She poses more questions and introduces more concepts which leave the reader with this bittersweet feeling of nostalgia. In part three she touches on the subjects of genealogy as it pertains to desire. She extrapolates form the ideas of Sigmund Freud’s theory of the Psyche to argue how the Oedipus complex has left its imprint on Chicano/a cultures. She juxtaposes four “cultural bodies”, Selena, La Malinche, Delgadina, and Silent Tongue, which if read from a third space feminist interpretation shifts the perspective to unveil women’s desires through their own agency. She analyses the Oedipus complex and introduce the Oedipal conquest triangle. She touches on theories of power/desire as well as desire and history. She emphasizes that history itself is devised through power. She ultimately concludes with the idea that history has within it a tool for liberatory consciousness. She closes with a poetic comparison of her third space feminist critique to the Alamo in hopes of moving toward a post colonial
Gloria Anzaldúa’s “La Prieta” tell her struggles with identity by talking about prejudices she dealt with while growing up. These prejudices, such as colorism, sexism, and heteronormativity, were not only held by people outside her social groups but within them as well. Anzaldúa goes on to explain the way identity is formed by intersecting factors and not only one aspect of someone’s life therefore denying one factor of identity can cause isolation and self-hatred.
Anzaldua cogently employs the use of distinct structural elements within her poem as a form of illustrative depiction in order to express to readers the strenuous relationship between the inhabitants and their environment. The essence of this relationship is expressed through the internal conflict, both within
‘Lo Mexicano’ is a phrase-turned-concept in 20th century Mexican philosophy. The term literally translates to “the Mexican,” however, it is also used to superficially describe the identity of the Mexican individual. The notion came about after the revolution; the phrase was meant to emphasize and unite Mexico as an independent people. Today, the phrase is understood as an all encompassing term for “mexicanness,” or that which makes someone a true mexican.
“The common denominator all Latinos have is that we want some respect. That 's what we 're all fighting for” - Cristina Saralegui. Judith Ortiz Cofer published the article, “The Myth of the Latin Woman,” where she expresses her anger towards stereotypes, inequality, and degradation of Latin Americans. Cofer explains the origins of these perceived views and proceeds to empower Latin American women to champion over them. Cofer establishes her credibility as a Latin American woman with personal anecdotes that emphasize her frustration of the unfair depiction of Latinos in society. Cofer addresses the cultural barriers and challenges that Latinos experience through emotional appeal, anecdotal imagery, parallelism and the use of effective periodic sentences.
Selena Quintanilla’s father once said, “We have to be more Mexican than the Mexicans and more American than the Americans.” In today’s society, many have encountered the challenge of not being able to be who they really are because they fear not being accepted by others, more specifically their culture. But, what happens when an individual is part of two worlds that have just as many rules? Gloria E. Anzaldúa was a Mexican-American writer and poet who made a major contribution to the fields of cultural, feminist, and queer theory. Anzaldúa identifies as a Chicana and speaks different variations of Spanish, some of which she exhibits in her works. In her short story “How to Tame a Wild Tongue”, she centers on the struggles of self-identity that
In the 1960s, the Chicano movement started to gain momentum. Chicanos began banding together to protect others while discovering their own self-identity. One source says that, a newfound gratitude for Chicano culture was detected. It goes on to state that, a “cultural rebirth was proclaimed” which had been provoked by “rediscovery” and an acknowledgement of their collective indigenous roots. The author adds that, it was a chance to uncover “a positive self-definition” (Rodriguez, "Building Aztlan: Chicano Movement Springs Back to Life"). Furthermore, in the 1960s, nothing could slow down the Chicano movement once it had sparked. So much so, that Rodriguez claims that it “led to colleges and universities becoming targets of protest” and the
In the altar’s center is “a plaster image of the Virgin of Guadalupe, quarter-life size, its brown Indian face staring down on the woman” (Paredes 23). The implication of the stare is of criticism as the Virgin, symbolic of an ideal Mexican womanhood, looks down on Marcela, whose Anglo features starkly contrast with the Virgin’s, and whose actions are in opposition to the values that she represents. This carefully constructed scene is meaningful. Marcela’s lifeless body lies between the bed and the altar, and opposite to the altar is Marcela’s shrine dedicated to Hollywood movie stars. These are the visual images of the opposing forces that characterize the Mexican-American struggle for resistance against American cultural hegemony. The altar of the Virgin represents Mexican feminine ideals, and the shrine of Hollywood movie stars showcases American ones. Marcela herself lies “between” these two altars/shrines, distinct from neither one nor the other, and belonging to neither (Paredes 23). These relationships of proximity, of going between, are symbolic of the Mexican-American experience at the time, and is paralleled by the distinct, yet interconnected spaces of the Anglo Fort Jones and the surrounding Mexican-American community. The image of the Virgin, and the layout of the shack where Marcela’s body is found are representative of the conflict between Mexican and American culture represented in this story, while Marcela’s death expresses the
After a long fight with Trujillo, three sisters were murdered. “In the Time of the Butterflies” by Julia Alvarez is about the Mirabal sisters long and weary fight with the revolution against Trujillo. Trujillo was the dictator for the Dominican Republic from 1930-1961. This essay will address the how they got to joining the revolution , their heroism and fight with the revolution. The Mirabal sisters showed heroism in the face of the Dominican Republic because of their resistance against Trujillo’s regime.
Throughout “The Mexican in Fact, Fiction, and Folkore” examines the term “Mexican” as it is applied in Southwest literature and argues the Anglo society has made a conscious effort to misrepresent Mexicans (Rios 60). He states the people of Mexican descent are viewed as un-American because they are perceived as filthy, lazy, and dumb. Ricatelli adds to the conversation of Mexican stereotypes by examining the literary expressions of Chicanas and Mexicanas in the literature of both the United States and Mexico. In “The Sexual Stereotypes of The Chicana in Literature” Ricatelli explains how in Yankee literature, the Chicana is referred to as the “fat breeder, who is a baby factory” meanwhile the Mexican is described as an “amoral, lusty hot tamale” (Ricatelli 51). He makes note of these stereotypes in order to highlight the ethnocentric and nativist points of view that dominated Anglo literature. Furthermore, he describes the multiple forms of control Chicana women face when he states, “The Chicana is first of all oppressed economically, socially, and politically by virtue of her being a woman. Secondly, the Chicana as a member of an oppressed ethnic and/ or racial group is limited to the same extent as the Chicano by the dominant Anglo society” (50). However, he fails to mention the experiences of queer women, which implies how the Chicano
From the start, it is clear that T.C. Boyle’s Tortilla Curtain aims to shed a light on the topic of Mexican immigrants in the United States. However, by having both a Mexican and an American woman share similar violent experiences with men, Boyle also places an emphasis on the less pronounced theme of sexual violence and discrimination against women, even in polar opposite realities.
Lastly the change in the Spanish word also influenced her. Women were taught not to talk or objectify themselves. She was not going to mask her feminism. Anzaldua says, “The first time I heard two Puerto Rican women was the world nosotras I was shocked”. “Chicanas use nosotros whether we are male or female”. That expanded her horizon to here feminine nature. Her Chicano Spanish was considered a ‘bastard’ language to Spanish speaker. Anzaldua thought that women in her culture should take pride in their selves and their language. Her language is not the same as the known Spanish and she will not change her speech patterns. Anzaldua says “I am my
Me: Hello Dr. Butler, I would like to interview you on your views towards Antigione for my research into classical representations of queer individuals.
In this essay I am going to examine and discuss the work of one of Mexico’s most important literary figures, Rosario Castellanos, with particular emphasis on her feministic beliefs and the ways in which she used her writing to catapult her views into the forefront of society. Her writing reflects bitterness regarding the desires and misfortunes of the female population of her nation. Castellanos used poetry, novels and plays as a platform to voice the many inequalities that she deemed prevalent in society at that time. She committed to writing as a mechanism for social change.
The queer historical past has been characterized positively, with aspects such as identification, desire, longing, and love highlighted (31). In contrast, Heather Love seeks to focus on the negative aspects that characterize the relationship of queer history amid the past and present, in her work, “Emotional Rescue: The demands of Queer History,” the first chapter in her book, “Feeling Backward: Loss and the Politics of Queer History” (31-32). According to Love, some queer critics have failed to include the harsher accounts when studying queer cross-historical relations. The negative aspects of the past that queer figures can relate to makes it relevant. In her article, Love critiques various works to identify the negative aspects present within the queer history.