Maria Alejandrina Cervantes

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

Francis Martinez  Literary Analysis “First Muse”        The story “First Muse” by Julia Alvarez tell us about her childhood in the Dominican  Republic and her life in the United States. Since she started reading the thousand and one  night book under her bed she saw herself reflected in the dark haired almond eyed girl on the  book cover. Alvarez compared herself with the bright ambitious girl stuck in a kingdom that  didn”t think female were very important. Scheherazade gave Julia the courage to explore the  power of storytelling. When Alvarez came to the United States it was very difficult for her  especially for a child who got teased on the playground because of her accent. Julia had a lot  of obstacle in her life but she overcome all

Marriages are still considered business contracts in the Latin American culture. A contract where both bride and groom’s family either earn profits or gain respect in society. In the eyes of society and family, a woman is valuable as long as she is a virgin. Latin American daughters are raised to good housewives whose main duties include taking care of the family and the children, and women who go against these traditions or rules pay a heavy price. In Gabriel García Márquez’s novella, Chronicle of a Death Foretold, the character development of Angela Vicario demonstrates that she is guilty for Santiago Nasar’s death; however, the different aspects of the hispanic culture also share the

Based on Cisneros’ works of literature, gender roles in a Hispanic culture revolves around patriarchal rule. The repercussions of a patriarchal rule includes the limitations of female liberation and development. Cleofilas’ abusive situation exemplifies the limitations of her independence and development as she can not make her own decisions and has to solely depend on her husband. This situation is illustrated when Cleofilas explains that the towns are “built so that you have to depend on husbands... You can drive only if you’re rich enough to own and drive an own car. There is no place to go” (Cisneros 628). Cleofilas reveals that men are the dominant gender and have more authority, and that women are compelled to depend on them in her society. It is an exceptionally rare case that a woman can afford her own car, for the men usually control the finances in a household. Additionally, Cleofilas has nowhere to seek refuge from her husband. Although she yearns to return to her father’s home, she decides not to due to the social standards imposed on her. In her society, the act of returning home after marriage is socially unacceptable. She understands that her family will be viewed in a negative light if she were to return home, as seen when Cleofilas refers to her town as a “town of gossips” (627). Similar to other men in the society, Juan Pedro’s authority is shown through his abuse. Cleofilas recalls, “He slapped her once, and then again, and again; until the lip split and bled an orchid of blood” (626).

Maria Alejandrina Cervantes, the voluptuous, tasteful, tender prostitute in Chronicle of a Death Foretold has more

“Beautiful and Cruel” marks the beginning of Esperanza’s “own quiet war” against machismo (Hispanic culture powered by men). She refuses to neither tame herself nor wait for a husband, and this rebellion is reflected in her leaving the “table like a man, without putting back the chair or picking up the plate (Cisneros 89).” Cisneros gives Esperanza a self-empowered voice and a desire for personal possessions, thing that she can call her own: Esperanza’s “power is her own (Cisneros 89).” Cisneros discusses two important themes: maintaining one’s own power and challenging the cultural and social expectations one is supposed to fulfill. Esperanza’s mission to create her own identity is manifest by her decision to not “lay (her) neck on the threshold waiting for the ball and chain (Cisneros 88).” Cisneros’ rough language and violent images of self-bondage reveal the contempt with which Esperanza views many of her peers whose only goal is to become a wife. To learn how to guard her power

At the start of “La Llorona Loca: The Other Side,” Palacios describes growing up when her mother would tell her scary stories about Llorona Loca. In the first paragraph we see a common theme or image found in the Latinx cannon: the image of motherhood and tradition. Palacios mother’s retelling follows the traditional narrative of La Llorona Loca retelling in which a woman, traditionally a mother, drowns her children and then feels remorse. Although many authors would choose to further develop on this image, Palacios through her reflection on her up brining demonstrates opposing views to the dominant ideology, in the way in which she critiques these societal expectations of women. As the story continues, Palacios articulates a critique of gender roles and expectations demonstrated through the following lines of her mothers La Llorona retelling:

Sor Juana again demonstrates her superior knowledge and capabilities in employing complex Latin language into her argument. As suggested by Stephanie Kirk, “Latin wielded a symbolic power throughout the early modern period” (Kirk 83). Therefore, Sor Juana’s use of Latin language when speaking directly to the patriarchy is ironic as she flaunts her immense knowledge to those who originally restricted her from pursuing education. Ultimately, Sor Juana’s “To the Gentleman in Peru” is a poem filled with critical language and addresses issues of gender roles and the limitations of “woman” in Colonial Mexico.

In Chronicle of a Death Foretold, the way women have been represented and characterized gives us an idea of how the female gender are treated differently from the male gender as well as children in Latin America during the 1950s. The husbands were given all the authority, also known as machismo, whereas women weren’t allowed to take charge of anything, and were portrayed as weak and impotent.

The most important aspect of the Latin American culture has everything to do with honor. Women have the biggest responsibility when it comes to honor. Losing your honor might undoubtedly portray as the worst deed in this culture. In a Chronicle of a Death Foretold the author Gabriel Marquez demonstrates the horrifying actions taken when losing one’s honor. The purpose of this paper is to analyze the events that occurred in the novel and compare them to the same the culture and also the outcomes of going against your religion in different cultures.

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.

Although prostitution may be one of the world’s oldest professions to this day it is seen as a degrading and disrespectful career especially when regarding female prostitutes. In Chronicle of a Death Foretold, the town is very critical and strict about chastity and premarital sex. Maria Alejandrina Cervantes is the town madam which by society’s standards makes her to most marginalized, but ironically she is not brought down by her society’s rules. Gabriel Garcia Marquez uses characterization and irony to demonstrate Maria Alejandrina Cervantes’s contradictory role and to develop the theme of going against society in Chronicle of a Death Foretold.

The critical nature of Santiago’s relationship with Victoria Guzmán allows Márquez to satirize the servant-master and patriarchal complexes present in his portrayed culture. The sexual relationship between Ibrahim Nasar and Victoria Guzmán, parallels that of the relationship between Santiago Nasar and Divina Flor and highlights the social constructs and environment, which reduced Victoria Guzmán into servitude through the juxtaposition of the aforementioned combative personalities of Victoria Guzmán and Santiago. Márquez is successful in the sense that he can create a social commentary on the portrayed Arabic and Columbian cultures while still maintaining false objectivity by inserting variation into separate accounts. Márquez’s uses periphrasis, syntax, and chronological divisions between chapters to subdue overt comparison between the portrayed values of Columbian culture and its societal norms with the conflicting relationship of Victoria Guzmán and Santiago Nasar, effectively shrouding his commentary.

Throughout the world women have been discriminated. Having unfair wages, jobs, voting rights and more. And it is shown through Angela Vicario being judged and told what or what she is not able to do. Though it's been getting better as the years gone by. In Gabriel Marquez novel, Chronicle of a Death Foretold, he uses the character Angela Vicario to emphasize the unfair nature of women's role in Latin American Society through the loss of her virginity, being dictated by everyone around her and the judgement that comes when getting married compared to where families are more focused on making them the brightest they can be and the society is also less judgemental.

Gabriel Garcia Marques provides a unique platform in his novella, Chronicle of a Death Foretold (COADF) to analyze facets of traditional Colombian values. The characters provide context regarding particular sectors of religion, cultural values and social norms throughout the novel. Marquez highlights a multitude of cultural juxtapositions throughout all of his novels, however, COADF in particular comments on the social hypocrisy of religion and the double standards due to gender norms throughout the novel. In the novella, Angela Vicario’s character highlights misguided principles and helps to understand how women and other groups of people in the country are maltreated. Common themes throughout the novel often victimize Angela Vicario, such as sexual identity, alcohol abuse and religious scrutiny. Marquez conveys these themes through imagery, symbolism, allegory and most especially periphrasis. This paper will effectively highlight how these factors demonstrate the cultural discrepancy in allowance of freedoms and the roles of women in the novel, and broader country.