The Apparent Second City Syndrome Feeling Rings

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.

This new way of thinking that Gutiérrez conveys the readers to this idea about Nepantla and conocimiento which she drew upon from writing by Gloria Anzalda. Conocimiento has multiple meanings in Spanish, but can be translated into knowledge, having a connection with others, and “in solidarity” (Gutiérrez 2012). She also presents the idea of existing in a state of Nepantla, which she described as a space with no solid ground, an uncomfortable state, and a new way of asking questions or approaching something (Gutiérrez 2012). I found this new idea compelling and an interesting new lens adapted to the idea of equity. The article discusses Nepantla as a state or something that can occur in phases. Starting with the phase of understanding one’s

The Underdogs by Mariano Azuela is arguably the most important novel of the Mexican Revolution because of how it profoundly captures the atmosphere and intricacies of the occasion. Although the immediate subject of the novel is Demetrio Macias - a peasant supporter of the Mexican Revolution -, one of its extensive themes is the ambivalence surrounding the revolution in reality as seen from a broader perspective. Although often poetically revered as a ‘beautiful’ revolution, scenes throughout the novel paint the lack of overall benevolence even among the protagonist revolutionaries during the tumultuous days of the revolution. This paper will analyze certain brash characteristics of the venerated revolution as represented by Azuela’s

Continuing in the theme of conformity; if the boys are united by their heteronomy, Cuellar’s castration, in contrast, is the source of his ostracism. His unfortunate accident is a wound that ‘time opens instead of closes’, and as the story progresses, Vargas Llosa juxtaposes the boys socially inclusive youthful pastimes of football and studying mentioned earlier in the novel with his comparatively solitary penchant for the ocean and surfing “a puro pecho o con colchón” (94) in chapter five. In this passage, his distance from the others is symbolised by the isolation of the sea; the narrator says the water “se lo tragó” (95) and later, the boys state that “se perdió” (96). Clearly, Cuellar’s failure to partake in the testosterone fuelled rituals of sexual maturity in the city has seen him shunned from the rest of the boys and resigned to hanging out with “rosquetes, cafichos y pichicateros” (96) instead – the modern, metropolitan outcasts. Evidently, Cuellar is incapacitated by this highly heteronormative lifestyle, as the inherent masculinity of the city is a fixed identity that will perpetually exclude him, or anyone else who cannot fulfil Peruvian societies idea of gender appropriate behaviour.

As a realist novel from Latin America, Pedro Paramo served an enormous impact on Latin American writers and readers from all over the world. Upon its release in 1955, Pedro Paramo barely sold 4,000 novels, yet the novel has sold millions worldwide and is translated into over 30 different languages. The reason why Juan Rulfo, the author, was deemed a literary figure in Latin America is largely because of this novel. The novel is seen as a representative of Mexico’s modernization. The novel itself is only a mere 124 pages long, and is almost pocket sized, yet the content and the years of history that is eluded to in the novel has had a long lasting effect on Mexico City, the setting in the novel, and the world of Mexican contemporary writers. By using the New Historicism approach to the novel, readers will be benefitted greatly because they can unravel the history of Mexico City and the Mexican Revolution and revolts that is reflected in the novel.

Los Angeles is a desert community”. During the time, Los Angeles was part of the desert, but in the other film, New York has been already in its prime with larger skyscrapers and a more diverse community. Not only that, but even throughout the films, it was noticeable to point out the cultural and architectural differences within the people and buildings portrayed. The way the cities are portrayed in the films truly do change the experience one may have in those cities throughout life because one may expect the cities to be what they want it to be as shown in the films, but in reality won’t experience that because it’s currently two thousand and seventeen and the films were made to give the audience a taste of what 1937 and the 60’s were.

It is often said that we are shaped by our environments; we all interact with our surroundings in some form or another, and we are further influenced by and interact with the society we live in. In fiction, characters interact the same way within their fictional societies and social positions, as characters reflect how actual people relate to their world. In the novel The House of the Spirits by Isabel Allende, there exist many societal norms and standards that influence the characters and their actions in different ways. This essay focuses on these standards and how they relate to the character of Férula Trueba, and her position in the society she lives in. Allende’s novel The House of the Spirits takes place in the religious and patriarchal society of 20th Century Chile, where the character Férula embraces religious austerity and internalizes her role as caretaker, resulting in embitterment and repression of her feelings.

It is quite understandable that contemporaries, whatever their sympathies, should have viewed the Spanish Civil War in such cosmic terms. I will now examine in some detail, first the European, and then, the Spanish context, into which the civil war was born to see why such a conclusion might be drawn.

This document analyzes two historical novels that belong to the considerable and traumatic corpus created after the last Military Junta in Argentina. Leopoldo Brizuela’s “On a Similar Night” (2012) tells the story of a child conflicted with his own guilt, because his father is a collaborationist to the regime. Tomas Eloy Martinez’s “Purgatory” (2011) narrates the efforts of an exiled woman to locate her husband, who was kidnapped thirty years ago. The tragedy of the disappeared and the unfinished mourning are subjects highlighted in these chosen texts. The goal of this analysis is to study the narrative strategies used by the two authors,

A poet, political activist, and fiction writer, Esteban Echeverria was born September 2, 1805 in Buenos Aires Argentina. Known as one of the most prominent and important romantic writers of Argentina, he played a decisive role in the development of Argentine literature. One of the most acclaimed pieces of literature produced by him, “El matadero” or “The Slaughteryard” is still one of the most studied texts in Argentina today. While he authored many other works, his reputation lies with his politically packed piece “El matadero”. This political allegory is used to display the stark contrasts between the Unitarians and the Federalists, or civilization and barbarianism. His keen use of imagery paints a vivid picture of the Mazorca and their bloody characteristics. After studying latin and philosophy he decided to continue his

The Spanish Civil War was a war that caught the eyes of the politicians, media and creatives around the world. What began as a Spaniard’s war was co-opted by Fascists and Communists of the world seeking to show the merit their might, a proto-cold war (…). The seed of this war was planted prior to the reign of the communism and fascism. They were planted far before, in the nineteenth century. The nineteenth century was a turbulent time for Spain. The opposition to the monarchy resulted in the pushes for the constitutional rights, liberalism, and even the short-lived republic. Combined with the destruction of their empire, by the United States and the revolutionaries,

It is here in Madrid that two incompatible civilizations undertake their great struggle: love against hate, peace against war, the fraternity of Christ against the tyranny of the Church . . . . This is Madrid. It is fighting for Spain, for humanity, for justice, and, with the mantle of its blood, it shelters all human beings! Madrid! Madrid!

It is fair to say that, Mendoza utilises Onofre Bouvila as a character to be portrayed as a direct parallel to the development and aspirations of Barcelona. This is expressed in the novel, since; it is irrelevant how rich and powerful Onofre becomes, he will never be accepted by the social elite. This is due to the fact that, he can never be on the top rung of the social ladder literally and figuratively, due to his impoverished upbringing and working class background. “corrió hacia la mesa presidencial… Al llegar a la mesa advirtió que no quedaba una sola silla libre, ni un cubierto reservado para él. ¿Qué haces aquí parado como un pasmarote? Tu puesto está allá, en la mesa tres… ¡Pero yo quiero sentarme aquí al lado de la zarina!... ¿quieres ofender a su alteza imperial?” 6. (Eduardo Mendoza, La ciudad de los prodigios page 328). “These same men who asked for his money do not allow Onofre to sit at the same table with the Russian aristocrat because he does not have a noble lineage”4 (Karen Oswald pg. 54). This shows us that in this scene, Onofre aspires to sit on the top table with the Czarina. Nevertheless, even though he is incredibly powerful and considered to be the richest man in Spain, due to his deprived childhood and lower class background, he will never be able to sit on that top table. Consequently, Onofre will never reach the upper echelons of Barcelona’s social elite. Therefore, it could be argued that Onofre is a metaphor for Barcelona given the fact that,

Penaloza’s article provides the understanding of the complex process of how the community of Old Town Old Town assimilates to the main stream cultures of the greater Santa Barbara areas. Her article highlights the

A pesar del carácter ilusorio de los recuerdos, en los que lo fantástico y lo real se entremezclan. A pesar de que el tiempo enmaraña los sentidos, queremos comenzar evocando los recuerdos propios, porque precisamente esta tesis se fundamenta en las vivencias y los recuerdos de otros. Los de uno son recuerdos de una infancia cuyo escenario es un municipio de la provincia de Jaén. Era por 1979. A escasos metros de mi casa, en ese pueblo, vivía Madriles. Madriles era un anciano, vestía de negro impecable y se dejaba ver poco. De vez en cuando los niños que jugábamos en plena calle a la pelota durante horas y sin que el paso de un vehículo nos entorpeciera, abandonábamos lo que estábamos haciendo y no dejábamos de mirar, atónitos. Acompañado por su mujer, salía de su casa y daba un pequeño paseo, tan sólo unos metros calle arriba y calle abajo. A Madriles le faltaba una pierna. Era evidente. El dobladillo del pantalón negro, también amputado, bamboleaba con cada esforzado paso. Las muletas de madera eran pesados apoyos en las axilas del abuelo. Siempre me ha impresionado esa visión. De niño cavilaba a menudo sobre el desconsuelo de Madriles y sus torpes movimientos con las muletas.