She applies a mixture of English and Spanish along with quotation in both languages . On the first page, she writes “El Anglo con cara de incocente nos arranco la lengua. Wild tongues can’t be tamed, they can only be cut out.” (Anzaldua, 497) This mixing language use can also be seemed in subtitle and quotation. For example, under her subtitle “Overcoming the tradition of silence”, she quotes “ahogadas, escupimos……nos sepulta.” (Anzaldua, 498). It would be logical to conclude that she expects her audience to have some basic understanding about Spanish.
Most of the Central American countries have this notable distinction in comparison of Colombian dialect. I chose Mexican-Spanish because I would like to explore more deeply about these contrasts of these languages. In this essay, I will explain some of dissimilarity on phonetics and phonologies between these two dialects, Colombian Spanish and Mexican Spanish. In some Spanish dialects the pronunciation of the consonant “ll” and “y” is quite similar. For native speakers, we unconsciously differentiated these two consonants as a separate phoneme.
My Rhetorical Analysis Language is a part one’s identity and culture, which allows one to communicate with those of the same group, although when spoken to someone of another group, it can cause a language barrier or miscommunication in many different ways. In Gloria Anzaldua’s article, “How to Tame a Wild Tongue”, which was taken from her book Borderlands/La Frontera: The New Mestiza, she is trying to inform her readers that her language is what defines her. She began to mention how she was being criticized by both English and Spanish Speakers, although they both make up who she is as a person. Then, she gave convincing personal experiences about how it was to be a Chicana and their different types of languages. Moreover, despite the fact that her language was considered illegitimate, Anzaldua made it clear that she cannot get rid of it until the day she dies, or as she states (on page 26) “Wild tongues can’t be, they can only be cut out.” At the same time her attitude towards the English speakers is distasteful.
The Rio Grande Valley, the birth place of Anzaldua, is not as culturally diverse as any other place in the United States that is only populated by two languages: English and Spanish. But Anzaldua gives us a look into the way the Mexican-American or Hispanic community looks at this misconception by stating there are a vast array of languages other than just the main two heavy hitting ones. They all vary in how they came to be, where they can be traced from, why they were made, and the overall significance of all of them. This is why Anzaldua puts these eight different “languages” to show that not all Spanish speakers speak
The official discourse on the inheritance received by the Puerto Rican Taino, Spanish and African founding cultures recognizes the contribution of each of these. The official myth states that Puerto Rican arises from the hybridization of these elements. However, in both cases it is privileged the Hispanic element since it became in the power discourse of the white man and wealthy class. In this way highlights the language, religion and customs of the Spanish heritage. The contribution of indigenous and African is deferred to a comfortable space that I call folk anecdote: rhythms, meals, words.
One of the area of conflict that rose in the book involves the usage of the English language in relation of the family’s native language, Spanish. As a Mexican-American raised in the States the exhibition of the English language, whether the use of the tongue is fluent or not, cause a strain in the Mexican culture as the culture takes in consideration of their romance and richness of history in their native tongue (Rothman 204). Language represent the supporting backbone of a person as the progress in life as the ability to communicate without misunderstands, however a person can cause the loss connection to the past romance of the culture and art of cultivation that brings the language to lifes from their inabilities to comprehend the ability/asset to its fullest potential (Rothman 204). To fully understand the true meaning behind a spoken chain of words can be understood by the method of trying to first comprehend the cultivation of the word and the definition behind them. Cisneros embeds the use of Spanish in fragments depicting a sense of reality within a fictional novel, Caramelo, as well with the use of interchangeable dialogues with spanish phrase to express the illustration of Celaya’s family and the culture in which is translate in of importance of pride.
In the essay "Children of Mexico," the author, Richard Rodriguez, achieves the effect of relaying his bittersweet feeling regarding how Mexicans stubbornly hold on to their past and heritage by not only relaying many personal experiences and images, but also by using an effective blend of formal and informal tone and a diction that provides a bittersweet tone. Among the variety of ways this is done, one is through repetitive reference to fog. The word is used many times in the essay, especially in segments relating to Mexican-Americans returning to Mexico for the winter. One of the more potent uses reads as follows: "The fog closes in, condenses, and drips day and night from the bare limbs of trees. And my mother looks out the kitchen window and cannot see the neighbor's house."
Although the previous chapter mention the situation of judging and attempt to remove Chicano Spanish, the “Chicano Spanish” section explain the evolution of her culture and how the author presents her language to society through the use of comparison, repetition, and code switching. Anzaldúa explains the dialect of the Chicano Spanish on what words the change or have in common with other languages. She continuously says “We leave out…We also leave out…We don’t use…We don’t say,” to represent the Chicanos as a whole and how they developed their identity into a language as a way to different from the other types of Spanish. However, throughout Anzaldúa’s essay, she states her opinion or facts in Spanish with a translation, which is known as code-switching,
In The Homeland, Aztlán/El Otro México by Gloria Anzaldúa she writes about “border culture” (41). Using both English and Spanish in her writing and inserting poems, songs and films she talks about the Mexican-American war and the aftermath. She writes about the creation of the borderland as Anzaldúa describes it “a vague and undetermined place created by the emotional residue of an unnatural boundary. It is in a constant state of transition. The prohibited and the forbidden are its inhabitants” (41).
By analysing the use of coquetry in Spanish-speaking countries, Achugar (2001) revealed a pronounced link between a culture and its ideology, and she argued that coquetry demonstrate “a very defined place for each sex in society” (p. 135). In her study, “Coquetry as Metaphors for Gender Roles in Spanish Speaking Cultures,” she argued that coquetry often reproduce traditional gender structures by reinforcing the notion that women are passive recipients and men are active producers and initiators in Latin America