and ready to punish. While all

In A Place Where the Sea Remembers, Sandra Benitez invites us into a mesmerizing world filled with love, anger, tragedy and hope. This rich and bewitching story is a bittersweet portrait of the people in Santiago, a Mexican village by the sea. Each character faces a conflict that affects the course of his or her life. The characters in this conflict are Remedios, la curandera of the small town who listens to people’s stories and gives them advice, Marta, a 16 year old teenage girl, who was raped and became pregnant. Chayo is Marta’s big sister and Calendario is Chayo’s husband. Justo Flores, his conflict is person vs. self. One of the most important conflicts in this story is person vs. person, then person vs. supernatural followed by

This image illustrates how Trujillo's system truly brunts the lives of Patria, her sisters, and their fellow people. To them, Trujillo is almost godlike. He usually gives them arcane commandments, smites those who contravene his power, and is delimited by wealth. Patria shows her disbelief in how callously God is behaving toward her because of her child's death. Throughout In the Time of the Butterflies, Julia Alvarez’s Patria Mirabal develops from an optimistic young Catholic girl to a woman who doubts; subsequently, that educators can further come to understand the influence of God on one’s actions.

In her novel, In the Time of the Butterflies, Julia Alvarez unfolds a dramatic character transformation of the Mirabal sister, Maria Teresa. She is detailed to be a very thoughtful character who always seem to look out for others, especially those important to her in life. Alvarez induces this empowering development of Maria Teresa through the usage of diction, point of view and selection of detail.

All the sisters have changed through the book: Patria has gained enough courage and bravery to join the revolution; Dede’s transformation is her political views strengthen and expand; Minerva being an independent person is her freedom, but she transforms when she has to give her child to Patria; Maria Teresa’s transformation was that she became an adult that could think, decide and act by herself. The purpose that is served by Alvarez’s use of violent imagery throughout the novel is to let us penetrate deep into the events that happened during the time of the Butterflies. With the fully emotional validity, demonstration of the essence of each person's thoughts, feelings, and emotions, and also the author’s attitude to the things, characters and

Perfecto Flores was a mysterious man which no one knew much about before his arrival to the town. Not even he seemed to know much about his past. In an excerpt from Helena Maria Virmontes’s novel, Under the Feet of Jesus, Perfecto helps a young girl on her quest for knowledge and developing the necessary skills. The young girl’s name was Estrella and she had much to learn. Viramontes’s use of tone smoothly expresses the realization and then transition that takes place in Estrella as she strives to learn more.

In the Time of the Butterflies, written by Julia Alvarez, creates a fiction story about the true events of the Mirabal sisters and taking over the Dominican Republic’s government. In the Time of the Butterflies contains the classic war between passion and responsibility. Personal causes, love, a desire for revenge, determination to redress a wrong, or other emotions or drives conflict with moral duty. In In the Time of the Butterflies, many characters confront the demands of a private passion that conflicts with his or her responsibilities. Patria, the oldest Mirabal sister, struggles with her faith, and deciding whether to join the revolution with her sisters, or to follow her faith. Patria’s religion was an important aspect of her life since she was very young and throughout the course of the story, she attains and loses her faith in God.

Perfecto Flores was the first person to apprise Estrella of the purpose of the tools and how to build or fix things. Estrella finds the knowledge to be important and thrilling, “weighing the significance it awarded” Estrella connects the description of the tools to the letters in the alphabet - which is the true thing she struggles with - revealing that the tools serve as a purpose for her to learn. This ultimately makes her understand makes her “understand how essential it was to know these things.” The shift in tone of Estrella being drastically uninformed and angered by this to coming to terms and understanding helps the character mature.

Patria is exposed to the truth that Trujillo was not the god-like entity she perceived him to be. In Patria’s mind there is no separation between god and Trujillo; they are one. Patria is finally coming face to face with the problems within the Dominican Republic. This revelation foreshadows how Patria will become involved with the regime and what part she might play.

This essay will be going through the different types of love, and the power that they wield. Throughout the novel, different characters hold different powers of love. First, Clara’s love towards Ferula and Pedro Segundo will be discussed. And second, Esteban’s obsessiveness with Clara will be looked at closer. The bonds of love are stronger in relationships that aren’t acceptable compared to relationships that are acceptable in society.

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”.

The Mirabal sisters were instrumental in the toppling of Rafael Trujillo’s regime in the Dominican Republic. Julia Alvarez uses Las Mariposas to exhibit different ways in which people can become politicized in times of revolution. She uses these women for several reasons: they are well known, and while they all had the same up bringing they all hold different values. The Mirabal sisters became politicized in different ways and for different reasons. Minerva became a revolutionary when she saw that her country was unjust. Mate became a revolutionary when she see’s that love is not alienated in the rebellion and that her help is needed. Patria became a revolutionary when her faith was rekindled and her faith becomes apart of the revolution.

Characters are made to present certain ideas that the author believes in. In Gabriel García Márquez’s Chronicle of a Death Foretold there are many characters included that range from bold, boisterous characters to minuscule, quiet characters but one thing they all have in common is that they all represent ideas. Characters in the novel convey aspects of Marquez’s Colombian culture.

In “The Moths” due to the father’s patriarchal views, he demands the protagonist to attend Church. If she refuses to attend Mass, her father will not hesitate to assert violence. The protagonist describes, “That was Apa’s biggest complaints. He would pound his hand on the table, rocking the sugar dish or spilling a cup of coffee and screamed that if I did not go to Mass on Sunday to save my sinning soul, I had no reason to go out of the house, period. Punto final” (29). This passage illustrates that not only does he demand obedience of traditional roles, but he represents a tyrannical figure that uses the aid of the Church to justify his patriarchal behavior. As a result, the protagonist in “The Moths” rebels the traditional roles and the Catholic Church. She does this by distancing herself from the Catholic because she views it as institution of oppression. Furthermore, the protagonist ponders the Chapel’s impression and it reinforces her views of the Catholic Church. The protagonist expresses, “I looked up at the high ceiling. I had forgotten the vastness of this place, the coolness of the marble pillars and the frozen statues with blank eyes. I was alone I knew why I had never returned” (29). This description represents double victimization of the Catholic Church as well as her father. Sonia Saldivar-Hull’s analysis of Viramontes’ story states: “God is indeed dead for the incorporated Chicanas of Viramontes’s world; at best he is but an absentee landlord who allows his agents to deceive people into passivity.” The protagonist does not want to associate with the Church because she wonders as to why God would allow his people to be subjected to oppressive situations. For instance, her father’s threat of violence in order to get her to submit to her father’s

Miguel Cervantes’ Don Quixote is a masterpiece in many senses of the word: at the time of its conception, it was hailed as a revolutionary work of literature that defined a genre, in later centuries regarded as an acerbic social commentary, a slightly misshapen romantic tragedy, and even as a synthesis of existentialist and post-modernist features. At the centre of this Spanish satirical chronicle is the perplexing character Don Quixote. Don Quixote’s personality and perspective is rapidly established fromsince the beginning of the novel, revealing unabashedly to readers that he is mad. The source of his madness lies in the extent to which Don Quixote acts on his delusions and projections unto reality as he saunters through Cervantes’ Andalusia. Don Quixote’s delusions have two primary functions in the novel: demonstrating the reality and tragedy of Cervantes’ manifestation of idyllic themes of love and chivalry, and revealing certain characteristics about narration.