By Koichi Hagimoto
In 1898, either Cuba and the Philippines accomplished their independence from Spain after which instantly grew to become pursuits folks expansionism. This ebook offers a comparative research of late-nineteenth-century literature and heritage in Cuba and the Philippines, targeting the writings of José Martí and José Rizal to bare shared anti-imperial struggles.
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Additional resources for Between Empires: Martí, Rizal, and the Intercolonial Alliance
Second Lieutenant, “it was Anticolonial Melodramas ● 37 not in his best interest to expose her to the gaze of town ofﬁcials or strangers” (“no convenía esponerla á las miradas de los personajes de la Cabecera ni de los forasteros”) (215). Moreover, the despotic husband resorts to violence when he disapproves of her actions: “the prohibition was accompanied, as always, by two or three insults, curses, and threats of kicking” (“la prohibición iba acompañada como siempre de dos ó tres insultos, juramentos y amenazas de puntapiés”) (215).
Anticolonial Melodramas ● 35 Described as a “lap dog,” the newly invented Don Tiburcio “de” de Espadaña appears to be a submissive subject. He is afraid of his wife’s scolding, which he depicts as “a storm,” and obeys her commands all the time (262). Doña Victorina, on the other hand, is far from the symbol of an exploited native trapped in the yoke of colonialism. Rather, she manages to reverse the power relationship and challenge the colonial authorities. As Nick Joaquín observes, “Doña Victorina may ape the Westerner and wear preposterous costumes and false curls: but she’s not slavish, she does not cringe .
Dizon portrays the two women as egocentric, abusive, and undesirable ﬁgures because “they belong to the same pattern of forgetting [the national] language and pasts in favor of the colonizer’s privileges” (37). ” The discussion of their non-national aspect is suggestive because Rizal presents them as nationally artiﬁcial characters in the Noli. ”5 In the case of the two female ﬁgures, the desire to “denationalize” themselves indicates the detachment from a “natural” identity. For Dizon, Doña Victorina and Doña Consolación are both “symbols of an anti-intellectual force, of a tyranny and a brutality from within that literally outlive the more delicate and positive emblems of the country” (31–32).