The Voice Of Al Nadaha

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.

One of the most important and controversial figures in Mexican history and literature is La Malinche. La Malinche, also known as Dona Marina, Malintzin Tenepal or Malinalli, played a significant role in the Spanish Conquest as translator and political mediator to Hernàn Cortèz. Although her importance in the conquest is undeniable, her depiction in literature and as a woman have been up for debate and the interpretations of her have influenced Mexican feminism. The two well-known interpretations of Malinche’s story are polarized interpretations of the historical figure and

Apparently, the spirit is a pretty light-skinned woman, who is affiliated with femininity and the finer things in life. It is explicitly stated in the book, “…Ezili Freda’s connection to romance…identifies her with upper-class women…”(247). In addition, whereas Ezili Dantó reflected women and their womanhood with childbearing and caretaking, Ezili Freda concerned herself with the more romantic and sensual side of women. Alourdes states, “ ‘Poor people don’t have no true love. They just have affiliation…’” (247). Referring to the previous couple of quotes, it can be inferred that only light-skinned and rich women can have true love, while the poor women just have relations that lack romance. However, despite the fact that Ezili Freda seems superficial, she fills another role. Brown points out, “...the song can be heard as saying that when Ezili Freda is inside the house, when sensuality and love are in place of the family…the people inside are safe from the rain and slippery mud that surround them…but it can also be heard as a warning…” (250). The sensuality side is also notable when Brown talks about how Mama Lola would get all dressed up and cater to a man. In any case, Mama Lola personifies the romantic notion represented by Ezili Freda when she also states how she does desire a man and love.

La Loca’s existence is crucial for two major reasons. First, her resurrection in the first chapter declares the nature of the story and hints of its magical narrative. Castillo wastes no time to inform her readers that So Far From God is a work of magical realism. Second, La Loca exists to encourage Sofi to rebel against the religious institution and the political establishment. As the narrator reports, “Loca had never left home and her mother was the sole person whom she ever let get near her” (221). This is a hint that La Loca’s relationship with Sofi goes beyond a mother-daughter relationship. It is a cause-and-effect relationship, since Sofi’s rebellion is staged on three different phases—each phase begins with La Loca (the cause) and ends with Sofi (the effect).

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.

There are many names for Our Lady of Guadalupe like the Virgin of Guadalupe, and Tonantzin, but they all mean the goddess that protected the people and came to Juan Diego. Over thousands of years the story of Tonantzin, what the native Aztec people called their Virgin Mother Mary, has been passed down and celebrated in the Mexican culture for all of the good and protection that they believe she has brought them. In Rodolfo Corky Gonzales’ epic poem “Yo Soy Joaquin” he references this Aztec goddess, Tonantzin because she is a religious figure, she was considered a native and she is a symbol of independence.

عباءات = Abaya Is the men which are elderly on what they wear on there head.

The legend of La Llorona has been embedded into the Mexican and Chicano/a culture for more than five hundred years, primarily bringing fear, caution, and death to young children. Said to be dresses in all white with long black hair, La Llorona revolves on bringing fear to kids and emphazises the mourne of the loss of her children. Many of the kids who are told this story serves as a threat to not go play by a river or to stay out when the sun has fallen. Reverting back to the time period of the Spanish Conquista when Hernan Cortez was battling for settlement, La Malinche, (also referred to as Doña Marina, Milinalli, or Malintzin) a Nahua woman, was brought to him as a slave amongst twenty others like her. Having caught his attention, Cortez entitled La Malinche to be his translator, advisor, and mistress.

It is clear to the reader that Castillo distinguishes reality and magical realism through these unexpected deaths of the daughters. However, it is La Loca’s mysterious death and ceremonial resurrection that serves as the most important symbol in this novel. I interpreted the scene where La Loca ascends in the air, as a liberation. Lo Loca never left the house and was literally stuck inside one place; that Holy Friday was “the only occasion… [where] Loca went into the world” (Castillo, 238). La Loca transcends beyond her ordinary world, into one where she is free. This is perhaps the largest political message sent by Castillo to the reader. In her personal life, author Ana Castillo put a halt to her Catholic beliefs at the age of 18 and “the ‘magic’ found within the pages of So Far From God is modeled on religious miracles

The llorona is a legend that tells the story of greed and selfishness, as well as sticking to the high, moral road. Some say the story was originated in in south texas area where the Spanish influence is still well and vibrant, or in Mexico itself where the story is said to have originated. There are many different variations of this specific story. For example there’s another about a teenage girl who

Rahman was born in Chennai, Tamil Nadu, India in a middle-class Tamil family. His father, R. K. Shekhar, was a film-score composer and conductor for Tamil and Malayalam films; Rahman assisted his father in the studio, playing the keyboard. After his father's death when Rahman was nine years old, the rental of his father's musical equipment provided his family's income.[11] Raised by his mother, Kareema (born Kashturi),[1] Rahman was a keyboard player and arranger for bands such as Roots (with childhood friend and percussionist Sivamani, John Anthony, Suresh Peters, JoJo and Raja)[3] and founded the Chennai-based rock group Nemesis Avenue.[12] He mastered the keyboard, piano, synthesizer, harmonium and guitar, and was particularly

The next image as a whole implies the bouncing circular movement of Soledad’s breasts, as she comes down the mountain. Lorca uses synesthesia, employing the word “redondas”(8) to describe “canciones”(8) rather than Soledad’s breasts. The word “giran” also relates back to Soledad’s pain, as if her breasts are crying out as they move around.

Your Topic Choice: Najmah’s Voice Feedback: While you do make some accurate points about the story, you don't explain the word choices you made in the poem. Also, make sure the your evidence really matches the point you're trying to make and take the time to proofread. Goal: Focus more on the prompt, and definitely proofread my work so I don’t have any grammar, spelling and sentence errors.

Listen to the chanting and the rage and the fire. You will be entranced, just like I.

Hamida is the character that represents the people who yearn for a change. Often, she feels as though she is worth more than just living in the old alley – and she calls it a “Nothing Alley”(27) and asking herself “Oh what a shame Hamida, what are you doing living in this alley? (27)”. During World War II, many people in Midaq Alley go to work for the soldiers in the hope of earning more money and living in a more comfortable life. Hamida is one of those people who sacrifice themselves and everything that they have in an exchange for the wealthy life they always have dreamed of. Hamida is not a religious person and has a different perspective from the people in the alley because she sees a better life in the modern world. In the end, she decides to become a prostitute for pretty clothes and jewelries. She does not regret choosing this life as she is able to have an opportunity that gives her “desire for life and adventure (186)”.