Travesti Sex Workers in Brazil

Erauso’s action in cutting her hair symbolizes her entrance into a new world of masculinity, as she “cuts ties” with the female gender. By transforming the way the outside perspective views her outward appearance, Erauso is able to persuade her audience of this new identity. Whether she partakes in transvestism as the act in itself or as a way to express her new identity, Erauso convinces those around her that she is a Spanish man simply by altering physical aspects. This is significant in that one’s hairstyle and dress are associated with a particular gender and each serve a purpose in the sphere they associate with. Dressing in breeches, a doublet, and a hose as well as sporting short hair supports the theory that men primarily focus on the public sphere, engaging in physical activity. Their clothing and hairstyle serve a purpose of the daily life of Spanish men during the 17th century.

The author agrees with the idea of women as victims through the characterisation of women in the short story. The women are portrayed as helpless to the torment inflicted upon them by the boy in the story. This positions readers to feel sympathy for the women but also think of the world outside the text in which women are also seen as inferior to men. “Each season provided him new ways of frightening the little girls who sat in front of him or behind him”. This statement shows that the boy’s primary target were the girls who sat next to him. This supports the tradition idea of women as the victims and compels readers to see that the women in the text are treated more or less the same as the women in the outside world. Characterisation has been used by the author to reinforce the traditional idea of women as the helpless victims.

In “Lieutenant Nun: Memoir of a Transvestite in the New World” by Catalina de Erauso, a female-born transvestite conquers the Spanish World on her journey to disguise herself as a man and inflicts violence both on and off the battlefield. Catalina discovers her hidden role in society as she compares herself to her brothers advantage in life, as they are granted money and freedom in living their own lives. Erauso decides to take action of this act of inequality by forming a rebellion, as she pledges to threaten the social order.The gender roles allotted to both men and women in the Spanish world represent the significance of societal expectations in order to identify the importance of gender in determining one’s position in the social order in the Spanish World.

This essay will be discussing how gender is portrayed in the films Todo Sobre Mi Madre (All About My Mother) and Tacones Lejanos (High Heels), both directed by Pedro Almodóvar. The use of the theatre and performance, along with the audiences that come with it, enables these films to explore the manner in which gender is unstable. Gwynne Edwards writes that Almodóvar often pays tribute to the stage . Almodóvar dedicates All About My Mother “to all the actresses who have played actresses, to all women who act, to men who act and become women” , which is also relevant to High Heels. He uses the stage setting as a platform to show the instability of gender, not only on a physical stage but also in the characters’ lives: “The dialogue of his films has the cut and thrust, and very often wit, of stage plays. There are also soliloquies, and one of them – in All About My Mother – is even delivered to the audience from the stage of a theatre” . Russell Jackson suggests that this is done as a method for the characters to “find the sometimes onerous ability to deal with and describe their past, and to create a future in the face of death and desertion.” The character ‘La Agrado’ in All About My Mother as well High Heels’ Femme Letal (Letal), will be considered - both the manner in which they carry themselves throughout the film, as well as the their performances on stage. In the following paragraphs, I will illustrate how performance and the stage are vital in Almodóvar’s exploration

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

Asencio (2009) says, “The majority of these women had to negotiate identities in such a way that only one identity could exist or flourish in a given situation”. Their identities were fragmented accordingly to the situation they had to face. Sometimes being a lesbian prevail on being a Porto Rican, and vice-versa. Porto Rico is a patriarchal society, with that being said it is easy to understand that as being Porto Rican women they had to grow up seeing themselves as different from the males, because women had different roles in society than men, and that has huge influence on their gender identities. The women often emphasizes the lack of freedom in being what they wanted to be.

In the satire of the sexes, Egalia’s Daughters by Gerd Brantenberg, there is put forth a society different from which has ever been present in modern times. This would be a society where women were at the forefront and did the decision making, worked and held governmental positions. The men were portrayed in the way females live in present society, though it was often exaggerated to make that point. Men were dominated and ruled by women and had to do their bidding and cook for them and take care of the children, so on and so forth. By taking a hard look at how sexuality is imagined and experienced on all analytical levels and picking apart the social construction of gender in Egalia’s Daughters, society itself in the present can start to

According to the media’s portrayal of Latin women, there are two ways Latin women act. The first way is passive, pure, and dependent on men; the second way is wild,

The relationship between the gender roles reflected in telenovelas and the the role of women in Latin American countries is a matter of parallelism. This is because as Judith Butler, the author of the book Gender Trouble: Feminism and the Subversion of Identity, emphasized that it is “impossible to separate out ‘gender’ from the political and cultural intersections in which it is invariably produced and maintained”. Gender is undeniably socially constructed, and is a product of the values deemed important by that society being constantly reenacted and reinforced. In that sense, telenovelas are also another medium through which beliefs in gender can be relayed to the audience, forming what is called the “imaginable domain of gender” as they either perpetuate or go against ideal hegemony (Beard 2003).

Every year thousands of people of all genders, race, and age become victimized in sex trafficking. These people who become victims are usually vulnerable and are living in poverty structured areas. Many countries around the world are dealing with this serious issue, even in the United States. The United States federal law has defined sex trafficking as an act, “in which the commercial sex act is induced by force, fraud, or coercion, or in which the person induced to perform such an act has not attained 18 years of age” (Polaris Project). Sex trafficking is not only seen as a crime but is also seen as a business of supply and demand to many people. This business makes a profit of about 9.8 billion dollars a year. In recent events it has been shown that sex trafficking increases during big sporting events. As a result, some actions have been taken to combat the issue, but not enough. Therefore, due to the fact that sex trafficking is a worldwide issue and it is increasing over time; I will argue how there needs to be changes to the approach we have on the issue of sex trafficking.

“The Myth of the Latin Women” was writing by Judith Ortiz Cofer, a women born in Puerto Rico. Ortiz is a person who seems really Passionate about this specific subject. “The Myth of the Latin Women” points out the many stereotypes Latin women go through in their day to day lives. The things that upsets Ortiz is that there are so many people who are not a Latin background that don’t realize the importance of this issue. The main purpose of “The Myth of the Latin Women” is to get people to understand that their words will hurt someone and Ortiz convey this throughout the essay with the use of logos, ethos and pathos.

She engages extensive social theories in her analysis of everyday life. There is a an elaborate discussion of Cultural production theory, feminist theorizing on the body and resistance, Michel Foucault’s theories of power, Mikhail Bahktin’s theories on carnival, and Patricia Hill Collins’s theories about controlling images and the matrix of domination are employed to develop the theoretical relevance of the everyday lives of Gloria, her family, and her neighbours. Wherever there is a gap that the existing theory could not fill, she points them out and suggests a more nuanced understanding of the complexities of lived experience. This is especially true in her discussion of the “carnivalization of desire” and women’s ambivalent relationship to the “sex-positive” atmosphere of Brazil. The ethnographic and theoretical richness of the text is supplemented by a brief political history of Brazil that helps to contextualize the current scenario within a history of slavery and

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.

Junot Diaz, the author of “A Cheaters Guide to Love” writes his short story with many different references to anti-feminism. He writes about women in different ways to show them as powerless, and un-superior to the main character in the short story. From this short story, Diaz conveys the main characters ways when he shows the him talking about, the girl he calls to have sex with, the women at the yoga class, and the files read at the end of the story that show the fifty girls he cheated on his fiancé with. Diaz creates his main character and puts him in the second person to relate to the reader, but show his anti-feministic signs.

Martirio once had a man interested in her but that opportunity was snatched away from her by Bernarda. On page 191 Poncia says, “Martirio is lovesick, I don't care what you say. Why didn't you let her marry enrique Humanas? Why, on the very day he was coming to her window did you send him a message not to come? And Bernarda responded, “... My blood won’t mingle with the Humanas’ while I live!” This is an example of how different Martirio’s circumstances were from Adela and Angustias. Martirio was repressed from her desire for freedom from her mother and became jealous when her sister’s were not denied in the same way. These two themes lead the characters to believe that escaping one prison will make them free, only to be confined to another. This is the situation the women in the play recognize as a inner conflict. An example of this is on page 169 when Amelia says, “These days a girl doesn't know whether to have a beau or not.” Additionally, On page 208 Adela says, “ I can't stand this horrible house after the taste of his mouth. I’ll be what he wants me to be.” This quote shows how the girls view men as an escape from their sheltered home. Men represent freedom as well as repression. For Example, On page 169 it says “... Her sweetheart doesn't let her go out even to the front doorstep.” This shows us that Bernarda’s daughters realize if they stay at home forever, they will be controlled by their mother,