Relationships In The House Of The Spirits

When living with his grandmother, Suina describes his memories during the frigid winter. During those cold months, “a warm fire crackled and danced brightly in the fireplace, and the aroma of delicious stew filled our one room house.” Suina’s description illustrates his grandmother’s house as a nurturing environment. It is a setting in which his grandmother clearly cares for him. He remembers enduring the long freezing winter nights when “the thick adobe walls wrapped around the two of us protectingly.” The characteristics of the house showcase a sense of connectedness between Suina and his grandmother. Living with his grandmother clearly give Suina several reasons to be happy. It is not only a place that cares for and protects him, but it is also a place that “was just right.” Suina’s grandmother’s house provides him with a tremendous amount of self-confidence. Unfortunately, all of that self confidence is lose when he goes to school. School leaves Suina utterly bewildered. He begins to realize how different the two settings are. He starts to lose sight of the essential aspects of life with his grandmother that once made him so

The mistreatment from her family and peasants reinforced her feelings towards people and furthered her independent thinking. Surpressing her true emotions allowed her to gain access to food and shelter by taking the beating, mistrustment, and abuse from those around her. Another key character trait involved the encounter with the blind man, Tzili’s true character was displayed, she was quick thinking by stating she was Marias daughter which allowed her to become invisible to the world. When Katrina, another prositiue who gave Tzili shelter offered her to one of her clients Tzili relied on her storng moral compass as to how to handle the situation. Since this situation occurred she left because she was not comfortable with the circumstances she was put into. This also allowed the readers to view her quality of street smarts. Throughout the novel she was brave, courageous, and intuitive; her survival depended on these characteristics and allowed her to transform into a mature and strong women by the end of the

(1). Aunt Florence expects Marusa to wear a dress that she made; but Marusa stubbornly refuses to do so. Without telling others, she buys a dress that she likes using her fiancés money, thus starting a conflict. This conflict breaks down her “strong and superior” façade, therefore changing our perspective of her character.

Applying Class Concepts to “Where the Spirit Lives” Provide as many specific examples of each of the following concepts from “Where the Spirit Lives”: Framework: How the dominant group maintains power (Both Pharr and Weber’s frameworks): Institutional Power Political control: laws/policies/criminal justice system - The “Whites” lawfully took the children from their Native land - The school creating rules forbidding native practices of the Indian children Ideological control: control of ideas through education, religion, media, etc. - The ideas and practices of Christianity were completely forced on the Native American people.

? . . . it made no difference if they studied medicine or had the right to vote, because they would not have the strength to do it, but she herself [Nivea] was not brave enough to be among the first to give up the fashion.? (6, Ch 1) The women in this society are dependant on the dominant male figure to handle political and economical duties. This point of view is intended to mimic the older generation of women ad present a foundation for the growth of an enlightened generation. Allende uses this excerpt to present a foundation of structure to the novel by beginning with the extremes of opinion, which are followed in the novel through different generations. Alba for example,

She started off as a rich privileged kid who, at the age of 14, had been struck by the worst thing that can happen to a girl at the very edge of her puberty – having a spoiled mother who cared more about the money than for her own daughetr, Faunia had to face an abusing stepfather who found her chilish innocence and beauty too powerful sexual bate to endure. Running away at such early and immature years of her life and staying completely alone and protected only by clear sky and an empty wallet, she had been forced to put up with the worst kind of jobs and worst kind of men that could possibly be found. In

Countless works of literature have sentimentalized the house as a space of sanctuary; however, in time the house came to incorporate the mysterious also, as haunted houses allowed the supernatural to dwell alongside the living. Fictional narratives have long since utilized the house as a venue for character and situation to develop, dispersing opportunities for authors to bring symbolism and metaphor to their works. Julio Cortázar drew upon the house setting in his short stories “Bestiary” and “House Taken Over”, not just as a venue for his tales to play out, but as places that echoed the themes, character, and structure for the unusual could enter and abide. Cortázar’s treatment of the bizarre as a part of the natural family life of the house,

In A Short Account of the Destruction of the Indies, Bartolomé de Las Casas vividly describes the brutality wrought on the natives in the Americas by the Europeans primarily for the purpose of proclaiming and spreading the Christian faith. Las Casas originally intended this account to reach the royal administration of Spain; however, it soon found its way into the hands of many international readers, especially after translation. Bartolomé de Las Casas illustrates an extremely graphic and grim reality to his readers using literary methods such as characterization, imagery, amplification, authorial intrusion and the invocation of providence while trying to appeal to the sympathies of his audience about such atrocities.

Federico Garcia Lorca was born in 1898 and died in 1936, he lived through one of the most troubling times of Spain's history. He grew up in Granada, Spain, and enjoyed the lifestyle and countryside of Spain. His father was a wealthy farmer and his mother was a school teacher and encouraged his love of literature, art, and music. He was an extremely talented man. A respectable painter, a fine pianist, and an accomplished writer. He was close friends with some of Spain's most talented people, including musician Manuel de Falla, and painter Salvador Dali. Lorca was a very liberal man who lived un dictatorship for most of his life. However, in 1931 Spain turned into more of a democracy, and was called "The

that he only did it to get revenge for what her grandfather did to his

The House of the Spirits written by Isabel Allende is an extraordinary novel that weaves together, history, politics, and current events to create a unique piece of literature. Throughout the novel on several occasions it is clear that there is inequality between the aristocrats and the peasants and this leads to struggle between the classes. The issue of class struggle takes the form of growing conflict by causing a division between the Conservatives and Socialists. At the head of the Conservatives is Esteban Trueba, a violent and materialistic figure. He believes people need to work their way up to the top and there is no reason that peasants share the upper classes wealth. On the other hand, Pedro Tercero Garcia represents the

       As the tale begins we immediately can sympathize with the repressive plight of the protagonist.  Her romantic imagination is obvious as she describes the "hereditary estate" (Gilman, Wallpaper 170) or the "haunted house" (170) as she would like it to be.  She tells us of her husband, John, who "scoffs" (170) at her romantic sentiments and is "practical to the extreme" (170).  However, in a time

She also saves her pride and arrogance as the Choragos remarks, “Like father, like daughter: both headstrong, deaf to reason! She has never learned to yield.” She had many chances to prevent her demise but her pride stood in the way. Through the progression of scenes leading to her tragic ‘fall’, she is every bit of the woman she was at the beginning.

Many critics of The Autobiography of my Mother have remarked on the unrealistic facets of Xuela's extremist character. Her lack of remorse, her emotional detachment, her love of the dirty and "impure," and her consuming need for total control over everyone and everything around her give her an almost mythic quality. A more well-rounded, humanistic character would have doubts and failings that Xuela does not seem to possess. In light of Xuela's deep-seated resentment of authority, stubborn love of the degraded and unacceptable, intense rejection of the ìmaster-slaveî relationship, and--most pointedly--her hatred of the British and British culture, many critics have embraced the idea that Xuela is highly symbolic of the conquered, colonized

Her desire to make Nola happy shows that she is trying, but inside thoughts show that she does not like the way Nola dresses, or the clothes she picks out, or the restaurant they eat at. Her emotional attachment and need for her daughter overpowers her knowledge that it is time for Nola to grow up.  She would prefer for Nola to remain young.  Despite her mother's desire, Nola is growing up and becoming her own person.