La Loca 's Existence Is Crucial For Two Major Reasons

In the novel, Laforgue develops a strong understanding with Chomina which interfers with his beliefs. When Father Laforgue is left behind by the Algonkin, he must be able to survive on his own without any survival skills. Chomina decides that he has to go back and save Laforgue with the help of his wife, two children and Daniel. Daniel tells Laforgue that, “‘We were coming back for you,’ he said.” (Moore, pg. 137). This shows that Chomina wants to keep his promise. He wants to protect his own but knows that if he breaks the agreement, it will affect his people. When Chomina is close to his death, Laforgue still tries to convert Chomina to his religion before he dies. Laforgue says, “Chomina, do you hear me? If you can hear me, please listen. My God loves you, as I do. If you will accept his love, he

In El Laberinto del Fauno, Guillermo del Toro uses the theme of obedience to illustrate and condemn two repressive components of fascism: patriarchy and the coercion of free will. This essay will look at two examples of obedience in the film which reveal the abhorrent nature of these aspects of fascism and the importance of resisting them. These are, respectively, the relationship between Captain Vidal and Mercedes and Ofelia’s refusal to compromise her own integrity.

You can see how Maria’s El Salvador is empty of people, full only of romantic ideas. Jose Luis’s image of El Salvador, in contrast, totally invokes manufactured weapons; violence. Maria’s “self-projection elides Jose Luis’s difference” and illustrates “how easy it is for the North American characters, including the big-hearted María, to consume a sensationalized, romanticized, or demonized version of the Salvadoran or Chicana in their midst” (Lomas 2006, 361). Marta Caminero-Santangelo writes: “The main thrust of the narrative of Mother Tongue ... continually ... destabilize[s] the grounds for ... a fantasy of connectedness by emphasizing the ways in which [Maria’s] experience as a Mexican American and José Luis’s experiences as a Salvadoran have created fundamentally different subjects” (Caminero-Santangelo 2001, 198). Similarly, Dalia Kandiyoti points out how Maria’s interactions with José Luis present her false assumptions concerning the supposed “seamlessness of the Latino-Latin American connection” (Kandiyoti 2004, 422). So the continual misinterpretations of José Luis and who he really is and has been through on Maria’s part really show how very far away her experiences as a middle-class, U.S.-born Chicana are from those of her Salvadoran lover. This tension and resistance continues throughout their relationship.

Lupe's first love was the Colonel who was fighting in the Revolution. Everyone in the box canyon believed that the Colonel would steal their gold mine and give it to the Americans. Lupe loved this man with all her heart and couldn't believe that anyone thought he would do such a thing to hurt the people of Mexico. And Dona Guadalupe had to tell her that her first loyalty should be to her family and it didn't revolve around the man you love. The goal of both families was to one day see their children be married and have children of their own.

The audience in the arena serves as an audience for Perpetua’s martyrdom. This detail, describing the women, is meant to be persuasive and create empathy amongst the audience, for Perpetua and Felicitas. The readers of the story are supposed to feel sadness over the public humiliation of these women. Especially, because the public humiliation is the result of their strong belief in Christianity. This empathy may cause some readers to convert to Christianity because of the sadness which they feel for the events the women endured. Another way that this example can be used to persuade is by showing that no matter what difficult situations we are in, if we follow God, he will have our back. This situation was one of an immense amount of public embarrassment for the two women. But, because they trusted in God, the women found some sort of comfort in the situation and realized that soon they would be in a better place. Moments before her death, even when she knew what the next few minutes would include, Perpetua spoke saying, “Stand fast in the faith, and love you all one another; and be not offended because of our passion.” (20.13-14) Perpetua showed that no matter what, she was going to be the bigger

14. La Llorona – Is based on an old Hispanic urban legend revolving around the ghost of a woman who drowned her children in a river. She is also known as “The Weeping Woman”, is said to let out deep cries. This story is often used by parents to scare children from wandering the streets at night.

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.

The priest, Father Jerome, depicts the hypocrisy of the male-gendered system of belief. He asks, “Is this an act of God or of Satan that brings you back to us, that has flown you up to the roof like a bird? Are you the devil’s messenger or a winged angel?” (23) The suggestion that her daughter is evil angers Sofi so badly that she rids herself of the shock of seeing her child return to life. Angrily, she berates the priest, but is scolded by the other women who are in attendance. It is in this scene that the male-centered views are combatted and female-healer centered views are promoted. What I mean is; the hypocrisy of the priest rests in the idea that something is evil if it goes against what is taught and what has been taught. The priest, in an attempt to get La Loca down from the roof, tells her they will go in and pray for her, since maybe she did die and see God. From his viewpoint, she could not have been sent back to act as a messiah-like being, because it is not written that Jesus will come back as a little girl and, there is no talk of

For instance, she wishes to dress smart only in case an accident should occur so that her body would be identified as a woman. She shows her being a “good woman”, contrary to a “good man” who “is hard to find”. But by doing so she reveals how artificial a Christian she is, that appearance for her is more significant than a “good Christian” spirit. It is her who divides the world into “good” and “evil” but she little realizes the actual parameters of these values. Her subjective point of view makes the borderline somewhat blurred, even the name of Jesus in her speech “sounded as if she might be cursing”. In fact, she is far from an epitome of virtue and it is only the fatal encounter with the Misfit that makes her realize the error of her ways. Hence, to some extent, the Grandmother may be treated as a common Everyman.

So Far From God is a Chicana feminist novel written by Ana Castillo. Castillo’s novel consists of four main characters: La Loca (The crazy one), Fe (Faith), Caridad (Charity), and Esperanza (Hope). La Loca is given her nickname after being resurrected from the dead. In reality, she had a seizure and did not die. The town and family consider her to be crazy because of her aversion to human contact. Fe too is considered insane. She spends a year screaming after her fiance calls of their wedding. Fe eventually marries her cousin because it is the only way she will have the house and dishwasher she’s always dreamed of. Caridad is attacked because of her sexual liberation. Esperanza decides to take her destiny into her own hands and becomes a journalist, but is sent to the middle east where she is killed. After all of the daughters are dead the mother founds the Group M.O.M.As (Mothers of Martyrs and Saints) and becomes empowered through her involvement in the organization. Castillo demonstrates injustice in patriarchy in symbolism and magical realism.

The legend, La Llorona or the weeping woman is one of the best known classic Hispanic tales. Many versions of La Llorona are told universally, but has origin roots from Mexico. This folklore typically involves a restless, ghostly entity as a beautiful lady dressed in white who wanders at night and is seen or heard wailing for her dead children. Because of a heartbreak la Llorona killed her own children. It is said that her soul now wanders sadly calling her children appearing mysteriously in different areas especially along rivers, oceans or other bodies of water. Many believe myths or legends are only for entertainment, but some can have an underlying message.

Lastly, Sor Juana concludes with, “your arrogance is allied/ with the world, the flesh, and the devil!” (A Sor Juana Anthology 113). Ultimately, Sor Juana directly refers to men and the patriarchy as evil. This revelation coming from a nun is all the more significant as the church looks down on both evil and sin. Ultimately, her role allows her more influence and gives more significance to her writing as seen by Sor Juana’s uncovering of the patriarchy as evil and sinful.

In “Lives of the Dead”, O’Brien’s own innocence is preserved through the memory of Linda, a memory that remains untarnished by the inevitable corruption that results from life. O’Brien’s writings “save Linda’s life. Not her body--her life” (236). Storytelling and memories preserve the value of Linda’s existence while simultaneously allowing O’Brien to process death and destruction in a way that maintains a degree of optimism regarding his own life and future. Juxtaposing the images of body and life emphasizes his desire to save the idea of Linda while accepting the loss of her physical presence. O’Brien rejects the idea of death as absolute and final; instead he suggests that “once you are alive, you can never be dead” (244). Linda’s death solidifies her importance in O’Brien’s own development; she teaches him about life and real love as much as in death as in life. O’Brien’s paradoxical statement defines the lasting impact of Linda on him; her presence in his stories keeps her alive through memory; memories that even her death

Poor Lourdes feels unwanted from the beginning of her life with her mother swearing to forget her; therefore, throughout her life Lourdes feels a lingering resentment, even though the acts by Celia were purely through emotional displacement brought about by the nastiness of her in-laws. “Her mother’s doleful rhythm followed them everywhere” (Garcia 25). The reader can plainly see that Lourdes is both embarrassed and ashamed of what her mother was and is unwillingly to forgive her. Lourdes claimed her mother was dead to garner pity from strangers so they would buy her sweets, and secretly wished it were true at times.

The inhabitants of La Línea de la Concepción are leaving, similar to rats abandoning a sinking boat.