Last updated: July 11, 2019
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Sample donated:

& A ; Mama Elena Essay, Research Paper

Verbal and ocular representation of the matriarchal regulation.

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Ursula Buendia in One Hundred Old ages of Solitude and Mama Elena in Like Water for Chocolate are two of the outstanding and powerful female characters in the novels. No less of import than work forces, these adult females assume the taking functions in the households ; through their verbal and ocular representation they exhibit their leading qualities in some similarities and contrasted manner.

Though the scenes of two novels situate in different topographic points and different times One Hundred Old ages of Solitude depicts the Buendia household in a fabulous and Eden-like town where exists the patriarchal domination, and Like Water for Chocolate set in modern life where matriarchal regulation of female parent Elena control the household Ursula and Mama Elena are bound to hold some similarities. Behind the simple episodic secret plans, there was history of life as it was lived, with all its multiple limitations for adult females of societal category. Their word pictures followed the signifiers of life of these adult females instead than their alone individualism. They live out a full life in establishment of matrimony, which was a signifier of apprenticed bondage for life in which a adult female service male parent, so to conserve as they re married, and to the boies as male parent and hubby has passed. Encased in this foundation, these adult females, Ursula and Mama Elena, for the most portion, are steadfastly anchored in day-to-day world, compulsively, with the modus operandis of day-to-day life. Therefore cookery, run uping, ornaments were the originative mercantile establishments for them.

Although Buendias household is under patriarchal laterality, the power behind it locates in manus of Ursula, who frequently engages in responsibility of runing the house, even taking attention of the adult male of the house. In similar mode, Elena every bit good as Ursula overwhelms themselves into a function theoretical account of matriarchal opinion. Mama Elena emerges in an image of a strong, middle-class adult female and far more cagey than the work forces who purportedly protect her. She s pious, detecting all the spiritual demand of a virtuous girl, married woman, and female parent. She exercises a great attention to maintain her sentimental relation every bit private as possible from her household. Efficaciously Mama Elena keeps her extramarital matter covert to prolong consecutive to others her image and ideal of a theoretical account. Most of import of all, she s in control of life in the house, which means basically the kitchen and sleeping room or nutrient and sex.

Much of the same has Ursula control over, but non with absolute power as of Elena, for in this society patriarchal regulation is still in domination. Merely when Jose Arcadio Buendia loses his head, Ursula has to bind him to a chestnut tree and keeps the household traveling. With the common sense energy and finding of matriarchal will, she plays away against the abiding titillating figures outside the household: Pilar Ternera and Petra Cotes. All her life she fights against the incest tabu which revolves in her household. Ursula is really much a portion of Macondo s history, she s ever in midst of actions. She prevents an executing of city manager Moscote whom she thinks to be a good city manager, and unsuccessfully attempts to set up the matrimony between Armaranta and Italian mechanical piano expert, Pietro Crespi. Meanwhile, Ursula insists to ostracize the unnatural nuptials of Jose Arcadio II and Rebecca ; subsequently she renews her house once more and wishing to finance Jose Arcadio V s survey in Italy to be a Pope. Briefly, Ursula, in no inventive venture, has her centre of life with place fond regards.

Equally positive as the actions of both Ursula and Elena mean for their households, the inevitableness of state of affairss they encounter and the attitude they take on bend the positive way, which they try to keep, to the negative which accordingly set them far into contrast. By Ursula s power of sympathetic penetration, she s able to hold her acute expression into character and acknowledge the household s job: the Colonel is driven to his foolhardy escapades by fright, and the earnestness of the incestuous nature of the household s relationship. Work force

, in a titillating and surpassing inventive escapade, seem to miss of the world rule ; whereas, the adult females are encased in it. What seem to lose or what Ursula fails to acknowledge is the in-between land between psychotic belief of weak and unstable work forces and the homebound order and stableness of adult females. This inability points to the inability to point themselves with wider universe which they live in and take control of their ain fate. Therefore, they become victims of themselves, and the personal buildings Ursula every bit good as others erect in the class of populating all fail and immerse them into a cruel and permanent purdah.

Disapprobation to devastation in consistency to the advancement of the town prevent Ursula or any characters to change its way by any agencies.

However the inevitableness makes Ursula differed from Mama Elena who insists to take up the function with a rough attitude. The ways of life within the bounds of the theoretical account are demonstrated by the female parent Elena, who thinks of herself as its really incarnation. She interprets the theoretical account in footings of control and domination of her full family. She s represented through a filter of fright and awe. The verbal images that characterize Mama Elena must be understood as those of her youngest girl, whom has been made into a personal retainer from the clip the small miss was able to work. Mama Elena is depicted as strong, autonomous, and absolute oppressive with her girls and retainers, but particularly so with Tita, who from birth has been designated as the 1 who will non get married because she must care for her female parent until she dies. Elena believes in order, her order. The dictatorship imposed on the household is hence stiff, self-designed theoretical account of a adult female s life, mercilessly enforced by Mama Elena.

Alternatively of holding acknowledgment to the job like Ursula does, Mama Elena stubbornly tries to run the house with her absolutism, attempted to maintain her household together by implementing the tradition which to her is right, the household interrupt off as the consequence of it by her. Rosaura, oldest girl, ne’er inquiries her female parent s authorization and follows her bids deferentially ; after her matrimony, she becomes an undistinguished imitation of her female parent. Missing of strength, accomplishment, and finding of Elena, she tries to counterbalance by appealing to the female parent s theoretical account as absolute. She therefore attempts to populate the theoretical account. raising her female parent s authorization because she has none of her ain. Gertrudis, offspring of her extramarital matter, does non dispute her female parent but alternatively responds to her emotions and passions in a direct mode, unbecoming a lady, a challenge to religious demand which Mama Elena considers of a virtuous miss. This physical straightness leads her to follow a different life manner: she leaves place and her female parent s authorization, escapes from the whorehouse where she frequently lands, and becomes a general of the radical ground forces. When returning place, she dresses like a adult male, gives orders like a adult male, and is the dominant sexual spouse. Additionally Tita, youngest one, speaks out against her female parent s arbitrary regulation, but can non get away until she temporarily loses her head. She s able to last her female parent s harsh regulation by reassigning her love, joy, unhappiness, and choler into her cookery. Tita s emotions and passions are the stimulation for look and action, non through normal mean of communicating but through the nutrient she prepares. The household Mama tries to maintain together, her ideals, images, and theoretical account, all those she in all her life attempts to continue are all falling apart due to her absolutism and soundness.

The actions of Ursula and Mama Elena in running the house and maintaining it together convey some similarities and contrasts in their ways of managing it. Even though the stoping of both novels are similar: devastation and fall-apart of the household, the readers must take into histories the conditions that influence the events. The disapprobation of Buendia household and the oppressive inflexibleness of Mama Elena make the effects of two households necessarily into debasement.