Individuals are generally perceived to be productions of their upbringings and socialization. Latin author, Gabriel García Márquez and Algerian writer Albert Camus, introduce how their characters conflict with socialization as a result of their cultivation in Love in the Time of Cholera and The Stranger respectively. In Márquez’s novel, the key female role is assigned to Fermina Daza, a middle class Latina in the 1800s-1900s, expected to hold prestige and marry wealthy by her father and societal pressures. In The Stranger, Meursault, the protagonist, develops a niche for logic rather than influence which provides the Christian based society with a reason to have a heinous perception of him when he fails to express emotion at his mother’s …show more content…
Márquez’s tone in Lorenzo’s actions was violent to make his opposition vivid, while Fermina’s fear influenced her decision to do something out of societal norms. In retaliation to his controlling ways, she cuts off her braid, which in Latin culture, represents beauty in women, symbolizing that she neither wanted nor cared to be affiliated by generic beauty expected by society, but instead to be identified as an individual.
Lorenzo Daza’s obsession with progression of status interferes with his daughter’s development as a conventional woman. He claims, “the only thing worse than bad health is a bad name” (Márquez 81). His opposition to their natural lifestyle and controlling manner is a catalyst of Fermina’s later clashes with male roles in the novel. For example, she ultimately marries Dr. Urbino as her father wished, characterized as a fastidious and esteemed man; however her relationship with him suffers. After, Fermina discovers that her husband took partition in an affair with a mullata, she unlike many
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.
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).
The chief character of the story is Clemencia. Clementia is a US born Mexican-American woman. As opined by Clemencia herself, she is “vindictive and cruel, and…capable of anything” (Cisneros 68). At the same time Clemencia is a victim of racial bias. Involved in an unhappy marriage, her mother exhorted, “Never marry a Mexican” (Cisneros 68) and at the end of the affair with her beloved Drew, he confesses he could “never marry a Mexican” (80). Thus, Clemencia is a perpetrator of racial bias towards men of a Hispanic descent, “I never saw them. My mother did this to me” (69), while being a victim of racial bias herself. Although middle-class, she flees the comforts of a middle class life to live in a lower-class Latino neighborhood and sells her art among the upper-class. Hence, she also feels like she is, “Amphibious…a person who doesn’t belong to any class” (71). Clemencia is also a betrayer of women. Feeling betrayed and abandoned by her mother for marrying an Anglo man and betrayed by her ex-lover for ending the affair, Clemencia seeks gratification through her affairs with married men. The overall theme of Never Marry a Mexican is overcoming racial stigmas and finding the beauty in humanity.
In The Stranger by Albert Camus, the murder committed by Meursault is questionably done with no reason. Although the entirety of the second part is spent in society’s attempts to find a cause, Meursault has a durable existential mentality that proves that even he knows that there is no true reason for the crime. Through the use of light and heat imagery and diction in The Stranger, Albert Camus comments on the duality of society trying to find a cause for the murder and Meursault defying this because of his existential mentality. These elements heighten Meursault’s negative outlook on life by
This passage was written by Gabriel Garcia Marquez in The Chronicle of a Death Foretold. It is about Divina Flor who explains to the writer why she did not warn Santiago Nasar that he was going to die. She recounts that, as a child, she was sexually assaulted by him. This passage is so important to this book because it brings out the themes of women's roles in Latin American Society, power and culture. These themes help the Marquez bring out the important contexts of the story so readers can understand the importance of the story. In The Chronicle of a Death Foretold, Gabriel uses structure techniques, symbols, contrast, foreshadowing, imagery and figurative language to bring out the theme of gender roles.
The author Marquez uses character names to illustrate the societal preference of virginity. For example, the character Flora Miguel, who “enjoyed a certain floral quality,” is named after flowers (66). By using curious diction with the word “certain,” Marquez points to an almost undefinable yet intriguing feature. Since the narrator is a man, it demonstrates male interest in women’s sexuality. Because the author says it is due to “floral quality,” the interest comes from virginity specifically. Further proving the value of virginity, Divina Flor exemplifies this ideal. Divina Flor is not simply named after flowers, but rather her name has a more specific meaning. When translated to English, her name means divine flower. Marquez names her
In The Stranger, Albert Camus describes the life of the protagonist, Meursault, through life changing events. The passage chosen illustrates Meursault’s view during his time in prison for killing the Arab. In prison, one can see the shifts in Meursault’s character and the acceptance of this new lifestyle. Camus manipulates diction to indicate the changes in Meursault caused by time thinking of memories in prison and realization of his pointless life. Because Camus published this book at the beginning of World War II, people at this time period also questions life and death similar to how Meursault does.
The story describes the experiences of a young women named Cleofilas. She grew up with six brothers and had no mother. So therefore, she learned how to be a woman through watching telenovelas. She believes that to be a woman she only needs to find true love and have a “happily ever after”. Later she meets a man named Juan and they eventually fall in love and get married.
In The Stranger, Camus portrays women as unnecessary beings created purely to serve materialistically and satisfy males through the lack of a deep, meaningful, relationship between Meursault and females. Throughout the text, the main character, Meursault, creates closer, more meaningful relationships with other minor characters in the story. However, in his interactions with females in this book, Meursault’s thoughts and actions center on himself and his physical desires, observations, and feelings, rather than devoting his attention to the actual female. Living in Algiers in the 1960s, Meursault originates from a post-modernist time of the decline in emotion. Meursault simply defies the social expectations and societal ‘rules’, as
Albert Camus in The Stranger demonstrates how in French-occupied Algeria, Meursault, a French colonist, is on trial for his inconsiderate behavior in regards to his mother’s death, rather than being convicted for the murder of an Arab man. Over the course of the novel, Camus illustrates how this French-colonized society frequently takes advantage of Arabs, explicitly making note of the embedded racism during 1830 to 1962. In doing so, he makes apparent the demeaning attitudes towards Arabs; whereas Meursault does not undergo any reciprocated aggression for the crime he commits, alternatively being treated as a free man. As he internally becomes accountable for his actions, Camus insinuates how the white population is not aware of the present racial inequality until put in situations similar to those oppressed.
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
In the novel, The Stranger by Albert Camus, Meursault the protagonist, becomes drawn into a “senseless” murder that has to face the absurdity of life and because of his actions, Meursault is presented as a danger due to his lack of “morality” to society. Meursault who is not able to take control of his life but respond to what life offers him believes in the simplicity of life. He tries to understand the living through logic and objectivity, which ultimately turns futile, as he himself cannot maintain proper control over his thoughts and emotions. From the interactions between Marie, to the murder of the Arab, and the meeting with the Chaplain, Meursault overcomes his indifferent views to form an opinion about what life really means. The central theme presented by Camus is how the threat of mortality becomes a catalyst for understanding the significance of life.
The Stranger by Albert Camus was published in 1942. The setting of the novel is Algiers where Camus spent his youth in poverty. In many ways the main character, Meursault, is a typical Algerian youth. Like them, and like Camus himself, Meursault was in love with the sun and the sea. His life is devoted to appreciating physical sensations. He seems so devoid of emotion. Something in Meursault's character has appealed primarily to readers since the book's publication. Is he an absurd anti-hero? Is he a moral monster? Is he a rebel against a conventional morality? Critics and readers alike have disputed a variety of approaches to Meursault. I believe he is the embryo
Love is a powerful emotion that can cause people to act in abnormal ways. In the novel, Love in the Time of Cholera, the main character Florentino Ariza falls passionately in love with Fermina Daza. He immediately spends hours composing poetic love letters to Fermina as his entire life becomes dedicated to loving her. Fermina’s father, who greatly disapproves of the relationship between the two, decides to take his daughter to travel throughout the Caribbean. After many years of separation, when Fermina finally sees Florentino for the first time since she had been back in Hispaniola, all of her love immediately disappears after realizing she does not actually love Florentio. From that day on, Florentino would live for over a century in
A whip and a mule for men’ can be seen as the reason for Angustias’ timid communications with Pepe el Romano as seen in the extract. Moreover, Bernarda’s ideals on social status are made clear when Lorca has her reveal the reason for her sending away Enrique Humanes. This was because ‘His father was a farmhand’, the effect of this being Martirio’s assurances that she will never marry.