Discussing the Article on Visual Representation of Women - Research Paper Example

?Prajakta Kanegaonkar Eng 264 03/11 Analysis of Literary Critical article The article we are going to discuss is “Verbal and Visual Representation of women: Como Agua Para Chocolate/Like Water for Chocolate." World Literature Today 69.1 (1995): 78. Academic Search Premier. Web. 31 Oct. 2011.” By de Valdes, Maria Elena. De Valdes has clearly stated that she wants to discuss the visual and verbal imagery used to build the portrayal of the women in the novel and subsequently the film, which was based on the novel. The critic takes a review of the Mexican society and tries to find relevant customs, traditions, societal structure in order to fill the colour in the portrayals in the novel making it colourful to understand. The initial confusion in the article slowly gives way to a clearer understanding of the purpose. Initially while reading the article, the reader suddenly has to transport himself to the earlier era in Mexican culture. Eventually the writer manages to come to the time period in which the novel is based. Although the journey is essential it is sketched too elaborately leaving the reader suddenly clueless. In the later paragraphs however de Valdes gets a very clear idea about her expectations from the novel. Discussing film and the print together is again a good idea. However it biases the reader’s view regarding the print. While reading a novel one comes across a few ‘blank spaces’ or ‘blind spaces’ in the characterisations built by the writer. Reader while reading the book fills these blank spaces and completes these sketches as per his own understanding and imagination. These portrayals become ‘alive’ for the reader. When one sees the film, these blank spaces get filled and the images may not be the same as the reader is imagines. This actually may lead the reader getting disappointed with the book, which in turn may dissuade him from reading the same. Films have tremendous visual impact and the scenes may sometimes have to be changed for creating such impact. There could be a discrepancy in the print and the picture, which not all viewers or readers would comprehend or appreciate. The portrayal of the women in the novel is strong and de Valdes has repeatedly stated this point in many different words. The reader of the article has to agree to this point picked up. It is especially startling as the time period in which the novel is based is certainly not an era in which women had a lot of societal role to play. De Valdes has picked up the point beautifully. The woman’s domain was considered to be her household and especially kitchen. She builds her life through these two establishments, because these are the central point of her existence. Protagonist of the novel is also shown to be a natural caretaker, a role which is identified by the critic and is apparent in the novel itself. The people who come into her care vary but the caretaking or maternal instinct dominates which is expected of a woman in every era. De Valdes also picks the point of asserting of identities by the three daughters. One submits totally to the tyranny of the mother and accepting it as an order of life, other turns her back to the domesticity to assume a stronger role and positions of a man in the society and the third one eventually realises the assertion through identification of her own wants and desires. This point is an excellent observation but needs further elaboration from de Valdes. Use of imagery is not restricted to food, recipes and kitchen in the novel. It also presents itself through colours, heat, cold and light. Tita’s feelings and states of mind are depicted in these images as well. There is phosphorent light emitting from the room when Pedro lustfully takes Tita to bed. It sharply contrasts with the illumination of heavenly light that is seen by Tita and Pedro when they come together without any inhibitions and restrictions at the end of the novel. The qualities of light in both these instances differ although the act is much the same. One is sharp because of objectification of Tita, and the second is heavenly because of her assertion of her desires and the freedom she experiences through sheer love and dedication. De Valdes compares Tita’s story with the fairy tale of Cinderella. There are definitely similarities in the plot but portrayal of Tita’s character takes a much profound aspect. Although the magical imagery is vividly used the reader is more touched with the feelings of Tita rather than getting lost in the magic. The kilometre bedspread, the rose petal sauce all takes a different dimension in the novel. These examples clearly state Tita’s predicament in the novel. The characters in the novel do have relationship like those in Cinderella but even then the reader never loses sight of Tita, her unfortunate separation from the love of her life, her despair and final ecstasy of union. The novel is woven in such a way that it forces the reader to go beyond the magic and imagery used to portray the women and connect in a humane way. De Valdes could also have simplified the language used in the article. Words like, infrahistory, inter-textuality, are not commonly used and understood. Also the long sentences written finally succeed in loss of interest in the article for the reader. The male characters of the novel are completely ignored in the article. Understandably de Valdes chooses to not to write about the male characters in the novel, but that in itself makes understanding of the women incomplete. Tita is madly in love with Pedro all throughout her life but his character doesn’t understand love beyond physicality to an extent. She only discovers true beauty of the relationship when he stops objectifying her. Dr John Brown also plays a very significant role in Tita’s life. The imagery used to highlight these two significant relations in Tita’s life cannot be understood without understanding the mind-set of these two men who have directly-indirectly contributed to changes in her life. Visual and verbal imagery and representation used in this novel does throw light on the women characters. But at the same time the reader should also understand that images don’t replace people. They are merely carriers of feelings, uncertainties of life and relationships and love. The imagery depicts that women hold on to their domain of households and kitchens. There are external turbulences which attack their domesticity savagely and that too multiple times. But they continue to survive within the framework, which in itself is a representation of strength they possess in whatever they have within. In such a case the imagery used would in itself present the inherent limitation it has. Irrespective of the traditional and societal restrictions on women in that era, the humane aspect of the novel stays fresh and conveys itself very strongly. One need to know that analysis of verbal and visual images would give an idea of the history, the era of the story, the transformation of natures of the characters, but finally it is the frame put on the portrait. It cannot be more attractive than the portrait. It should highlight the portrait. The article takes note of the frame but does not take into account the portrait that is complexity of human nature and life. Perhaps this one aspect included would have made it more interesting for a reader of the article to go back to the original book. References: 1. De Valdes, Maria Elena. "Verbal And Visual Representation Of Women: Como Agua Para Chocolate/Like Water For Chocolate." World Literature Today 69.1 (1995): 78. Academic Search Premier. Web. 31 Oct. 2011. 2. Like water for Chocolate – Laura Esquivel, ISBN 978-0385420174 (English edition) Read More