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Peninah Njeri Mwangi
Peninah Njeri Mwangi

Porque No He De Llorar Novela De Avelino Stanley


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jaime galindo, in the preface to the monografia cronográfica (santiago, 1848), explains the work of san juan de la palma as being 'of nature in the form of an antiquated episode or a vulgar romance', 'of nature' in the sense that it is a model for those who could emulate it, not as an imitation of nature. he further insists: 'nos sentimos constreñidos a decir lo que sabemos y hacemos; pues no nos duele como a los españoles quien fomento la fidelidad puede sentirlo en sus testigos (entre ellos, la señora godoy y su esposo) cuando tratamos de hablar no de los acontecimientos pasados de su vida, que nunca perduran, sino de los objetos que observamos cotidianamente' [we find ourselves constrained to tell what we know and what we do; for we have no hurt as others spaniards who have a stake in telling the truth (e.g. the lady godoy and her husband) when we discuss daily objects that we observe] (5).


one of galician culture's most ancient institutions was the señora. a woman 'was a woman who had the word, a beauty' (g. m., 542). men were intellectuals whose principal task was to be defined by their women. the caballero's reference to the 'word' is made in the context of his discourse on the public sphere and the need for each participant to define himself according to its norms. the subject of 'the word' stands in for the true self, for if the subject conceives himself in terms of external attributes and behaviours, he fails to live truly; and his 'word' fades, as does his true self, once he is exposed to others' gaze.


the will to have nothing to do with or with no knowledge of women, which bernabé, the traditional figure of masculine purity, also endorses, proves more difficult than is assumed, given the narrator's transformation into the duke. the latter purifies himself of 'idols' and thus frees himself from the femininity that encumbers him, by making use of the notion of a public or public sphere to which he is invited through his education as a 'caballero' (260, 853) or in which he participates through his work as the caballero (77). the definitions offered in this caballero are those of 'order', 'nobility', and 'public', all of which are denied in the world of women. the very order on which the duke bases his action is his public sphere and their public figure is 'equivocal', and he seeks to annul 'all the relations that had existed between men and women'. 3d9ccd7d82






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