Spanish AP Language

Nuestra America; Jose Marti

Género: Ensayo Siglo: XIX Movimiento: Modernismo Historic context: * José Martí was a forerunner of Modernism in Latin America. * This masterpiece shows, despite its difficulty, the divisions within Latin American society - politically, socially and racially. The author demands that Latin Americans look at their own multiethnic reality and not Europe for models of government. On the other hand, this work belongs fully to the organizing concept of imperialism, "as Marti warns of the potential dangers of US participation in Latin American affairs. It refers to the many conflicts that resulted in Hispanic America as a result of independence. Among these conflicts between neighboring countries, the War of the Triple Alliance against Paraguay stands out and, in this case, the War of the Pacific, between Chile, Peru and Bolivia, in which Chile took away from Bolivia its only exit to the sea as well as a territory rich in natural resources. Important features: * Martí writes explicitly of the pernicious effect of racism in Spanish America. * Martí aspires to the highest values ​​of the human being: justice, love, brotherhood, social equality, dignity, strength, etc. * Martí appeals in this essay for the creation of a government and a society that reflects the particular historical reality of the region and not one that is imitation of the European world, which he thinks is very different. • That in universities, instead of just learning European history, that Spanish-American history is learned as well as other subjects that can contribute to the development of the continent. * Martí does not suggest a specific plan to solve the problems. The only concrete thing is that you can not import ideas. He also relies on the goodness of man to solve problems. * He says that the Indian and the Negro have been completely ignored by the Creoles and that this can not be. We must accept Latin America as a very pluralistic world, and its governments have to include everyone. Again advised to abandon European models to solve the problems of America. Alliteration: "Stumble and cut the storms" contains the repetition of the t / d dental sounds) Metaphor: "we can not be the people of leaves, who live in the air, with the glass full of flowers, cracking or buzzing" that is, the town is a tree. Symbol: "the giants that have seven leagues in their boots" represent the threats that the people ignore, perhaps the power of the United States) Polysyndeton: o / o / e and / and in the first sentence; simile: "an energetic idea, flames ... like the mystic flag of the final judgment". Tropos and periphrasis: 'The villager': the Hispanic Americans who do not know more than their own world and believe themselves to be its owner 'Those who teach fists': those who want to fight to take away territory from their neighbors The 'sevenmesinos': immature, impatient and selfish men who want everything quickly without reaching nine months for a normal birth 'The fight of the book with the cirial': the struggle between reason and religious beliefs 'Natural man': The natural is the pure man who lives, works, produces, enjoys, suffers and dies. The other is the fake, who by having an education feels superior without producing anything beneficial. e l 'tiger': the United States 'The charretas and togas', 'alpargatas' and 'hairbands': the difference between the imported from Europe and the autochthonous; luxury clothes in contrast with work clothes The 'formidable neighbor': the United States The 'blond town': the United States Summary: This work is a bit long but not so hard to understand. José Martí talks about Our America as if he were talking about the Latin countries. Talk about how all the people want the same, like the land, power, luxury, and things like that. Try to show us how it will end, after all this, Latin America. He proposes the union of places or peoples to fight the dangers that affect the culture of different countries. And more or less the main theme is the union of the Spanish-American peoples to fight for their independence against the Spanish crown and put in a position the situation of growing expansion of the US and its imperialism. That is basically what it means in Our America, that we unite so that together we can solve the problems as one.

Vision de los vencidos/ los presagios segun los informantes de Sahagun/ Se ha perdido el pueblo mexicatl; Leon Portilla Miguel

Género: Literatura documental (crónica) Siglo: Época colonial (XVI) Movimiento: Renacimiento Historic context: Effect of the culture of the individual when describing another foreign culture: Cortés admires the Aztec culture, but because they are not Christians, he considers them barbarians. By contrast, the Aztec poet of "The Mexicatl people have been lost" expresses feelings very similar to those expressed by a European when losing his nation and his identity. • We readers find the images, the logic and the superstitions described in "Los presagios" very rare, precisely because we are from another culture. "The Mexicatl people have been lost" -This lament expresses the deep pain and frustration of the loss of the Mexican homeland to Spanish conquistadores. It's an excellent example of the voice of the vanquished that was silenced for so many centuries. Important features: The omens: They were said in Nahuatl and transcribed directly into Castilian, so that the syntax of another language is heard. 2. Use of periphrasis because they do not know the sign. Apparently, they had never seen comets. 3. Omen 7: Horses because the horse is an animal of the old world. 4. Sahagun does not intervene in the informants say because the strange syntax proves it. 5. It can not be completely true if the message was captured as the sender wanted it since it is a text translated from Nahuatl into Spanish "The Mexicatl people have been lost" - 4th verse A sense of wonder, of fatality, of confusion; The llant stresses the pain; Metaphorical comparison: inhabitants = women because they flee instead of fighting; Binary opposition: On the one hand they blame themselves and then God. (v7 and 12)

Segunda Carta de relacion; hernan cortes

Género: Literatura documental (crónica) Siglo: Época colonial (XVI) Movimiento: Renacimiento Historical context: Hernán Cortés, "Second relationship letter": This provides an excellent source for showing how the Spanish viewed the world and the people they had conquered. First off, Cortés sees everything from a European perspective. While he is impressed with the urban organization of Tenochtitlan, its bustling commercial life, and its hospitable people, I have continued to view the "Indians" as barbarians and people without reason. What an excellent example of the "clash" of two cultures, which would eventually lead to war and decimation Important features: Recipient: To the Emperor Charles V, King of Spain; Purpose: Inform him of the discovery, describe the culture and landscape and explain his role in the conquest. * Make it clear that everything you discover and conquer does in the name of the king. Cortés was a renegade who disobeyed his commander and undertook the conquest on his own. As Velásquez's soldier, he could very well have taken responsibility for the conquest. * He calls them barbarous people who do not know God and says they are people without reason, unlike the civilized peoples of Europe. The irony is that before he had expressed his admiration for his culture and had noted the many similarities with the character of Europeans. He is also ungrateful, since Moctezuma has been very generous with Cortés. Summary: In this letter to King Charles V, Cortés shows great respect to the emperor of Spain by addressing the king reverently in his letter. He apologizes to the king for not having written again and tells him that "he was occupying in the conquest and pacification of this land." In this letter Cortés tells the king that he fought and freed himself from the Aztecs, but he describes Moctezuma and his people as great people because of their institutions and buildings. Finally, "he expresses much admiration for the high degree of Aztec civilization."

Soneto CLXVI/ Mientras por competir con tu cabello; Luis de regote Gongora

Género: Lírica - Soneto Siglo: XVII Movimiento: Siglo de Oro- Barroco → Culteranismo Historic context: Spanish cultural movement (1580-1700) characterized by its complexity and its extravagant ornamentation, whose purpose was to astonish and incite introspection. Góngora's poem "While competing with your hair" conforms to the same pattern but is a product of the Baroque. The emphasis in Góngora is much more in death than just growing old. I have combined the theme of memento mori, with its dark, cynical undercurrent. It also includes much more culteranismo, making the sonnet more convoluted owing to its Baroque heritage. These two poems form a nice contrast for comparing the Renaissance to the Baroque. Important features: Theme: Carpe Diem (enjoy life because death comes) Metric form: • Fourteen hendecasyllabic verses divided into 2 quartets and 2 tercets with consonant rhyme in ABBA / ABBA / CDE / DCE. Hibernates (2nd Quartet): The more eyes follow your lips to catch them than those that follow the early carnation. • Men look at your lips more than the early carnation (metonymy for "cocoon of the carnation", that is, carnation without sprouting, young, virgin) to catch them (enjoy them in their erotic sense). Metonymy: Nature- Hair / gold, forehead / lilio, lips / carnation, neck / luciente cristal Synecdoche: Golden Age = Youth. (1st terceto) 2nd tercet: Colors → Silver, weak violet → is associated with death (the complexion after death). Subtext - Verbs 'catch' and 'enjoy' Erotic sense, as was seen in the sonnet of Garcilaso. • The virginity of the woman (flower without sprouting or opening). Anaphora: The same word is not used in consecutive verses, but at the beginning of a new idea. Alliteration: They create phonic and musical effects → The bilabial sounds ('m', 'p' and 'b') in the first verse: "While competing with your hair" The same word is not used in consecutive verses, but at the beginning of a new idea. Asyndeton: where the prepositions or articles are purposely omitted. An example can also be found in the Góngora poem where he writes "enjoys neck, hair, lip and forehead" in stead of "enjoys the neck, hair, lip and forehead," especially as the final noun is feminine while the others are masculine. Summary: .... In the poem a man talks to his lover. In the quartets she describes the mistress and how she is beautiful and young. She is blonde, pale, etc ... an ideal woman of the baroque era. In the two tercets speaks of carpe diem. The idea that youth is ephemeral. Youth does not last. You have to enjoy, enjoy life when you are young because death will come. You can also take the poem one step further and see the descriptions of the woman and her white neck, blonde hair, etc. as symbols of his youth and innocence. Symbols like your lips can represent your passion. The shining crystal may be virginity and the idea of enjoying life may be the loss of the "innocence" of the lover.

San Manuel Bueno, martir; Miguel de Unamuno

Género: Narrativa Siglo: XX Movimiento: Generación del 98 Important features: The enigma of existence: San Manuel struggles with his inner awareness of the existence of God. He deals with his dilemma by presenting two separate characters: the outside, obedient, yet unorthodox priest, and the tormented inner man. The image, however, is not of a hypocritical man, but rather that of a spiritual being who feels that he should not disturb his parishioners with his personal anguish. Instead, an ideal reality is constructed in which their subjects lead a happy existence in their ignorance. Creative Writing: There are two narrators: Angela, telling remembers the life of Manuel (in old age she writes her memories of youth), and the explicit author, Unamuno, intervenes at the end and He comments on the novel (a clear example of self-conscious narration). But even more intriguing is the fact that the narrator, Angela, affirms that the archbishop is investigating and gathering testimonies for the canonization of Manuel. What will happen when Angela's manuscript reaches the archbishop's reach? Clearly, his testimony will ruin the investigation and deny the sanctity of Don Manuel. This puts into question the narrator's objective. Conversion of lake water to wine: To keep you drunk to be happy. • With opium, people are in a drunken state without thinking about hard facts. Marx said it as a critic of the church, whose intention, according to him, was to keep people ignorant and controlled. Manuel wants to keep the people ignorant, because that would lead to happiness. Leitmotiv: mountain, lake, legend of the people submerged in the lake - it is leitmotiv because it is repeated many times throughout the novel and serves as a structuring element. It can mean many things: the mountain goes to heaven, the lake down (hell), etc. Important quote: Angela says that Don Manuel and Lazaro died "believing not to believe ... but without believing it" There is alliteration in "cre", which creates sound effects; the repetitions of the same words is similar to the epiphora in poetry. The irony is that they ended up believing without believing - a clear paradox. Time frame: It has no time frame because there are no historical references. Purpose: It is not a realistic or social narrative; It is a novel of ideas. The author implies that they are eternal matters, not linked to a historical moment. Summary: Ángela Carballino (the narrator) tells the story of the priest of his people, Don Manuel, who is in the process of beatification. The priest has good gifts to help people, which allows him to be considered a saint. However, the narrator, there is something that does not just fit with respect to the father. One day, Angela's brother, Lázaro, returned to the village, initially presented as anticlerical. At first, he rejects Don, but ends up admiring him. It is precisely the brother of Angela who reveals his secret: the priest has no faith, does not believe in God, or in the resurrection. He pretends to believe before his faithful to maintain in them the peace that causes to believe in the other life, that hope that he lacks. Don Manuel worsens health and dies saying mass. Blasillo dies almost immediately and Lázaro dies a while later. He and his sister dedicate their lives to keep the town happy. At 50, Angelica begins to doubt what she remembers. There is a final epilogue of Unamuno where he defends her.

Dos Palabras; Isabel Allende

Género: Narrativa contemporánea (cuento) Siglo: XX Movimiento: Literatura feminista ( se asocia también con el Boom) Historic context: For much of the nineteenth and twentieth centuries, many Latin American countries were ravaged by civil wars between opposing groups that wanted to take power. Sometimes an army officer pronounced a coup d'etat and ruled as an absolute dictator. Many times, these caudillos had very little experience to govern and lacked formal education. Important features: Gender construction: Belisa, Allende's heroine of "Two words" is truly a modern woman, in which she struggles to survive alone, without the help of any man, and through her wit, intelligence, and wit he manages to control men and even transform them. Historical social discourse: Poverty, civil war, leaders who want power to improve their lives, uneducated leaders, etc. • The Colonel wants to conquer the people democratically, but the Mulatto wants a coup d'état. Symbolism: Crepusculario -A new start. Machismo: Brutal, authoritarian, wild. Feminine before the masculine: It softens and dominates. Metalinguistic discourse-The words: Belisa discovers that the words are not owned by anyone. • Belisa discards the cacophonous words and the flowery, dark, overused voices, etc., to stay only with the exact ones and those capable of touching the brain and the heart. • Belisa's words have the people enraptured - even phrases from the speech of memory are learned. • She chooses the fairest words. She wants to move them. • Belisa / Isabel: It's the same word with the syllables upside down. It is self-referential because it is about a writer (Isabel) who writes about another writer (Belisa) Theme: The transforming power of words "-transforms the individual." The special thing about this case is that a woman is the one who exerts influence to transform the general Love - The ability of love, as well as that of literature, to transform the individual Not saying the content of the speech: It makes the reader a participant in the act of reading, since he has to put his part and intuit. Summary: Belisa Crepusculario is a poor woman, who starts in search of a better life. On a trip he learns to write and read, and that gives him the idea of selling stories and words. She becomes famous among the cities in which she visits and makes a name for herself by earning money doing what makes her happy. One morning in August she was kidnapped by the colonel's men, who took him before him. He needed help because he wanted to become president, but the citizens of the towns feared him, and he could not read. Belisa, I help him but as usual, he said some secret words. His campaign was good, but shortly before the elections the colonel began to go mad. The mulatto, his friend his companion in battle, went in search of Belisa, because he believed that he had bewitched his boss with the two words. When she arrived in front of the Colonel, it turned out that he had fallen in love with her, not that he was crazy.

Las Medias Rojas; Emilia Pardo Bazan

Género: Narrativa del siglo XIX Siglo: XIX-XX Movimiento: Realismo/Naturalismo español (costumbrismo) Historic context: * It provides an example of realism and naturalism, the important literary movement in prose during the second half of the nineteenth century. It would be convenient to make a list of all the forms of realism achieved in this piece, pointing out its historical reality, the Galician regionalism, and the meticulous details of the environment and actions, including the representation of violence. No subject is taboo for realism. * The reactions of the characters in "The Red Stockings" are conditioned by certain cultural norms; In traditional Spain, it is the daughter's obligation to care for a widowed father. The anger of the father is due in part to the daughter's violation of that sacred law. Important features: Ethnic / racial pluralism: The Galician environment emphasizes ethnic differences in Spain. Polysemic sign: red socks: For Ildara they represent their freedom, but the father does not appreciate that independence. He denies freedom. He sees the red socks as a symbol of vanity. • Normally, men emigrated first and then brought their family. Ildara goes alone. There is no one who receives it when it arrives. It is very likely that he has to prostitute himself. That could be the hidden symbolism of the red stockings. Gender: machismo / feminism: * Ildara dreams of the search for a new life and to separate herself from the brutality of her father from Ildar but her dreams are frustrated. Women, therefore, are being dominated by men. * Another example of the continuity of the tradition of women oppressed and dominated by men is seen where a father, by his violent actions, prevents his daughter from seeking a better independent life as a woman. * Uncle Clodius of "The Red Stockings" does what is necessary to prevent the emigration of his daughter to the New World, which condemns Ildara to a life of oppression and misery Costumbrismo: the traditional elements create a dense environment. Ildara picks up the wood, makes a bonfire, cooks a Galician soup, the father takes out a cigarette and smokes, etc. The codes indicate the social status of the family: the "master," the land that the father works hard, but of which he is not the owner, the need to emigrate from a better life, etc. Chromatism: the red color: The amber nail of the father; the lit cigarette; the firelight; the Red socks. Poetic description-act of violence: The description "bright spots ... intense colored radiation on a velvety black" produces a sharp contrast. Softens something for the reader the horrifying act. Sign: "your eyes lit" - bonfire: The bonfire shines with its fire; pain causes seeing a starry sky. The signs are transformed: the pain also 'illuminates' your eyes, but with another meaning than the previous word, which referred to your joy for a new future. Recipient: reacts to the facts only / Narrator: does not interpret, only counts. It is completely objective. Although it seems that he feels sorry for Ildara, at the same time a cultural criticism looms to abandon the father. Summary: Ildara, a young, beautiful girl with a lot of hope for a better life, has decided to get together with a group that goes to America to look for a better life. After buying some stockings reds (in anticipation of the better life he will soon have, he has an altercation with his father that results in the total destruction of your dreams and your future.

El Ahogado mas Hermoso del Mundo; Gabriel Garcia Marquez

Género: Narrativa- cuento Siglo: XX Movimiento: Boom-Realismo mágico Important features: It is in the realm of magical Realism. As in other stories of his (for example, "A very old man with Some Huge Wings"), an unexpected figure invades someone's space and causes a transformation. The "magic" comes from the fact that the invader is not a recognizable figure, and the "Realism" is that the affected people are not at all surprised by the presence of the unknown object. These magical appearances seem to represent something, although what they represent is never explicit. Clearly, however, they have a transforming power. The drowned one brings a new enthusiasm and creativity for the people, and the residents are therefore able to escape from their insularity. Narrator: Omniscient, objective. It only describes; does not interpret He is able to know everything that the people of the town are thinking. • There is no surprise at the unlikely and 'magical' events. There is an indirect free speech since it includes quotes directly as part of your narration, without separating them with punctuation. Environment: It is an arid, poor, squalid town. • Monotonous, bored. • It forms a striking contrast with everything that Esteban represents: beauty, virility, greatness, new possibilities, etc. Transformation of Esteban: After removing the seaweed, they see that it is a man, but very different from the men of the town. It is gaining more and more importance and creating more and more mythical character and greatness in your imagination. • Personalize it; they make it part of their lives. It can symbolize that the unexpected and miraculous cases that happen in life have the capacity to transform it. Protagonist collective: It is universal; it can refer to anyone. Hyperbole: The immensity of the corpse and all the discomfort it presents. Hyperbole is the basis of the story. Everything is exaggerated, and the exaggeration is growing, step by step, until ending in his conversion as the savior of the people. That is, a drowned man ends up being a mythical being that transforms a whole people. It also provokes a lot of humor. Indeterminate Sign: It can represent many things, but nothing concrete. Drowning: It gives the tedious people something different and interesting. The town will never be the same after contact with Esteban. Although the sign is not concrete, the effect it produces is very positive. Summary: "The most beautiful drowned man in the world" begins with a group of children playing on the beach of a small fishing village. In the waves, a "dark and furtive" bulge appears that is approaching. It turns out to be a drowned one, covered in seaweed, stones and dead sea creatures. Men go to neighboring towns to find out if the dead man comes from one of them, while the women cleanse the body and prepare it for the funeral. Before continuing, there are some things you should know about this small fishing village. It is a coastal town, next to a cliff, a "desert cape" "without flowers", with so little land that its inhabitants are forced to throw their dead to the sea by the cliffs, instead of burying them. The inhabitants are a group of simple people who believe in myths as fervently as in the things they see with their own eyes. It is a town so small that all the men together fit into seven boats, and there are only about twenty houses between them. Now, let's go back to the story. While the women work with the body of the drowned, they soon realize that he is the biggest man, of stronger appearance, more virile and more beautiful than they had seen in all their life, or that they could imagine. They come to the conclusion that it is a man named Esteban and, when men come back with the news that no one from the neighboring towns can claim it as their own, the women cry with joy when they infer that now he "belongs to them". Together, the villagers prepare a splendid funeral for the drowned. When they finally drop their body down the cliff and return it to the waves that brought it, they all know that their lives have changed forever. They know that they will build their strongest and biggest houses so they can be big enough for a man like Esteban. They are going to paint their walls with more vivid colors and they are going to plant flowers so that one day, when the boats pass through their town, they will see it so bright, beautiful and fragrant that they say, "that is the town of Esteban".

Lazarillo de Tormes; Anonimo

Género: Novela picaresca (novela realista) Siglo: XVI Movimiento: Renacimiento Historic context: * Once again, Lazarillo offers us an ideal example. The hypocrisy and corruption that Lazarillo discovers in sixteenth-century Spain directly influences his behavior and interpersonal relationships. It is not that Lazaro also embraces hypocrisy and corruption, but that he retires from society and becomes an inmate who does not care about anything or anyone * Lazarillo was perhaps written by a Jewish convert who felt marginalized in the Spain of his time and had embraced the changes of the Reformation: the corruption of the clergy and the hypocrisy of bulls were subjects of criticism by Protestants. I also wanted to paint a painting Important features: Interpersonal relationships: Lazarillo is replete with examples. But let's focus on three. (1) Lazarillo's mother and Zaide form a warm and supporting relationship. However, because it is illicit by the moral and racial norms of the period, it is forced to break up. This provides an interesting example of how moral codes and systems of power affect and control human relationships. (2) Lazarillo's relationship to the squire in the third chapter clearly illustrates the young boy's capacity for compassion for an individual who is the victim of the ridiculous honor codes of Golden Age Spain. (3) The relationship of Lazarillo to his unfaithful wife demonstrates how some relationships are based on financial need, and this need takes place to moral concerns. Transformation of Lazarillo: In the Lazarillo, we see the child mature. Through his contact with his masters, he realizes that in the world appearances are deceiving: the priests are not good and the rich are poor. See also the moral decadence. That's why, in the end, he does not mind being cuckolded. The only thing that matters is your own well-being. Societies in contact: Lazarillo tells his story to "your mercy", a person of social rank far superior to his. The novel clearly reveals the diversity of imperial Spain: Lazarillo is the son of a Moor and a Christian; the mother was in love with a black man and her half brother is mulatto, etc. The novel is a mine of discourses about race. Literary Creation: Lázaro tells the story of his life to one "your worship". We, the readers, are not the recipients of the message; we only listen sneakily. Narratology calls the narrator the character to whom the narrator addresses-a very modern critical concept. Like any first-person narration, the reader realizes that it is an extremely subjective story, since the narrator paints reality to us from his perspective and there is no possibility of seeing another point of view. Also, in this way, he can tell us what he wants. This is very clearly observed at the end of the fourth treaty, when Lazarillo writes: "for other things that I do not say". What could have happened to the friar that Lazarillo can not tell his addressee? Duality of being: Lazarillo is the narrator of his novel, as well as the main character of it. Seen in this way, Lazarillo unfolds into two beings: one real and one fictitious. But as in "Borges and I" the character and the author merge and can not be distinguished from each other. Other characters put on masks: the squire appears to be of a certain social category, although he lives in poverty, and the priests, who supposedly must be examples of morality, violate the moral laws Summary: A young orphan tells the experiences he has to live to survive under the tutelage of several masters, a blind man, a cérigo, and finally a squire

Borges Y Yo; Jorge Luis Borges

Género: Poesía Siglo: XX Movimiento: Boom Latinoamericano Important features: Duality of being: focuses on the artist's relationship with his public image. Decoupling: In both cases (Borges and Burgos), the human being and the artist together form the complete person. In the Burgos poem, however, the artist rises in triumph over the human being, while in Borges the two they merge to the point where each being is indistinguishable from the other. Metaliterature: In "Borges and I" and "Julia de Burgos" the tension between the being and the writer is presented. In both works it is manifested that they are different entities, implying that the words that are read in a work are not necessarily those of the human being who writes them Metaliterary irony: The narrator writes the same as Borges writes. There is also a self-criticism when he complains about the "perverse habit of falsifying and magnifying" by Borges the author. Identity: There may be two different masks, but in the background there is only one person. Ironically, here the author dominates man-he bewitches him in such a way that he can not escape. Religious discourse: salvation and perdition. He who writes, by his fame, is saved; the other, the "I", dies completely. It is an existentialist interpretation of life. Summary: The narrator (Borges) tells what happens to him in relation to his other self, who has different tastes as experiences contrary to the narrator Borges. Both depend on their existence as regards the other and we know the opinion as a point of view only of the narrator who contrasts his being with the other Borges who helps to convince us that the existence of both is possible. Towards the end, the doubt of who the narrator is and who is spoken of is not at all clear and that possibility is the end of this inconclusive narrative.

Peso Ancestral; Alfonsina Storni

Género: Poesía Siglo: XX Movimiento: Postmodernista Hispanoamérica Historic context: Alfonsina Storni's poem "Ancestral Weight" focuses on women who have to endure all the suffering of a family, apart from the many other responsibilities. Important features: Gender differences: The lyric self says that men do not cry and their tears are like poison while women have to endure all that suffering alone. Metric formation: Long verses: Eleven (hendecasyllabic). Short verses: Broken foot-Five (pentasílabo) Rima: e / o in even verses Recipient (you of the poem): It is not known. It can be intuited that the lyrical self is a woman and that it is addressed to a man. It has also been speculated that it is the voice of a daughter speaking with her mother. Macho speech: Men are inveterate (insensitive) and women are very sensitive. The woman. It has to suffer the suffocation of the person who cries. Ancestral weight: It has always been this way; It has been passed down from generation to generation. Poetic effects: Binary opposition: something so light with something so heavy and strong (woman versus man). The tear and the steel: Two liquids. Transformation of sign: tear → poison: One is to let off steam and the other is to commit suicide Metaphor: The mouth → small glass - As the tear is small, the mouth is also small Anaphora: The repetition. Hyperbaths (2nd and 3rd stanzas): They take away the sense of poetry-it looks like prose. Alliteration (1st verse-3rd verse): Nice phonic values ​​/ b /, / p / and / m / - bilabial sounds Summary: Storni expresses herself of the woman's suffering caused by male oppression. Storni poetically expresses the heritage of centuries and the suffering that women have carried on their shoulders.

A Roosevelt; Ruben Dario

Género: Poesía Siglo: XIX Movimiento: Modernismo Historic context: Imperialism: This poem was written in the aftermath of the Spanish-American War (1898) and the US invasion. of Panama (1902). Hispanic American intellectuals saw this war as an act of aggression by the great country of the North to seize all of Spanish America. It was out of that fear of US imperialism that the 'anti-Yankee' spirit emerged that, up to a point, has lasted to this day. Important features: Modernist elements: The modernist elements of "A Roosevelt" are their original images (for example, the subversion of the symbol of the statue of liberty) and experimentation with versification Metric form: Free verse (it has neither rhyme nor fixed number of syllables) Antonomasia: 2nd verse 'Hunter': Roosevelt. ; 5 verse 'hunted': EE. UU Describe the USA as an invader and destroyer of the natives; Warrior, wealthy, skillful. Unifying characteristics of Latin America: Language, religion, poetic spirit. Contrast: Americans are of barbarous souls, and Latinos have high Christian values. The lyric self explicitly indicates in the last verse that God is next to Hispano-America Metaphor: Create a metonymy in which the mountain ranges (the Rockies, the Sierra Madre, the Andes) are vertebrae. When there is an earthquake in the Rockies, the tremor is felt throughout Latin America. USA as another symbol of violence and influence. Signs: Statue of Liberty → Welcomes immigrants entering through Ellis Island. • "Give me your tired, your poor, your huddled masses, yearning to breathe free". • Take a torch to light the way for new immigrants. Instead of something positive, in the work of Darío the torch becomes an instrument to help the EE. UU to conquer Latin America. Roosevelt → Hunt, tame, murder, invader, conquest, rifle, "where you put the bullet the future you put", trembling that shakes, "roar of the lion", "iron claws" Anaphoras: You are (6 times), you (4 times), America (4 times). They move, like repeated notes in a symphony. Summary: The narrator compares Roosevelt to a hunter, he says that the United States has a lot of strength. Compare the United States to several leaders and civilizations Give a warning that Spanish America will live forever. Finally, he says that although the United States has everything, it does not have God - something very important that Hispanics have.

Volveran las oscuras golondrinas; Gustavo Adolfo Becquer

Género: Poesía Siglo: XIX Movimiento: Romanticismo tardío Historic context: Bécquer is the most melodic and exquisite lyric poet of the nineteenth century and greatly influenced the poets of Modernism, Echoes of the love discourse of his poetry are heard to this day in the Hispanic lyric. Important features: Bécquer's famous "The dark swallows will return" is structured on concepts of time and space. It describes the coming of spring, with the return of the swallows and the blooming honeysuckle-the perfect setting for lovers. Of course, the poem turns heartbreaking as the poem's female character turns to deaf ear to the male's sincere love. The poem could easily have been part of "The construction of the genre," as it shows the ungrateful woman rejecting the sincere love of the man. Metric form: Broken foot (1st three verses) → Eleven (hendecasyllabic) Rhyming pattern: ar / an. Structural elements: cyclic element → birds and flowers will return; The specials that drew attention to the lovers will not return. Barriers: Crystals of the balcony, the wall, the dream (the indifference of the woman). The poetic I want to jump those barriers (the swallows make nests, the honeysuckle climbs the wall and the lover, with words and on his knees, pray) Alliteration: produces musicality with the alveolar sounds / l /, / n /, / r /, / v / → ex. The dark swallows will return Anadiplosis: Several stanzas end with "return" and the following begin with the same word Simile: The drops of dew turn into tears Time: past to future → The lyrical self remembers swallows, honeysuckle and love and implies that they will return in the future; Cyclic nature time: The rebirth of nature in the spring. Comparison Love = nature indicates that love can be reborn as well. But we must remember that certain particular and special things do not return: some swallows, some flowers and a special love. Summary: A man laments the end of his love with a woman. It makes comparisons and juxtapositions with nature (like swallows and honeysuckle) to express that love will never be what it was.

He andado muchos caminos; Antonio Machado

Género: Poesía Siglo: XX Movimiento: Vanguardia española - Generación del 98 Historic context: Generation of '98: Group of novelists, poets, essayists and Spanish philosophers, active during and after the War of Cuba (1898), who restored Spain to an intellectual and literary prominence. It was of great importance to define Spain as a cultural and historical entity. Important features: Socioeconomic divisions: Antonio Machado, "I have walked many roads," talks about the presumptuous upper classes and compares them with the simple life of Spanish peasants. The enigma of existence: Machado pits two types of people, which together represent humanity for the poet. One group is educated and sophisticated, and the other is simple and unpretentious. The elite group is viewed as pompous and unhappy, while the simple folks are content. The famous poem also expresses doubt in the immortality of the soul, ending with the fact that someday these folks "rest under the earth" -not in heaven. "Bad people" = rich: They are sad, proud, melancholy, presumptuous, phony ("to the cloth") and arrogant (they think they know what good living is). Poor people: They dance, they play, they work, they are not ambitious or petty or arrogant (they drink any wine), etc. Despite his admiration for poor people, he continues to include signs of his sad reality: They ride old mules, they only have four palms of earth, he repeats the verb "to work" twice. Life experience (I lyrical): Uses verbs of different activities: walk, open, navigate, dock. Metric form: Octosyllabic, rhyming assonance with pattern e / a in even-numbered verses Enjambment: does not allow the voice to stop at the end of the verse; therefore, rhyme is not emphasized. By quickly following the next verse, you can not hear the rhyme. Then it sounds more like prose than poetry Summary: The poetic voice explains that it has gone many ways. For his travels, he has learned that there are bad people, who are arrogant and selfish, and there are good people, who are hardworking and nice people. However, in the end, all people will face the same fate with death.

A Julia de Burgos; Julia de Burgos

Género: Poesía ( Alejandrino; verso blanco o suelto) Siglo: XX Movimiento: Feminismo/Postmodernismo Important features: Metric form: White verse (or loose) - the white verse has a structured metric (alexandrine = fourteen syllables, but without rhyme. It has great freedom and poetic license, since it has no regular rhyme scheme. Although the last two stanzas have consonant rhyme, this does not influence their white verse character. Duality of being: focuses on the artist's relationship with his public image. Clearly demonstrates the "duality of being" since the poet Julia de Burgos faces the woman Julia de Burgos, which clearly indicates that they are very different characters. The implication is that the true and honest person is the poet; the "Other" is a social being confined and determined by a whole series of social obligations. Splitting: is related to the projection of the self in another I: the truth, sincere, altruistic, free and independent, commands itself, people, etc .; you: the lie, hypocritical, selfish, tied to her husband and to society, everyone sends her, aristocrat, etc. Social woman: Hypocrisy: does what society demands. The social woman has to pretend her femininity: curling her hair, painting herself, etc. She has to obey her husband, her parents, religion and social forces. As a wife you have to be submissive and satisfy your husband first, etc. Woman poet: Sincerity: he does what is natural and just. Binary contrast: Cold / flash, tying / running runaway, aristocracy / people, etc. Tone- Moralist and prophetic: The poet represents everything good and the woman social everything bad. Good will triumph over evil. • The first virtue is humility, and the poet is not humble. On the contrary, he boasts of his superiority as a person. Anaphora: ("my voice / your voice" [4], "do not send / send you" [24], repetition of "my" [30], etc.) • 27-29; 32-33 • Many start with "you". Proṕosito: It is phonic and emphasizes. Summary: In the poem, Julia de Burgos has two different sides and fights against herself. The "I" is the poetic voice and criticizes the "you" and its life and how it is submissive to the restrictions imposed by the society in which it lives. The "I" Julia is the private figure and is free and not conforming to the desires and mandates of the society and feels superior and more moral than the other Julia. The public Julia cares a lot about social pressures and prejudices. That is why others can control her and how she acts in her life. She is not authentic and wears a mask that hides her true self. The poetic voice declares that the public figure represents all the opposite of who she is.

Walking Around; Pablo Neruda

Género: Poesía ( verso libre) Siglo: XX Movimiento: La vanguardia- Surrealismo hispanoamericano Historic context: Although surrealist art tries to capture a super reality, in its works, this environment expresses itself with elements of surprise and signs juxtaposed in an illogical way that distances it from recognizable reality. It is like the reality of dreams, which sometimes have no meaning and, nevertheless, reveal the important secrets of our subconscious. Important features: Existentialism: The agony of existence is on display in the poem. A surreal world is built where the signs are disconnected and incomprehensible. A man walks through space created confused, tormented, and surprised by the world he sees and does not understand. Tiredness (I lyric 1eras three stanzas): of his physical person, of his existence, of his daily routine, of the world that surrounds him. Stanza 4 and 5: Funny but quite grotesque occurrences - killing a nun and scaring a notary. Underground signs: Root, "extended ... downward, in the wet guts of the earth", grave (cellar with dead), underground, etc. Anguish (stanza 7): The pain of seeing so many people suffer. Surreal images: The bones that come out of the windows of hospitals, shoe shops that smell like vinegar, intestines hung from the doors of houses, dentures in coffee pots, mirrors that cry, navels everywhere, etc. Grotesque signs: "intestines hanging from the doors", "forgotten dentures in a coffee maker", etc. Free verse: It has no fixed number of syllables or rhyme. • Typical of Surrealism, the poem lacks a rigid organization of ideas, so free verse is appropriate for a free poem. Tone: Ironic and disappointed. With despair, disgust, grief, anger, etc. Almost all signs help express the anguished tone of the poem. Degradation of the being: It tires of the parts of its body and of being continued being (absorbing liquids and eating). • Everything you see on your walk is unnatural; things are not as they should be (freshly laundered clothes produce dirty drops, etc.). Metaphor: Man as a root - To absorb water; so that it stays alive; etc. • The lyric self does not want to live; he does not want to have the responsibility of being a support; Personification (final): Mirrors and clothes cry. But tears, instead of being clean, as would be expected from washed clothes, are dirty Summary: Pablo Neruda's poem "Walking Around" displays an abhorrent perspective at society from a struggling class side in a communist/socialist (not entirely sure) light. In lines 1-4, the Pablo is saying that he is tired of his world-weary body. Repetition helps create a dark feeling inside the speaker's head, similar to the constant depressing lines present throughput the poem. The speaker feels sickened by the human race's destruction of the world and morality. He feels that the government has destined his life to be their pawn and his desire not to be pulls him through each day. Thoughts of overcoming these obstacles are tightly pressed for he sees himself as just one man. Neruda concludes his character trudging on in reality; with hope that one day he will be more than just one man and they can overcome barriers created by their government. From Pablo Neruda, the speaker tries to be a "man" but remembers how difficult his past has been. "It so happens I am sick of being a man." In the poem currently the speaker takes a walk through the city while observing his surroundings and compares it with the life of a woman, but in general reflects about society's way of living. The poem clearly stresses that the speaker is tired of living in the world around him. However, the poem begins with several examples of why and what stresses the man of being a "man." For example, "The smell of barbershops makes me break into hoarse sobs," which portrays why he is sick of being a man. The second stanza holds a better view of how Neruda's poem represents intense emotions against government power and the state of humanity. He is tired of the human condition. He is tired of all the grooming. He wants no longer to be walking around in the town; he wants the home of stone and wool that comforts him.

Hombres necios que acusais; Sor Juana Ines de la cruz

Género: Poesía (Barroco HA) - Redondilla Siglo: XVII Movimiento: Barroco hispanoamérica (época colonial) Historic context: "Foolish men you accuse" represents the pinnacle of Latin American colonial literature. It can illustrate a number of interesting features: that by the seventeenth century, colonial Mexican culture was at a level of development capable of producing a figure of this intellectual magnitude and urbanity; (2) That strong cultural ties existed between Spain and its colonies, as Sor Juana is clearly a disciple of Spanish baroque poets such as Góngora and Quevedo; (3) that a woman was able to achieve such notoriety in Latin America in that period, for Sor Juana's greatness is not a recent discovery-she was renowned in her own time! Important features: Metric form: Octosyllabic quartets with consonant rhyme in ABBA = Redondilla Alliteration: In verse 14, there is a strong repetition of the sounds / p /: the one that sins for the pay, or the one that pays for sinning. Perception of gender: Sor Juana's redondillas both clearly show how a woman has to come pure to marriage if she wants to get married and maintain her reputation. Irony: that men want virgin women, but that they are constantly being forced and mocked. Binary opposition: Verse 2: good / bad; 3: severity / lightness; 5: Thais (light woman) / Lucrecia (faithful woman); 7: favor / disdain; 8: admit / not admit; 12: bad / good; etc. The picture of man: Sweet, selfish, immature, lack of reason (according to Sor Juana) Verse 53: Pay and sin → Prostitution. Semantic game: Participate in prostitution, being the prostitute or the client. • The answers will vary. Very pronounced bilabial alliteration. Very pronounced bilabial alliteration. "Devil, flesh and world" Flesh → flesh → The physical. World → The mundane (as opposed to the spiritual) Summary: The poem tells how the poetic voice responds to the attack of the Mexican society of that time. He complains about the lack of understanding of men towards women. It makes a claim to men in how they want them to be or when they respond to their passions and criticize them when they, men are, in part, the culprits themselves, or in some cases, they make them that way. They treat them badly when they treat them well and treat them well when they treat them badly.

Prendimiento de Antonito el Camborio en el camino de Sevilla; Federico Garcia Lorca

Género: Poesía (Romance) Siglo: XX Movimiento: Vanguardismo español Historic context: Here we see another group marginalized in Spanish society: the gypsies. Many of Spain's iconic images, such as that of flamenco, have Gypsy roots, and Spaniards admire gypsy folklore; however, they hate the gypsy race because of their unwillingness to assimilate. Another point is stereotypes. Antoñito is not a typical gypsy, but he suffers the same consequences as if he were. To make the issue even more complex, the police criticized him for not being like the other gypsies, who had taken out his knives and defended himself. It's a case of "damn if you do it, damned if you do not do it. Important features: Metric form: It's a romance; 8 syllable verses; assonance in o / o in even verses. Dramatic character: No details are given. Why do you catch Antonio? Why do you suspect that he is not a legitimate gypsy? The hearer has to intuit. There is dialogue, which contributes to its dramatic aspect. Equestrian images (equestrian): The rod can be to spur the horse. • The rhythm of the first verses; the wicker rod may be to spur the horse; the breeze is "equestrian". The wicker rod: it can represent his manhood. Note that when they take him prisoner he does not carry his staff. Implicit signs: Lemons / Wicker cane- Gypsies have a bad reputation as thieves, but Antoñito only takes lemons. These signs are many cutting-edge elements not like a traditional romance. Periphrasis: "He took it side by side" - force effect Synecdoque: "The five tricorns" - Three-cornered hat - Members of the Spanish Civil Guard Metonymy: "breeze, equestrian / jump the lead mountains" → sunset with a gentle breeze -to which the poet attributes a bold qualifier: equestrian-, which rides blowing on the mountains that have a blue-gray color: "and a short breeze, equestrian, / jump the lead mountains "<verses 23-24>. When calling the breeze equestrian is compared to a horse. Time and atmosphere: The slow rhythm, with commas, of the third stanza. Also, use the adverb "slowly." The olives "await" the night. Signs of Andalusian atmosphere: Gypsy, Seville, olives and olive groves ("montes de plomo"), images of the bullfight, the civil guards, etc. Use of the diminutive: Antoñito- makes him seem more sympathetic and less offensive. It is the diminutive that is used for the children of the family. Summary: First, it describes the physical aspect and what it does while on the road. Then the arrest of Antoñito el Camborio by the Civil Guard is narrated and finally, the imprisonment of the gypsy takes place and then the indifference of the guards to arrest him.

En Una tempestad; Jose Maria heredia

Género: Poesía (lírica) Siglo: XIX Movimiento: Neoclasicismo tardío/Romanticismo Historic context: It is a transitional figure between neoclassical thought of the eighteenth century and the rebelliousness and restlessness of Romanticism. Neoclassicism considers that the Earth, like the creation of the Lord's, was planned with care and perfection. Therefore, the manifestations of nature, however violent and tragic, are part of the divine plan. Important features: Masterful depiction of time and space. It describes the onslaught of a hurricane, capturing its rain, wind, thunder, and lightening with an impressive array of rhetorical devices. The poem not only describes space, but it also makes the reader feel a part of it. Plastic signs (colors, shapes, textures): Wind, cloudy sky and without light, lightning, rain, etc. Metaphor: Hurricane = Mantle, throne of the Lord; Bull. → Feet digging the earth, brow lifted, nose swollen, bellows, etc. Verse 53: The storm becomes something sublime, not fearsome. The poetic self sees in the force of the hurricane to God Metric form: metric combination, non-strophic, in which freely verses heptasyllabic and hendecasyllabic Asyndeton: verse 7 and 10 → They produce a sense similar to gusts of wind. Metonymy: personification of the hurricane (v26-34) with a woman. • They raise, they move, they embrace. → The movement of arms and clothing gives the impression of wind gusts Auditory Figures: Alliteration: v. 35; onomatopoeia: vv. 15, 38; cacophony: v. 14; repetition: v. one. Summary: Heredia basically writes about the vivid threat of a violent storm in the bay of Matanzas (a place in Cuba). The tempest at first was something of fear that only left destruction but in the end it changes the tone making the storm seem like "sublime" that makes it be a superior being for being close to God. Heredia stops fearing everything that he feared before.

Mujer Negra; Nancy Morejon

Género: Poesía contemporánea Siglo: XX Movimiento: Feminismo Historic context: She describes, in a universal and epic manner, what black women have endured over the centuries. It is suggested in the poem that the key to emancipation is a communist revolution like that of Cuba Important features: Time and space: each temporary stage in the lives of Africans is accompanied by a corresponding space: "the foam of the sea" and "the first alcatraz that I saw" capture the space of the ship's journey by ship to Cuba [the waves of the ocean and the bird that sees captures. . . .] , etc. The poem goes from the origins (Africa) to the present (Cuba). In that To pass of time and space, the "lyric self" moves away from its original land and accepts to be part of another new earth. The lyrical self: It can be both, but she projects herself as the representative of all African women. • First person plural. It indicates that she is part of a much larger group (all the slaves brought to the Caribbean). Metric form: Free verse. Does not have a fixed number of syllables or a rhyme pattern Transmission of African culture was oral, but with the passage of time it forgets where it comes from; Now it's only Cuban. Space: Start with the sea that you crossed as a slave; he goes to the field where he worked; then to the mountain where he took refuge; it ends in a mythical place where everything is shared equally. Positive signs: millennial song, blue mountain, magic and chimera, dance, prodigal wood that resonates, etc. The communism of Cuba (according to the lyric self): He has given them the land; now it's theirs. The repeated use of the possessive should be noted, which implies that Cuba is theirs and not "generals and bourgeoisie". • The tree whose wood resonates, that is, the tree planted by them begins to have resonance. Summary: A black woman from Africa is exported to Cuba where they buy her for a slave. She stopped a male son to his master. She walks the land, Cuba, where she sows and gathers but can not enjoy the harvest. She no longer remembers where she comes from or imagines the path to her homeland. She establishes her life in Cuba because that is now her land now that she is free. She joins a liberating movement to end all the oppression of high society. This contributes to the formation of communism in Cuba.

Mire los muros de la patria mia; Francisco Quevedo

Género: Poesía del Siglo de Oro - Soneto Siglo: XVII Movimiento: Barroco - Conceptismo Historic context: Quevedo's "I looked at the walls of my homeland" also deals with the passage of time and its destructive effects, but with a lot more serious topic: the declining power of Spain. The seventeenth century saw Spain's power within Europe decline dramatically, and while its arts flourished like never before, the signs of social and moral decay were evidenced everywhere. And Quevedo depicts that decadence and decay in the Baroque subtext of his famous sonnet. Important features: Metric form: • Fourteen hendecasyllabic verses divided into 2 quartets and 2 tercets with consonant rhyme in ABBA / ABBA / CDE / DCE. State of the country: Crumbled (ruined). • Decay, end of its power. Hyperbaths (2nd stanza): Negative impression: the drought, cattle without order and bellowing (symbol of a dissatisfied people?), Darkness, etc. Subject: Memento mori (memory that everything ends in death). Movt. of space: I looked, I went out, I went in, I felt. Public space (nation) to private → enter your own home. Symbolism: The defeated sword is another symbol of the decline of Spain. Religious discourse: "crosier, more crooked and less strong" -> A town that has lost its faith. Possibly the defense and dissemination of the Catholic religion had been the main motive of Spain's foreign and domestic policy, but that zeal has now been lost. Gradation: This term is not used in English. It refers to a series of words that are intentionally placed in the order of a musical scale, either up or down. The Góngora poem ends in a famous example of descending gradation: "on land, in smoke, in dust, in shadow, in nothing." Pun: This refers to a play on words. Some of these can be very simple, but in Baroque poetry they can, as expected, be highly complex. A good example is Quevedo's use of the adjective "crumbled" in the second line of his sonnet. He is obviously referring to the crumbling fortifications of his fatherland-a fitting symbol of the decline of Spanish military power. However, those fortifications were originally built to protect the villages from Moorish attacks. Thus, they have a relationship to the Reconquest, which attempted to rid the country of Moors. The neologism crumble (to "unmoor" the country) is masterful. Polysyndeton: The example above under gradation is also an example of polysyndeton, where words-usually prepositions or articles-are repeated unnecessarily for aural effect. Góngora could just as easily have said "on land, smoke, dust and nothing." Quevedo uses the Baroque style in "I looked at the walls of my country" not to play with a Latin theme like carpe diem, but to express the military decadence of Spain Summary: Describe the deterioration of Spain with progression of large images (usually) to the outside to the nearest in your own home (the specific) or gradation. It refers to his own death that will come soon with these images. He regrets the impotence of his homeland and the loss of his manhood as well. All the images underline the theme of the passage of time. The organization of images serves to intensify the inexorable race of time.

Soneto XXIII/ En tanto que de rosa y azucena; Garcilaso de la Vega

Género: Poesía del Siglo de Oro - Soneto renacentista (lírica) Siglo: XVI Movimiento: Renacimiento Contexto histórico: Garcilaso's "En tanto que de rosa y azucena" is a "classical" Renaissance sonnet with a carpe diem theme. It contains all of the characteristics of the Latin theme: extolling the beauty of the woman, an erotic subtext, and the warning to seize the day, as time will rob her of her beauty and seductiveness. Características importantes: Metaphor vs. metonymy: This might be a good place to emphasize once again the difference between metaphor and metonymy. In a metaphor, there is an explicit sign with which to compare. For instance, in "En tanto que de rosa y azucena / se muestra la color de vuestro gesto" there is an explicit referent to the woman's face ("vuestro gesto"). One can safely assume that we are dealing with chromatic symbolism: the red of the rose and the white of the lily refer to the coloration of the woman's complexion. However, in metonymy there is no specific reference point, so the reader must figure it out on his or her own. This occurs in the Garcilaso poem with "antes que el tiempo airado / cubra de nieve la hermosa cumbre." Here we have to infer that the "tiempo airado" refers to the cold blasts of winter, the "hermosa cumbre" is the woman's head, and the "nieve" refers to gray hairs (before winter dumps its snow on the mountain = a woman with gray hair). The metonymy is much more difficult than metaphor, and it is used more frequently in Spanish poetry than in English, where it is often referred to as a Metric form: • Fourteen endecasyllabic verses divided into 2 quartets and 2 tercets with consonant rhyme in ABBA / ABBA / CDE / DCE. Opposition of colors: Warm (pink, hot, light, gold, cheerful spring, sweet fruit, etc.); whiteness (lily, snow, angry weather, icy wind, etc.). Metonymy: angry weather, snowfall. • Warm colors represent spring and whites represent winter. "Angered weather" - "angry" climate, that is, "bad weather". Time: The time that passes quickly. • They are equal. • Time passes quickly. Spring turns into winter (youth passes into old age). Time changes everything. The rose of the first verse withers in the last stanza. Summary: The author describes a young woman and invites her to enjoy his youth while he can before his beauty withers in old age. Garcilaso compares nature with his platonic love. A love that can not be achieved. The woman is present through the poem. He uses figurative language, symbols and images to express what he wants to say. The poem fits the structure of the classic sonnet in which an introduction, a development and a conclusion are presented that, in some way, gives meaning to the rest of the poem. It has to do with love, but rather it is a meditation on time and its effects. The choice of feminine beauty as a means to transmit the power of time is universal. In the first stanza, the narrator will describe an honest looking woman who attracts him. In the second stanza we see that the description of the woman is that of the ideal woman of the Renaissance: white, blonde, with pink lips. The third verse begins with a mandate: "take." Here, the poetic voice tells the woman what she should do: take advantage of her youth. Moreover, a warning comes in the fourth stanza. If the woman does not "change her habit" she will see that she will soon grow old and it will be very late.

Balada de los abuelos; Nicolas Guillen

Género: Poesía negra ( verso libre) Siglo: XX Movimiento: La Vanguardia hispanoamericana Historic context: ** The Spanish presence in the Caribbean region devastated the autochthonous population with diseases, war, and forced labor. To replace the vanished workforce, the Spaniards imported African slaves for the hard work of harvesting the sugarcane. The African presence gave rise to a miscegenation between whites and blacks. One of the objectives of the Cuban Revolution of 1959 that brought Fidel Castro to power was the total elimination of racism in Cuba. It is not known if this intention has been achieved but Nicolás Guillén, like the national poet of the Revolution, embraced his goals. Important features: Duality of identity: the dual ethnic heritage of the Hispanic world. The theme of race and racial mixtures, which characterizes much of Latin America, forms the basis of this poem. So, it fits the organizing concepts of "assimilation" and "diversity" Signs: white grandfather / black grandfather: Black grandfather: spear, drum, bare foot, stony torso, wet jungles, gongos, slave ships (sails, galleon); white grandfather: ruff, armor, blue eyes, water alligator, coconut mornings, virgin coasts, beads. Voices of the grandparents: The black grandfather says "I'm dying"; The white grandfather says "I get tired". One is much stronger and desperate. • White screams, black is silent. One commands because he has power, the other has no choice but to obey. "Strong voice / shattering the silence" (verse 41-42) ": the voice of the slavers. The two grandparents (in common): It is the law of the universe ("under the stars") that all men are equal: they dream, they are the same size, they have the same pride, the same hope, etc. "To embrace" (verse 53) also means "to understand", "to contain", "to include". Vision of hope: The two embrace; the poem ends with "sing", which symbolizes harmony. Metric form: Octosyllabic verse; rhyme pattern: Asonance in e / o, but there are several patterns. Free verse: It does not have a fixed number of syllables or a fixed rhyme. However, the majority is octosyllable, so it approaches the white verse. Symbolisms: "escort" is a stronger verb; it implies protection, security, as well as honoring the one who takes it. Signs of the Conquest: Gorguera and the warlike armor. • The galleons burning in gold, the virgin coasts, etc. "Bead" - white grandfather (verse 26): It is something of little value. The Spaniards came to get rich with gold, but many did not achieve their dream. The black grandfather: (verse 38) The lashes bleed; the eyes, like the veins, are parted by fatigue. • Cry and bleed because he suffers. His eyes are stuck because he can not rest; He always has to work. • The Early Morning (verse 39) - something positive, the beginning of a new day. For black there is no possibility of a new day, and that is why the positive image is subverted in negative "Afternoon wit" - The slaves, after cutting cane all day, at night they processed it in the sugar mill. That is, Guillen creates a beautiful juxtaposition between "early morning" and "sunset," both with afflictive signifiers. The slave has no rest. Poetic gradation: It's like the end of a symphony that, instead of reaching a crescendo, the sound diminishes. • It implies that in Cuba there is (or will be) a harmony between races through miscegenation. Auditory rhetorical figures: Alliteration: "fat gongos deaf" Euphony: "under the high stars" Anaphora: "What about boats" Anadiplosis: "sing / sing". Summary: In this poem, Guillen pays homage to his two grandparents: one black and the other white. The poet celebrates his double European and African heritage. In the poem, the black grandfather he exclaims what he has gone through in his life due to slavery but he continues to live. Otherwise, the white grandfather lives a difficult but blissful life because of his role as conqueror. To finish, the narrator teaches us the differences between his grandparents and in the last verses there is a welcome of both cultures.

La noche boca arriba; Julio Cortazar

Género: Prosa ( Cuento, realismo mágico) Siglo: XX Movimiento: El boom latinoamericano Historic context: The Aztecs to placate the gods, practiced human sacrifice. They hunted members of enemy tribes, brought them alive to Tenochtitlan where they were taken to the top of a pyramid, extracted their hearts and then burned the organs as an offering to the gods. The struggle to get beings to sacrifice was called the florid war. Important features: Duality of being / existence: In "La noche boca arriba" a similar bifurcation occurs in the stories "El Sur" by Borges. The motorcycle driver, on his deathbed, recreates another space and imagines himself being persecuted by the Moteca Indians to be sacrificed. The game, in the end, reveals that it was actually the library that was recreating another space with avenues, tall buildings, ambulances, and motorcycles. History has been read as embracing the two faces of Latin American identity: the European and the indigenous. Although a typical historical analysis looks to the indigenous past of Mexico, in this history the past looks to the future. Time and space: In a similar way, Cortázar, in "La noche boca arriba", also plays with time and space, but in a different way. Here the dying patient moves between two worlds: one that we readers as our own, and the other is the strange world of the Aztecs. In the modern world the protagonist is convalescing after an operation, and in the other kingdom he is being persecuted by the natives as human sacrifices for the gods. In both realities he faces death. The ingenious game with time and space, however, is that the contemporary world that the reader has imagined as the setting for the story is actually the time and space that is being imagined by the moribund library about to be sacrificed . As in Borges, Cortázar represents time as an unstable construct linked to individual points of view Modern / past time signs: Modern: avenues, cars, motorcycles, buildings, ambulances, hospitals, etc .; Past: swamp, forest, road, dagger, etc. • The reader recognizes modern time and is overwhelmed because it does not take place in our time, but in the past tense. Our present is imagined by the library from the past. As readers we always see it from our point of view and our reality. It surprises us when we discover another perspective completely different from ours. Synecdoche: "The man in white" = the surgeon; Metonymy: "something that ... shone in the hand" = the blade Tropos: "His feet sank in a mattress of leaves and mud"; "As if the sky were burning on the horizon, he saw torches moving among the branches"; a violet lamp on the hospital wall was "like a protective eye"; the motorcycle is "a huge metal insect"; etc. The senses: There is a lot of reference to smell, taste, touch, etc. • Often, the smell transports the protagonist from one world to the other. Modern World / Aztec World Parallels: The road by the motorcycle ride = the road through which the library runs; The scream of the woman who caused the accident = the cry that the library gives when they are going to kill him The man transported to the ambulance on a stretcher face up = the library tied to the stretcher that transports him to the temple Smells of the hospital = smell of war and many other smells that you feel in your escape The arm restrained by plaster and the apparatus with weights = the ropes with which they tie it when captured The surgeon with the knife in his hand = the bloody stone knife carried by the Aztec sacrificer The bike purring on the legs of the motorcyclist = "the metal insect that buzzed under his legs" Summary: Summary The night face up A young boy rushed to take the motorcycle from the corner where the hotel keeper kept his idea was to go for a walk in the corner jewelry saw the time and it was nine minutes to nine he thought he would arrive in time left over to where I went, climbed on the bike, savoring the ride traveled through much of the city, but now entered the most pleasant part of the journey, a long street surrounded by trees with little traffic and many gardens suddenly a woman crosses in his path, they have an accident and he breaks his arm, he loses consciousness and a cut in his eyebrow dripped blood all over his face, when he came out of fainting he found himself entering a hospital. He has been bandaged and is in a bed with a fever in a state of drowsiness, as a result of the accident and the medications, then he falls asleep and has a dream. He dreams curiously that he is a Mexican Indian of the Aztec era, who is lost among the swamps and feels persecuted by an enemy tribe that want to sacrifice him. He wakes up repeatedly at first relieved but then confused, the last few times trying to avoid that nightmare until he discovers that the dream really was reality. The second nightmare is interspersed with the first because it is the supposed dream. It describes an episode of the florid war in which an Aztec Indian is persecuted by an enemy tribe, the Motecas flee and fight for his life, in the end he is captured, attacked and dragged towards the great pyramid. There a priest awaits him with a dagger to sacrifice him since this was a rite of this tribe. Before the end the young man becomes aware of the true reality, that his dream was real and that his reality was his dream. He managed to close his eyelids again, although now he knew that he was not going to wake up, that he was awake, that the wonderful dream had been the other absurd like all dreams.

El Sur; Jorge Luis Borges

Género: Prosa - Cuento Siglo: XX Movimiento: Boom Latinoamericano Historic context: Several generations of Borges' family were military. Borges, however, was an intellectual rather than a man of action. I work as a librarian, and he says that one day he hit his head with the frame of a freshly painted window and that he suffered a septicemia that almost led to his death. It was as a result of this mishap that Borges began to write stories. Important features: Time and space: Before the twentieth century, time was mostly linear, but with the advances of science (relativity, in particular) and psychology, it became clear that there were many forms of time, one of them psychological time . While we may think that we live in chronological time, we are constantly traveling back and forth with our memories and our dreams and aspirations. A second in real time, chronological can be a short period of time, while in the mind, a whole life can be condensed in short space. This is what happens with Dahlamnn; most likely he dies on the operating table, but in the short seconds before his death, he imagines another death - one more romantic and Argentina, despite his boring library work and his Germanic heritage. In Borges space and time merge. The urban world of Buenos Aires becomes the Argentine pampas. The linear time of the illness becomes psychological time. It does not easily distinguish between one time and another, or between a real space (Buenos Aires) and another imaginary one (the Argentine pampas). Sanatorium: He hit the point of a freshly painted open window and gave him a septicemia and taken him to a sanatorium. Strange sensations: Everything tastes bad; for the fever he sees the drawings of The Thousand and One Nights in his dreams; he believes he is in hell; they take him to another sanitarium to do an X-ray, but what he feels is a pinprick for anesthesia; etc. Dahlmann on his trip to the south: He feels unfolded - like a person traveling and another stagnant in the sanatorium; the train stops in the middle of the field where there is nothing and you have to walk ten or twelve blocks to get a car; etc. • Some kids make fun of him, throwing bread crumbs in the warehouse. The owner recognizes it and an old gaucho throws a knife at him. The protagonist has to fight because it is a matter of reputation and honor. He feels that he will die, but it is a death preferred to that of septicemia. Omniscient narrator. • It seems that the action occurs in the mind of Dahlmann, with some chronological order but not in the time or normal space. Climax: It is said that he chooses a romantic death, which is exactly what happens. The reader does not realize at that moment. The attention of the reader goes in search of details that have nothing to do with the action, since he knows the climax. Psychic & physical space: The things you see from the train seem "dreams of the plain." The car in which he travels is not the one he took in Buenos Aires, etc. • "I traveled to the past and not just to the south". Here he mixes time and space. The two vanish into one. Binary temporal spaces: The two opposite descendants; the metropolis and the countryside; death in the sanitarium and death in a knife fight; etc. Death: There are several possibilities: when the painted window was damaged; in bed when everything knows atrocious; when they send him for an x-ray; when they puncture him to anesthetize him; when they give him the discharge from the sanitarium; etc. You can not be totally sure. Inference: The purpose of Borges is precisely to confront the reader with complex dilemmas of time and space to involve him in reading. Two temporal planes: One, following the accident and two, in a mini second of his mind when he imagines a romantic death. Time: Circular: Dahlmann returns to his family's room; future: the story prefigures his death, thus announcing a future event, and in the end he goes out to the plain but it is not said that he dies; past: travel from the center of Buenos Aires to the old neighborhoods and from there to the even older gaucho world day to die.

Chac Mool; Carlos Fuentes

Género: Prosa - Cuento fantástico Siglo: XX Movimiento: Boom latinoamericano Historic context: He embraced social equality - the ideals of the Mexican Revolution, but Filiberto belonged to the bourgeoisie of European blood. Although he was very fond of collecting pre-Hispanic pieces. Important features: * Carlos Fuentes, faces the European world of Filiberto against the pre-Hispanic world of Chac Mool. While Filiberto admires pre-Hispanic cultures, he is not prepared to accept supremacy over his Western traditions. Seen in this way, the master story fits the categories of assimilation, diversity, and nationalism. Time: Most of the narrative is in "flashback", while the narrator reads and tries to interpret Filiberto's diary. But history itself has a circular movement; It begins with the death of Filiberto and ends with his coffin being taken to his home in Mexico City. Duality of being: On the one hand, Chac Mool is an extension of his being-the Mexican side of Filiberto. On the other hand, however, he escapes his Mexican heritage when the indigenous part of his psyche takes control of him. As a result, he retires to his European side (the German hotel in cosmopolitan Acapulco). Literary creation: presents a very challenging game with the point of the narrative. All the reader and the narrator know is what we read in Filiberto's diary. This type of writing is very unique, since it is not meant to be understood by others. Your intended recipient is the sender of the message. Consequently, we do not understand Exactly what was going on in Filiberto's life that would lead to his death. What we do know is that he seemed to be hallucinating, thinking that the statue of Chac Mool was transforming into a living being and trying to dominate Filiberto. The narrator, like the reader, understands that this is purely fantastic; however, when the narrator returns the body to Filiberto's house, he is received by Chac Mool. The meaning is very Cervantino. Where does the reality end and the fantastic begin? What is true and what is not? ** The narratological difficulties that Fuentes demands the constant attention of his reader Reality and fantasy: can not easily distinguish between one and the other. Is Chac Mool real or fantastic? Filiberto's ideas are very confusing. They are a disorganized gibberish. There is no fixed reality. What looks fantastic to one may be true or normal to another. The reader has believed that Chac Mool was a fantasy of Filiberto, but now discovers that no. It is an ontological and existential game. Final: Chac Mool is all painted, trying to imitate a white Mexican. • Chac Mool seems ridiculous; does not carry out its imitation of European bourgeois • Symbolic attempt: When the indigenous comes to a state of power, only imitates the culture of Europeans. Summary: In this story a man is possessed by the powers that a Mesoamerican statue has. This stone idol torments him to the point of fatality. Filiberto, Pepe and Chac Mool are the three characters in the play. They have a successful participation in this simple piece. This writing, which seems more like a legend because of its superstitious content, has an interesting argument. Filiberto is a collector of indigenous objects. He buys a stone statue that they assure him is authentic. This, after putting it in the basement of his house, gradually comes alive until the protagonist is killed. The play is narrated in turns in the first person (by Pepe el vivo and Filiberto el muerto).

Y no se lo trago la tierra; Tomas Rivera

Género: Prosa contemporánea Siglo: XX Movimiento: Literatura chicana Historic context: The plight of Mexican migrant workers accommodates many categories of this issue: marginalization, diversity, socioeconomic divisions, and even regionalism. The stories show the diversity of the United States and its marginalized and often exploited minority groups: the difficult lives of migrant workers who work from morning to night, are poorly paid, and whose children must help in the fields, denying them a education. Important features: The hatred and anger of the eldest son is due to the death of his uncles, the illness of his father, the hard work, etc. • Curse God; he complains about his bad fortune; He does not understand why his family, which is so good, suffers so much. The family: It is a very close family that shows a lot of love and affection for its members. The relationship with God of the eldest son: It is conflictive. He does not believe that God cares for them. He does not completely doubt his existence. He is a believer; he is only frustrated that God does not protect them although they are good people Title: The son says that the only rest for them is death, and the mother confirms it. Also, being poor and unimportant people, when they die, nobody will notice. Narrator: He is an omniscient narrator but completely objective. He never gives his opinion. The only thing we know is what we learn about the characters. Final: The story ends with a note of confidence and optimism maybe the love that exists in the family helps the child not lose hope. Summary: The story is about a poor family. The youngest son says that God does not care about his family because his father got sick from working in the fields and he got everything. The oldest child no longer wants to believe in God for all the things that happened to them. At the last the son feels peace with himself because the earth does not swallow him.

El Caballo Mago; Sabine R. Ulibarri

Género: Prosa contemporánea - Cuento Siglo: XX Movimiento: Literatura chicana Important features: It is a poetic allegory of a child of legal age. The horse acquires a series of symbolic meanings that A child must learn to become a man. Beyond the obvious sexual symbolism, the horse is also a ideal, an unattainable goal, the beauty of the intangible, etc. White horse: Everyone admires him; they tell many stories of him; all have tried to capture it, but none has succeeded Narrator: The boy. Narrates in the first person. • They are memories, but narrates in the present. Transformation of the narrative: Over time they soften, exaggerate, idealize, etc. The memory is too poetic; is based on reminiscences idealized by time Style: It's a poetic style. The sentences are short and sometimes fragmented. There is a lot of adjectives. Nature is humanized and personified. There are many poetic resources: metaphors and similes as in the first paragraph; epithet (when calling the horse "the sorcerer"); personification ("the forest is silent"); graduation ("catching it became foam and air and nothing"); Paradox ("I cried with joy), etc. It is not a realistic style because everything is idealized and poetized, there are no economic, social or moral problems as there are usually in realistic discourses. Poetic resources: Simile: "free as joy" gradation and polysyndeton: "to catch it became foam, and air, and nothing" Prosopopeya, personification: "Suddenly the forest is silent" Paradox, oxymoron: "The momentary eternity" Paradox, irony: "I cried with joy" Symbolism: Horse- Beauty, the ineffable, the impossible, virility, etc. • The horse as virile is an emblem in literature. It is the male stallion of a majada flock. In the story all men admire him. The narrator is fifteen years old and is experiencing puberty; he wants to be like the stallion horse so, as he says, "show it off ... when the girls go for a walk on the street". Summary: This story is about a man telling an experience that happened when he was fifteen. As a child, he was obsessed with a white horse, which filled his youth with fanatsy and poetry. Also the whole town was fascinated with this animal. They talked about him with enthusiasm and admiration because he was free and nobody could control him. The story takes place in a field near a small town. The narrator only saw him twice in his life. The first time he saw it was during the summer. The narrator felt a "momentary eternity" that is, it only lasted a moment but he will never forget it. Since then, the magician horse changed his dreams, filling them with resonance, light, and violence. When the winter came, the people of the town commented that the horse had returned and that it was fitting in some corner. Therefore, the narrator was more ideal and mysterious. When he saw it a second time, they saw each other at the same time and remained motionless. The narrator followed him, observing the black spots on his body. Then, the narrator tried to lasso him and it was much easier than he had thought. Although he felt like an executioner, he did it because it was his dream since he was a child. After having tied it, he felt conqueror. When it happened with the magician by the town, the horse tried to escape but it fell. There the narrator felt bad for the horse but continued on the way to his house. They arrived at the narrator's house and he decided to leave the magician in a paddock, where no horse had escaped. The narrator did not sleep well that night because he was thinking about the magician. When he woke up, he could not find the horse anywhere. He was nervous to realize that the wizard had jumped the barbed wire fence. He saw that there were traces of blood on the other side of the fence and he began to cry. After a while, his father appeared and put his arm over his shoulder and they were left seeing the traces of the magician.

Como La Vida Misma; Rosa Montero

Género: Prosa contemporánea española Siglo: XXI Movimiento: Feminismo Important features: Time and space: Rosa Montero creates a dense space in a very short period of time. She describes a traffic jam and the psychological state of the narrator of the mind in the smallest detail. The reader enters the space of the narrative, because we have all had a similar experience and had similar reactions. Narration: In the present, sometimes in the first person, but mainly it unfolds and speaks of itself in the form of you. What is the effect of narrating in this way? The present gives a sense of immediacy. The shape of you makes the reader feel like part of the experience. • It also makes you feel present in what is happening. Almost everyone has had the same experiences. Narrative technique: the narrator addresses himself, but with the shape of the you involves the reader as well. • Drivers communicate with each other with gestures and looks. • The dialogue employs only in the form of the flow of consciousness. • Many minute details combined with visual descriptions, thoughts, opinions, expressions, etc., all mixed together to produce an authentic, very realistic picture. Hyperbole: "Two hundred thousand cars crowded next to yours". Yes, it is very natural. For example: It took me a century to arrive. • cause humor. Colloquial expressions: moron, idiot, cretin, chalao, etc. Being very informal, the reader relaxes before the language that he himself, perhaps, uses in these moments. Des / humanization of the driver: He almost knocks down an old woman and does not care. • When you thank the man who allowed you to park. Irony: The narrator believes that the others have been aggressive, when he himself has been as aggressive as the others. Summary: The main character begins his routine with a fight against the drivers and people around him. He hates and insults all those who compete with him in order to reach his destination. The main character manages to park in one place, thanks to the generosity of a man of fifty years, the narrator demonstrates positive qualities such as kindness and gratitude. The man, as overwhelmed and anxious as the narrator, is surprised by the show of gratitude in this hostile environment. They are unable to behave or communicate cordially. Ironically, the narrator criticized the same insensitivity that she had shown up to that point.

El Hijo; Horacio Quiroga

Género: Prosa ficción Siglo: XX Movimiento: Realismo/Naturalismo Historic context: Quiroga lived in the jungle and subtropical province of Misiones, a very isolated and indomitable region in northwestern Argentina, whose land is intensely colorful. Important features: Duality: it is an example of a duality caused by psychosomatic causes. The father, instead of creating a new reality in which to escape, actually hallucinates, which is a physiological condition. The death of the child serves as an external stimulus to trigger a psychosomatic reaction. The love of a father: unconditional love for his son and maintains an open communication / relationship with him. Psychic state of the father :. He knows that his son has died. Do not scream orally, only in your heart. He does not want to face reality. Tragedy: The father avoids the tragedy by sliding in a hallucinatory state. It gives him so much terror that he can not face it. It gives him hallucinations, and he goes on as if his son were alive. Narrator: Omniscient, always next to the protagonist, counting all his feelings, thoughts and actions Time / Space: It is very slow. The exact hours are given / It is very dense: the heat of the tropical forest is mentioned frequently. The intensity parallels the intensity of the father's suffering. Prefiguration: At first the father fears something happens to his son: "So easily a creature miscalculates and feels a foot in the void, and a child is lost". Purpose / Moral: Despite the father's efforts to prevent danger, the son dies. Moral: the idea that things happen and you can not control them, even if you try to do it. Summary: The thirteen-year-old boy says goodbye after the recommendations and the order to return at the time of his father's lunch, to go hunting. After a while, a shot sounds, the father thinks that his boy has killed at least two pigeons, however he continues his task, Later he realizes that it is twelve o'clock and the son has not arrived, the parent thinking that his son does not delay, decides to wait for it longer. At 12:30 the man goes out to look for the boy, thinking that something bad has happened, imagining things, he goes into the woods, goes through the hunting trails and hallucinates with his son and they return home together and being almost three , but in reality the little one lies dead, the boy has died when he was not careful when crossing the fence with the shotgun in his hand.

El Conde Lucanor/ De lo que aconteció a un mozo que casó con una mujer muy fuerte y muy brava; Don Juan Manuel

Género: Prosa- Apología Siglo: XV - Edad Media Movimiento: Apología Historic context: Count Lucanor; like its models, it uses a frame story to tie the such together. This represents but one example of the many ideas of Arab culture introduced into Europe via Spain. Important features: Gender construction: Count Lucanor, through the different interpretations of the story that Patronio tells (the need to tame women and that one should be made known at the beginning of a relationship), highlights the complexity of the communicative act: the same message can be received in different ways by different recipients - A narrator narrates the first line of the story Narrator (s): The implied author seems to conceive a discourse on unbearable women, and the explicit author writes another moral. The need to tame and dominate women. • That you must make yourself known from the beginning. • Each recipient interprets the codes in a different way. The recipient (narrator) of Patronio is El conde. Filters of narration: Original emission listened by Patronio emitted again by Patronio to the count, the count writes his interpretation. This problem forms the basis of all modern narratology, and was already a concern of the narrative in the fourteenth century and will be repeated in Don Quixote: who tells the story ?; What limitations does the narrator have? what are your sources of communication; Can you trust what he says? Anyway, what is the reality? Summary: A Castilian nobleman does not know how to advise a vassal and asks for advice from his own Moor adviser. This describes a similar case of his own culture in which a young Moor has the same problem (that of marrying a violent woman) but who takes advantage of a timely strategy to achieve his goal: peace in the house and money in the Bank. The counselor, at the end of the story, offers this to Count Lucanor as a suggestion to solve his dilemma. The story or apologue or example ends with a few verses that summarize the moral of the story.

No oyes ladrar los perros; Juan Rulfo

Género: Prosa- Cuento Siglo: XX Movimiento: Boom Latinoamericano Historic context: Ruldo captures the universal of Mexican character with a pure and poetic style. He is considered one of the greatest storytellers in the Spanish language. Important features: Family relationships between parents and children: parents have unconditional love for their children and maintain open communication with them. Narrative voice: It is completely objective. Never interpret the actions of the characters. Only the account. Style: Captures the sober and melodic speech of the Mexican peasant. Space: It is also a parco and dry landscape. Symbolism: Moon / Sun → The sun shines the place to save the son; during the night they are lost. Some critics have speculated that the moon is the mother, that it illuminates it. Tonaya means "sun" in an indigenous language Presence of the mother: The father remembers her constantly; she exists in memory. • Relationship of the parents was intimate, of much love; the father misses her a lot. Form of You / You: Make the change when you get angry with the child. • Your form creates distance between the two, as if the father hardly knew the child. But his last words use the form of you, the familiar form. Last words of the father: "You did not help me even in this hope". • The father, despite what he has said, has had the hope of saving the son. Strong love of the father: The father carries it loaded (it is a burden that the father is willing to endure); the son asks him to come down and leave him, and possibly he cries. Tears or blood (the drop that falls on the father's forehead): The father prefers it to be a tear because it would be a confession and repentance for his sins. Part of the salvation that the father seeks is not only the physical but the spiritual. When he repented, Ignacio was saved. End: Death of the son → by the description that when getting off the shoulders was as disjointed and the father has to unlock the fingers of the son of his neck. Summary: The father carries on his shoulders his wounded son, looking for the town, Tonaya, that the barking of the dogs demarcates; however, the father can not hear the dogs bark because the son covers his ears. The father carries the loaded child, staggering, stumbling through the darkness until the moon rises and guides the father. The father does what he does for Ignacio's late mother. For the father, the son is no longer his son because he has cursed the blood for his crime. Ignacio sobs guiltily before he reaches the deceased village with his body loose and disjointed.

La Siesta del Martes; Gabriel Garcia Marquez

Género: Prosa- Cuento Siglo: XX Movimiento: Boom -Realismo mágico Historic context: The story has a background against the banana industry on the north coast of Colombia. These companies were known for the exploitation of their workers. That code of injustice is repeated in many of the themes of the story. Important features: Feminist Representation: Although "La siesta de martes" does not contain a feminist message as strong as "Dos palabras", it does paint a strong, dignified and determined mother who never criticizes or fights for her rights as a woman and mother. Realism: while most authors of the twentieth century experimented with prose narrative, they did not completely abandon realism, as illustrated in "Can not you hear dogs barking?" By Rulfo and "La siesta del martes" by García Márquez. Social and interpersonal relationships: García Márquez tells how poverty can lead people to crime. Carlos steals out of necessity. This is an echo of Lazarillo's father and stepfather, who also stole out of necessity. The complete objectivity of the narrator of "La siesta del martes", which reveals to us all the sad reality of poverty in Spanish America and the indifference many times of the church and the rich people. Signs: Socio-economic: They travel in a third class car. Character of the mother: his strength in insisting that the priest let him go to the cemetery, his strength, his dignity Character of the priest: his lack of piety, his superficiality, etc. Environment-Heat: it is oppressive. It is mentioned constantly. Cause of death: We really do not know 100% if Carlos went to Rebecca's house to steal since the narrator does not say so. It was raining a lot that night and he was wearing a belt rope and he was barefoot. If I really were a thief I might have shoes. Meaning of Carlos' last words: "Ay, mi madre". When he learns that he dies, he remembers his mother and knows what will happen to her death and that she will no longer have support. Carlos was stealing to support the family. Neither Rebecca nor the priest shows any remorse for the murder of the thief since he is nothing more than a thief and a poor man, a life that is worthless. Summary: The story begins with the woman and her daughter, who is twelve years old, traveling by train to reach a quiet town. The woman and her daughter are traveling in the third class that smells of smoke, and they carry their lunch in a plastic bag and a bouquet of flowers. Both wear black clothes to pay their respects. They arrive at the town at two in the afternoon, and there is no one in the streets because it is nap time. The town is humid and very hot. The two walk to the cural house and the mother knocks on the door until eventually another woman responds. The mother says she needs the father. The woman of the house answers that the priest was sleeping, and that they must return at three o'clock. The mother says she needs the father right now because the next train leaves the station at three-thirty. When the priest arrives, he asks how he can help them and the mother responds that they want the keys through the cemetery. He tells them that they could wait until the sun goes down and asks them which is the grave they want to visit. The mother replies that they are going to visit the tomb of Carlos Centeno, but the priest seems confused. Then, the mother explains that he is the thief who was killed in the village last week and that she is his mother. The father writes a half sheet of details. The narrator begins to tell what is happening: a widow, Rebecca, heard a noise that sounds as if "someone tried to force from the outside" (455). To defend herself, she picked up the revolver and fired it at the door. That shot was the one that killed Carlos. The priest takes the key from the closet and asks the mother to sign the paper. The father asks her if she "tried to get him in the right direction" (456) and she replies that he was a good man and that he would never steal the food that other people need. The father tells the instructions to look for his grave and to return the key. When the mother and her daughter begin to leave, the priest notices a large number of people who are outside the curing house. The priest recommends that they wait until the sun goes down and the woman of the house offers them an umbrella. The mother replies "Así vamos bien" (457) and goes out with her daughter to the grave.

Romance de la pérdida de alhama; anónimo

Género: Romance medieval Siglo: XV Movimiento: Edad Media Historical context: This romance will allow you to discuss the Arab presence in the Iberian Peninsula, The Reconquista, and the coexistence as well as tensions between Muslims and Christians. The poem was obviously composed by a Mozarabic (a Christian living under Muslim rule) and expresses sympathy with Muslims rather than Christians. The refrain "Ay de mi Alhama" appears to express a collective lament for the loss of the Muslim city to Christian forces. Important features: Metric form: • Eight, except in the refrain that contains 5 (for the diphthong synapse "mialhama"). • Asonante, a / a in even verses and in the refrain. • A composition of 8 syllables with assonant rhyme. -Narrative poem; dramatic elements-The two sections discussed when the king speaks and then the alfaquí; chorus-It's like a lament, a chorus, the collective voice of the people. Produces phonic effects with the alliteration of the "a". King mounted on a mule → mule is slow, peaceful; They are not good characteristics of a king. Summary: It narrates the loss of Alhama, an Arab fortress located in Granada by Christians. The poem is about the reaction of the people of Granada to the king for having let the Christians take the town. The king of Granada receives the news that Alhama has been conquered and appeals to his people for war. Some of them ask him about the cause of the events and upon learning of an alfaquí he blames him for what happened because of the betrayal he made to the Abencerrajes, warning him also of the loss of the whole kingdom of Granada.

El Burlador se sevilla y convidado de piedra; Gabriel Tellez (Tirso de molina)

Género: Teatro Siglo: XVII Movimiento: Comedia del Siglo de Oro (tres unidades) Contexto histórico: Depiction of the role of women and the relationship between the sexes in Golden Age Spain. In order to seduce women, Don Juan must promise matrimony, because a woman during this period who had lost her virginity— albeit by no fault of her own—was not eligible for marriage and had no alternative but to enter a convent. Don Juan's actions, therefore, destroy women's lives. And he has no compunction about dishonoring women, because he feels that his noble status and his superiority as a man gives him the privilege. Women have absolutely no voice in this period. They are pawns of men, and the king marries them off to whomever he wishes, without their consent. The play also has somewhat of a feminist theme, as two of the dishonored women, on their way to seek justice from the king, say "¡mal haya la mujer que en hombres fía!" Important features: The mockery of Seville is a religious work in which Tirso expresses his position in front of the debate of the act of contrition that said that if one confessed sin sincerely before dying, salvation was assured. Clearly, Tirso was of another opinion. First Day: Plot and outcome → Don Juan has dishonored Isabela. If the duke finds out that Isabela is not pure, he will not want to marry her, but the only way to recover his honor is marriage. Notion towards women: That women are inconstant, weak. (In verses 155-56 it also says that women are inconstant). Dramatic irony: Tisbea says that love does not affect her like other girls; scorns men. However, he immediately falls in love with Don Juan. Phonic Opposition: "Breath and torment" ---> Rhyme in consonance, and each word has a different meaning; "Breath", for example, is "breathing" and also "effort and courage". That is, for a person who barely breathes, Don Juan has a lot of courage and is very daring. • In addition to storm, it means "anguish". • Don Juan arrives cold from the sea (almost dead), but his words of love are very hot. • Don Juan makes love ("fire"), but then he runs away without fulfilling his promise ("cold"). Second day: Forced Marriage of Duke Octavius ​​and Anna: Can not refuse the king's wish. Also, it does not matter who you marry while it is a 'good piece'. Religious Speech: Don Diego says that God is going to punish Don Juan for his crimes. • "So long do you trust me." (Much remains until death). • He repeats it throughout the drama. Don Juan believes that since he is young, he will not die soon and has time to make amends. Sins: Do not obey your father; take advantage of their social status; deceive women; lie, promising them marriage knowing that what they do destroys them; violates the laws of friendship; kill Don Gonzalo; etc. Day three: Dinner with Don Gonzalo: Snakes and scorpions give him dinner. They sing a song with reference to Don Juan's mistakes, and for the first time he feels fear. Don Gonzalo takes him by the hand and Don Juan feels that he burns and asks for confession, but it is too late. Don Juan burns himself in hell. Petition of don Juan before dying: He asks for confession and absolution but it is too late; never in life did he try to remedy himself. "It is God's justice: whoever makes such a one pay." The death of don Juan solves many problems for the king since now Mota can marry Ana and Octavio with Isabela. Summary: FIRST ACT In the first act appears Don Juan in the castle of the King of Naples, and will try to sleep with the king's wife to take away the honor by posing as Duke Octavius. The queen discovers that he is not the duke and calls the guards. Don Pedro appears here, to whom Don Juan says he is his uncle; in this way Don Pedro lets him go. Later they are going to capture the Duke Octavio since the king orders him to arrest because his wife said that it was he who tried to rape her. They appear Gonzalo de Ulloa and the King Don Alfonso de Castilla having a conversation. Gonzalo wants to marry his daughter to the king, but this one is already betrothed to Don Juan Tenorio. After Don Juan appears with a fisherwoman after an accident on a ship. Don Juan seduces the fisherwoman, promises her that he will marry her and he proposes to sleep with her that night. But that same night Don Juan takes his mares and flees from there.

La Casa de Bernarda Alba; Federico Garcia Lorca

Género: Teatro (drama moderno) Siglo: XX Movimiento: Vanguardia Historic context: Traditional customs in some Spanish and Latin American towns is that the family must keep the mourning for 7 years after the death of a close family member. During this period, everyone is dressed in black. The eldest daughter must marry before the youngest can marry. The couple courts themselves from the balconies, whose bars allow to speak but little else. The women of the family prepare the trousseau of the bride, making bed linen and table linen that they embroider by hand. Important features: The continuity of the tradition: It should be noted that Lorca criticizes this tradition. He approaches the subject with greater complexity and depth, being a woman (Bernarda Alba) that imposes -in an intransigent way- the tradition. Feminism: However, old customs and morality still oppress women, as can be clearly seen in La casa de Bernarda Alba. Act I: Women have to behave in a way determined by tradition. This includes obedience to parents and spouses, moral behavior, virginity, etc. Symbolism: The stains: the cleanliness that Bernarda demands forms a parallel with the purity she expects from her daughters; It should be noted that the spots do not come out; The cane of Bernarda: his authority; it is phallic and she plays the role of man in this piece; Adela's green dress: the color of nature - she wants to free herself; Encierro de Josefa: not allowing women to have a life of their own - they are locked in by tradition. Act II: Central issue: Pepe and Adela have established relationships. Symbolism: act of embroidering with a needle - Reproduces the sexual act. • Represents the sexual passion they feel. • A group of young men in the village fascinates the sisters; Their romance is somewhat spicy: they ask for roses from the village, which represents girls here. Feminist discourse: Adela rebels and says she will do anything to be with Pepe. Bernarda continues her role of authority, but the public begins to realize that something very big is being concocted that maybe she can not control as she wants. Sin of Librada: Bernarda and Martirio agree with those who want to kill her, but Adela feels sorry for her and wants to be released. • It forms part of the background of the work: that of a traditionalist people and restricted in sexual matters. When natural impulses are so severely restricted, the result is wild and horrifying acts like this. Irony of the ignorance of Bernarda: Poncia says that Bernarda is able to know what is happening to many leagues of his house, but he does not know what happens in his own house. This blindness is an example of dramatic irony and of certain faults of Bernarda (hamartia of the Greek tragedy) and arrogance (the hubris). Social and interpersonal relationships: While one assumes that there should be the bonds of love between the members of the family, what we see is above all repressed hostilities and hatred between the sisters. What are the causes of this break of traditional ties? In part, it is the community in which they live, with its restrictive rules and traditions, together with the repressive power of the dominant mother. As a result, the game brilliantly illustrates how external factors operate within human relationships. Characters: Amelia is very innocent and kind; Martirio is an anguished and negative woman who bitter Amelia's thoughts. Most conflictive relationship: Magdalena calls Martirio a hypocrite. Bernarda and her daughters: It seems that they are afraid of him; There is no respect or love. Bernarda Alba: the antagonist, with her reprehensible sense of power, as well as her reactionary concept of honor, destroys the lives of her daughters. Act III: Spirit of peace and calm (calm): Dramatic purpose is a type of relief Symbolism: Horse without breaking down kicking in the corral: It symbolizes the masculine strength enclosed and separated from the women; their kicks are a constant reminder to the sisters of that passion that is forbidden. The sheep that the grandmother brings: the maternal instinct; thirst for contact with men, for carnal pleasure; Destruction of Bernarda's cane: destroy his authority. Adela's death: Martirio's guilt? Yes, that conclusion can be reached. Martirio loves Pepe and had already told Adela that she would do anything to forbid Adela from coming out victorious with Pepe.

Historia del Hombre que se convirtio en perro; Osvaldo Dragun

Género: Teatro del absurdo Siglo: XX Movimiento: Vanguardismo Historic context: Latin American countries have suffered multiple economic crises in the 20th century. In Argentina, which has a well-educated population, has also suffered from unemployment, or to get a job many people have to take positions much lower than their academic training deserves. Important features: Socio-economic divisions: The dehumanizing effects of losing work due to severe economic conditions is driven in this work in an act The actors as narrators, something rare in a theater piece. The theater does not have a voice that explains the circumstances to the public. The same characters have to make the circumstance known directly, without any intervention. The narrative has the advantage of having a narrator who can, if he wants, give explanations. Economic situation: The protagonist is unemployed for a long time and is desperate. Find work like a guard dog. • The manager promises that when there is a vacancy they will place it but there is always a reason for not placing it and it always has to do with the effort of large companies to produce more with less people. To survive the husband suggests to the wife to move into an apartment with several other women; he will bring him the meat that they give him for food, because he has become accustomed to eating only the bone. Humor: There are many but when the Actor 1 is going to kiss his wife and instead he bites her. It is a type of black humor, because it provokes laughter in a situation of affliction. Human Compassion: There is a lot of human compassion. The concern of friends for the "dog", the concern of the husband for the welfare of his wife, etc. Box where you have to sleep is tight, tight = double meaning of economic tightness and troubles, conflicts. Irony: Leave the guard dog job, but the only other position you can find is also guard dog. In the world of work, experience is what counts. Theater of the absurd vs. Traditional theater: There is no chronological order or fixed place. The piece can move in any direction of time and space. Neither the actors are fixed, since they constantly change roles. The narrator has already been commented on. Summary: The Man Who Became a Dog narrates the journey of a simple, ordinary man to his implosion as a person. The story, through fragments in which we see small moments in the life of this subject, configures the story of a family man, who in the desperation to find work and take his family forward, accepts an offer to be the dog guardian of a factory. This decision comes to the abandonment and forgetting of everything that identifies it as human.

El ingenioso hidalgo don Quijote de la manche, primera parte; Miguel de Cervantes

Género: novela moderna Siglo:XVII Movimiento: Siglo de Oro- Barroco Historic context: In Don Quixote there is an ironic case of help to the individual who is harmed. The help that Don Quixote offers Andres-a totally altruistic act-results in a greater punishment for the poor boy. Here you can see the deep disappointment that is expressed in the novel and that characterizes all Baroque art. Important features: Transformation of the protagonists (Part 2): Critics have commented on the "sanchificación" of Don Quixote and the "quijotización" of Sancho. That is, the two are transformed throughout the novel because of the influence of each other. Sancho becomes more idealistic and Don Quixote more realistic. This is clearly seen in the last chapter when Don Quixote returns to reason but Sancho wants to return to the knightly adventures. Duality of being: Don Quixote is another iconic example of the displacement of the self. Alonso Quijano (or whatever his name might be, for it keeps changing) constructs an ideal world in which knights corrected wrongs and fought injustice. I have transforms himself into one of those knights and sets out to change the world. The greatness of Cervantes's novel is that the real man and his fictional creation are fused to the extent that the reader seldom knows if the protagonist's actions are real or not. This point is driven home in Chapter V, when a neighbor tries to tell Don Quixote that he's actually Alonso Quijana, and Don Quixote responds: "I know who I am, and I know that I can be not only those that I have said, but all twelve Couple from France. " Reality and fantasy: Don Quixote poses a fundamental and universal question in Western literature: What is reality? Throughout the work, this dilemma is constantly revolved. Don Quixote alters reality for his own needs: when he is tired he transforms a sale into a castle; when he has to impress Sancho he transforms the windmills into giants. When his squire reminds him that they were windmills, the knight gives him the reason, but says that it was his enemies (the malignant enchantors) who transformed the giants into mills, etc. Following the ideas of Plato, things are in a constant state of change: a chair can be a throne for a king or a ladder for someone who needs to climb. As a result, it is not easy to fix reality; everything depends on the point of view of each individual and the context in which it exists. Metaliterature: The narrator says that the exact name of the hero does not matter. • The implied author is not the only one who has not seen about He is self-conscious; there is a metaliterary speech; the author is based on sources of information-Don Quixote is not simply the fruit of his creativity. The names: They can not be identified; they become generic. When they receive a name, they have a specific identity. The exact names do not matter. But deeper is the notion that it is impossible to know what is the exact reality. The expression "credible guesses" is a paradox. Societies in contact: In DQ there are several social groups: farmers, prostitutes, muleteers (moriscos), silk merchants (converts), nobles (the lady on the way to the New World), etc. • Gender construction: Don Quixote protects women and treats them with respect, something that men of his time may not have done. This is seen in his dealings with the prostitutes of the sale. Time and space: Don Quixote relives other times and spaces that are not his. Try to recreate an idyllic moment, although fictional, in which goodness reigned. Also, Don Quijote travels through a real space: Castilla, with its sales, windmills and cities. Interpersonal relationships: Here the intimate relationship established between Don Quixote and Sancho stands out. Also, there are moving moments of humanity: the respect Don Quixote gives to prostitutes, the defense of Andrés and the neighbor (Pedro Alonso) who helps Don Quixote and takes him home. Duality of being: Clearly, Don Quixote invents another "being" and lives between being Alonso Quijano and Don Quixote. In the scene with Pedro Alonso, Don Quixote says "I know who I am and I can be whoever I want". In other words, he knows that he plays a role that he himself has chosen. Literary creation: Here the novel offers a mine. First of all, we have the intertext of chivalry novels. Then we see Alonso Quijano create himself in the character of Don Quixote (naming himself, choosing a lady, etc.) as well as the author creates a fictional character. According to the implied author, he bases his novel on documents from the archives of La Mancha. When there is no more information, the manuscript in Arabic of Cide Hamete Benengeli is discovered, which the implied author has translated into Spanish and from there bases his novel. All this makes us think about the literary creation and at the same time puts into question the veracity of the historical texts: Can you trust a non-professional translation from Arabic into Spanish made by a Moor?

Summary of Sur

Juan Dahlmann is a man of two lineages. One of his grandparents, Johannes Dahlmann, was from Germany and the other, Francisco Flores, was Argentine. Juan lived an intellectual life like Johannes Dahlmann, but he admired Francisco Flores for his life of adventures and his romantic death, speared by Indians on the border of Buenos Aires. Juan was secretary of a municipal library, but he wanted to live in his stay in the South that belonged to Los Flores. One day, he hit a shutter that was not locked. For that reason, he returned to his house to recover. He woke up with a fever and nightmares from the book One Thousand and One Nights. Therefore, he was taken to the sanatorium, where he was so deprecated, for an X-ray. A doctor told him that he almost died of a blood infection. Finally, I left the sanatorium for his stay in the South. He traveled by train, but the train did not visit the station that Dahlmann needed. Then, he arrived at another empty station and entered a warehouse to eat. There was the boss, who looked like an employee of the sanitarium, an old gaucho, and some country men. Juan was reading Arabian Nights and eating when the men threw a ball of crumb. First, Dahlmann ignored the action, but then confronted them. The boss tried to prevent the fight, and told them that Dahlmann does not have a weapon. That's why the old gaucho lent Dahlmann a dagger. When he accepted the dagger, I had to fight and was so happy because it was such a romantic way to die.