La Casa De Bernarda Alba Analysis

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

In Spain and the Spanish colonies in South America in the late sixteenth and early seventeenth centuries, gender roles were distinct and the opportunity gap was enormous. Catalina de Erauso compares the two roles through her memoir, “Lieutenant Nun,” where she recounts her life as a transvestite in both the new and old world. Through having experienced the structured life of a woman as well as the freedom involved in being a man, de Erauso formed an identity for herself that crossed the boundaries of both genders. Catalina de Erauso’s life demonstrates the gap in freedom and opportunity for women, as compared to men, in the areas of culture, politics and economy, and religion.

In this essay, female oppression in La Casa de Bernarda Alba will be discussed and analyzed. However, in order to be able to understand the importance of this theme and the impact it has had on the play, one must first understand the role of female oppression in the Spanish society in the 1930s.

Esperanza as a child takes the responsibility to fight for all the women who suffer from men discrimination, because in “Mango Street” mostly women are abandoned and the others dominated by their husband, Esperanza takes the responsibility to invite all the women to organize themselves in order to protect each other from men violence. Esperanza consider herself as the one who can liberate those women such as Minerva, a young woman who have already two children and abandoned by her husband, there is also Rafaela held indoors the house by her husband and she spends all her time in the windowsill to watch what is happen outside and many other women who undergo sufferings caused by their men, that is what characterized her commitment for the liberation of the women of her neighborhood. So as the girl, Esperanza carry the burden to deliver all women in “Mango Street” from all pains and she feels she is the right one who capable to let know her neighbors’

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.

In the play by Federico Garcia Lorca, The House of Bernarda Alba, a recurring theme throughout the play is freedom. Lorca expresses freedom using characters, situations and objects. The characters in the story are Bernarda’s daughters who are under her control and have extremely little freedom and privacy by being forced to abide by her rules. Freedom and Repression are most significant themes conveyed throughout the play, the two opposing themes together are important to understanding both the characters and the story as well.

In “Lieutenant Nun: Memoir of a Transvestite in the New World” by Catalina de Erauso, a female-born transvestite conquers the Spanish World on her journey to disguise herself as a man and inflicts violence both on and off the battlefield. Catalina discovers her hidden role in society as she compares herself to her brothers advantage in life, as they are granted money and freedom in living their own lives. Erauso decides to take action of this act of inequality by forming a rebellion, as she pledges to threaten the social order.The gender roles allotted to both men and women in the Spanish world represent the significance of societal expectations in order to identify the importance of gender in determining one’s position in the social order in the Spanish World.

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”.

“Perpetua’s Passion” is one of the only few records of the life of a female martyr Vibia Perpetua. This record is very special because it contains Perpetua’s own narrative of her last days before her execution, along with an editor’s comments. Most of Perpetua’s narrative is about her experience after the capture, and her dreams, or visions, or the “revelations” of the divine to Perpetua. In this paper, I will discuss the presentation the symbols in her dreams, in order to exam the power balance of female and male presented in her voice, and reveal the struggle of Perpetua’s voice under the editor’s manipulation.

(The bright white interior of Bernarda’s house. Thick walls. Arched doorways with canvas curtains edged with tassels and ruffles. Rush chairs. Paintings of

To begin, the protagonist Clemencia is like a chameleon, who can blend into any social event and with any class of wealth when she says ““I’m amphibious. I’m a person who doesn’t belong to any class. The rich like to have me around because they envy my creativity; they know they can’t buy that. The poor don’t mind if I live in their neighborhood because they know I’m poor like they are, even if my education and the way I dress keeps us worlds apart”(Cisneros 71,72). Clemencia is a woman who knows how to talk and have a good time. By nature she is a very creative being who loves to impress by wearing the best clothes, and show off to anyone to make herself seem better than others. (Cisneros 71). Clemencia is poor and does not have much being that she works for the school system as a translator, and other various positions. But acts rich and very wealthy to all of her friends (Cisneros 72). This connects with the myth of La Malinche, of how the character is a bad woman who sleeps with lots of men.

In 1669, Juana entered the convent of Santa Paula where she officially became a nun. The convent provided Sor (sister) Juana with the opportunity to read further and to reflect on her personal life and on society through writing. Besides thorough studying and writing, Sor Juana taught and directed theatrical performances at the Santa Paula’s school for girls (Trueblood 6). As Sor Juana became better known for her writing she corresponded to intellectuals in Spain and in the Spanish colonies of America. By 1689 Sor Juana wrote the plays: “The Trials of a Household” and “The Greater Labyrinth is Love” (“Sor Juana’s Chronology” 2). Even after Sor Juana died on April 17 of 1695, her writings continued to be published. Very well-known, the first edition of Volume III of Sor Juana’s works was published in 1700 (“Sor Juana’s Chronology” 2).

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 narrator states that “it was [Maria] who did away with my generation’s virginity” (65). Garcia Marquez uses a hyperbole to portray how crucial Maria Cervantes’s contradictory role is in the men’s lives. She embraces her sexuality and is very open. In addition she also “taught [the men] much more than [they] should have learned, but she taught us above all that there’s no place in life sadder than an empty bed” (65). She reinforces the idea that sexuality should not be repressed because that would only bring on loneliness and despair. She recognizes the “disorder of love” that the townspeople live with because of repressed sexuality. The narrator describes Santiago Nasar’s passionate relationship with Maria Cervantes. He describes their relationship like “a falcon who chases a warlike crane” and that the falcon can only “hope for a life of pain” (65). The author uses a metaphor to compare Maria to a warlike crane in order to show her power and grace. The crane is a bird that stands tall and may look elegant and enticing but because Maria is “a warlike crane” she is able to stand up and fight for herself while still maintaining her grace. Another aspect of her independence would be that she stands alone in her battle against society. Garcia Marquez gives her these headstrong qualities to show how she follows her own path and goes against the town’s beliefs without showing any signs of stopping and to show that