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Magnificence And The Summer Solstice

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Nicole Angelika T. Pingol BS Speech Pathology
2015-08515 Humanities II
TITLE PAPER Estrella Alfon’s “Magnificence” and Nick Joaquin’s “The Summer Solstice” are stories heavily focused on women going against the social roles and norms which in turn challenge patriarchy; thus, it is appropriate to use a feminist approach to analyze the said stories. Moreover, using a feminist criticism is more fitting since the female protagonists of the stories defy the socially constructed view of femininity and masculinity. In both stories, oppression or objectification of women is greatly exhibited. In order to unravel and comprehend the two stories, three questions will be tackled: (a) How is the relationship between men and women …show more content…

The maltreatment and oppression of women were viewed as something typical and ordinary. Donya Lupeng nonchalantly commented on Entoy’s heinous actions of beating his wife in the following lines “And what ails your wife, eh? Have you been beating her again?” (11) “Why, you beat her at the least pretext!” (22) “You know how the brute treats her: she cannot say a word but he thrashes her” (33). Through Donya Lupeng’s remarks, the normality of abusing women through beating was reinforced. Don Paeng was also seen to dictate, control or inhibit Donya Lupeng from doing what she wants. The lines “he bade her sit down because all eyes were turned on her” (38) and “But I want to go! My head aches worse in the house. For a favor, Paeng.” “I told you: No! go and take those clothes off” (102-103), clearly portrays how Donya Lupeng is constrained by her husband. Moreover, he was embarrassed that some men adore females and believed that only “cads and lunatics” (93) do such action. Don Paeng also threatened to give his wife a whipping since she “behaved tonight like a lewd woman” (142). From this scene, the readers can deduce that …show more content…

His distaste and embarrassment of young men becoming slaves or inferior to women can be seen in the following lines: “These young men today—what a disgrace they are! I felt embarrassed as a man to see him following you about with those eyes of a whipped dog” (87) and “He frowned and made a gesture of distaste… To kiss a woman’s feet, to follow her like a dog, to adore her like a slave” (91). He even stated that dishonorable men are the individuals who adore women, “The cads and lunatics—they ‘adore’ the women” (93). As mentioned earlier, he was also seen commanding and restraining Donya Lupeng’s actions, showing that he is far more superior than his wife, “I warn you, Lupe; do not provoke me!” (106) and “Come, let us go now” (118). A glimpse of male superiority can also be noticed when Donya Lupeng felt “ashamed of the thoughts that had filled her mind. They seemed improper—almost obscene—and the discovery of such depths of ickedness in herself appalled her” (43) after considering females as a more superior being than males. This dominance was also developed during Guido and Donya Lupeng’s interaction when the latter was skeptical about women reigning and being more supreme than men; she even called Guido “mad” and told him “No more of your comedy, Guido” (82).
While male dominance is evident in the first part of “The Summer Solstice,” fragments of female

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