Hybridity In Garcia Marquez's Of Love And Other Demons

In this excerpt from the novel under the feet of Jesus by Helena Maria Viramontes, we are introduced to a young girl named Estrella. Throughout the excerpt Estrella’s character changes and develops in many ways. The author reveals these changes through her usage of literary devices such as selection of detail, figurative language, as well as tone.

In the story ‘’Young Goodman Brown” the protagonist lives in a Paritan community and is married to his wife Faith of 3 months. In the time period the story takes place there was much speculation about witch craft and the devil causing harm throughout the village.

African slaves in the courtyard of her father's mansion raised Sierva Maria, a white girl with the roots of a high-status society position. Completely different cultures were inculcated to her. She worshiped African gods, spoke Yoruban and African languages and though radically different to his parents. With a bell in her wrist, Sierva Maria used to remind the hate and fright that Bernarda had for her. She was so distant to where her virtual real home was that she even put herself a new name: Maria Mandinga, giving meaning to the darkness of soul found sometime in Sierva Maria.

romantic love celebrated in songs and romances of the Medieval Period. Moreover, being a code

Gabriel Garcia Marquez's Chronicles of a Death Foretold shows how Machismo drives all male ambition. Machismo, in Latin American countries was derived from the word macho meaning an intense masculine pride. Machismo was first used in 1948, and was taken as a code of honour for men, rules that would make you considered macho. Respect and reputation are highly regarded as important traits in Machismo, and are the driving force of reason in the novel. (Add another sentence about the broadness of Machismo).

When Maria was wondering why the South African men were scared of them, it was clear how sheltered and brainwashed she was. It was then that she realized how unexposed she was and began to become more involved in the efforts to make a change.

The text recounts the events leading up to the the disappearance of Miranda, a young British girl who is struggling to deal with her mother’s sudden killing in Haiti, where she was on a work trip. The narration by the house, her twin brother Eliot, and Ore, a Nigerian girl she meets while at Cambridge leads us to find about Miranda’s pica, a desire to eat non-nutritive substances which lapses into more nefarious, vampiric desires. This is a condition that has plagued her family, particularly the

| |of forbidden love and the quest to keep it alive. The reader seems to |

The second part of the quote displays a tremendous amount of imagery that is used effectively to convey the notion of the apocalypse. This quote, on the surface, simply depicts Maria Alejandrina Cervantes about to have sex with the narrator. Marquez, however, uses elegant, flowing diction that conveys the author’s message of the end of the world. Since prostitutes and whores are typically considered “sinners”, Maria Alejandrina Cervantes could also represent Satan. In the book, Maria Alejandrina Cervantes is constantly shrouded

One of the most universal symbols of beauty is the flower. Their delicate buds hold such great beauty, while being so fragile and temporary. Despite their magnificence, flowers must remain stationary. It is a prison, yet no one thinks beyond the simplicity of a pretty flower. Like women, flowers are seen at face value without any concern for the lack of freedom, opportunity, and expression they have. Women are meant to be seen just how society expects and not any other way. In Chronicle of a Death Foretold, female characters face the serious consequences of societal expectations and views on sexuality. Gabriel Garcia Marquez uses the motif of flowers to symbolize women and their virginity to demonstrate the confinement of women in society.

that ominously passive construction; a something so awful that nobody wanted to assume responsibility for” (236). This demonstrates that the nuns have lost hope in Mirabella because she has failed to stay on track and adapt. She’s so lost, that there is no redeeming the young wolf girl. Through Russell’s use of the nuns interaction, it helps develop Mirabella’s character away from the rest of the pack. As the nuns interact with Mirabella, the reader can see how Mirabella is not as developed as the rest of the pack. As the rest of the pack is developing and becoming more human like, Mirabella has yet to let go of her host culture.She still does things like,”run after the bicycles, growling out our old names. HWRAA! GWARR! TRRRRRRR!” (238). Mirabella knows that she is an outcast, but she is trying to be with her sisters even though she has has not

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.

Animals demonstrate an authentic life by not being burdened by their subconscious, acting impulsively without questioning their decisions. Contrastingly so, humans attempt to give reason to irrational situations, driven primarily by logic and their subconscious to find an explanation. In “The Crime of the Mathematics Professor”, a middle-aged man attempts to bury a random dog to atone for his abandonment of his childhood canine friend, Joe. He explains his guilt over abandoning the dog as “an excuse supported by everyone at home” (145). Though he knows there is no true reason behind casting his dog aside, he and his family, victims to societal pressures, attempt to impress an explanation on an act that is unfounded. This rationalisation serves only to temporarily assuage the professor’s grief over the unnecessary loss of his dog. The animal masks worn by masqueraders in “The Mystery of Sao Cristovao” are also used to contrast society’s expectations to the truth. In this story, three masked men disrupt the meditations of a young woman, only for both parties to experience an unspeakable, intimate event. One masquerader is disguised as a bull and another a rooster, traditional symbols of brute strength and masculinity. By donning these masks, the masqueraders are creating a façade of their true selves by trying to imitate such qualities as found desirable by society in the animals. Through the rejection of their own identities and their hiding behind the false guise of an animal, they become involuntarily swept up in an animal’s illogical manner of acting; they exchange no dialogue before and during the experience, “the silence [keeping] watch over them” as they first encounter the young girl (135). When the masqueraders and the

In the story, “A Very Old Man with Enormous Wings,” writer Gabriel Garcia Marquez intertwines the supernatural with the natural in an amazing manner. This essay analyzes how Marquez efficiently utilizes an exceptional style and imaginative tone that requests the reader to do a self-introspection on their life regarding their responses to normal and abnormal events.

Love can be a person’s greatest gift or curse that will bring them to their demise. It infects their mind, controls their actions and consumes their thoughts with the singular obsession of being around their love. In the love stories, Tristan and Isolde and Lancelot and Guinevere, the characters face problems of the soul, and that bring about monumental repercussions to everyone around them.