These words by poets Aurora and Rosario Morales, Puerto Rican Americans, reveal the struggle of the average Puerto Rican. For example, most islanders do not fully understand who they are or how to present themselves when someone asks, “What is your family’s ancestry like?” or, “Where does Puerto Rico get its unique culture?” These questions spark the idea of a questioning identity. This is because the island of Puerto Rico was formed with the help of many different cultures. Are the people of this island African? Taino? European? The speaker in “Ending Poem” struggles to find her Puerto Rican voice which reveals the same struggle of Puerto Rico to define its own identity as an independent nation.
The Myth of the Latin Woman: I Just Met a Girl Named María is an essay by Judith Ortiz Cofer that addresses the impact of stereotyping on Latino women. Throughout the essay, Cofer relates her personal experiences with stereotypes to discuss how they have negatively affected her life and the lives of other Latinas. She also explains how these stereotypes originated and calls on her audience, the majority-white non-Latino population, to stop propagating the stereotypical portrayals of Latino women. In The Myth of the Latin Woman, Cofer speaks out about how stereotyping hinders the process of assimilating to a new culture by appealing to ethos through her personal experiences, using similes that show how stereotypes create isolation, and adopting
Lorena Garcia wrote “She is Old School Like That,” this piece is about sex talks between mothers and daughters in the Latin American community. She examines the way which these talks are given and at what point in the life of the daughters they are given. Garcia points to the different methodology the Latina mothers used when talking to their daughters, and their reactions when they found out their daughters were engaging in sexual activity. Garcia claims that there is a certain pattern in which the Latina mothers behave. These women are the operation with a new definition of sexuality influenced and shaped by the heteronormative and patriarchal society.
“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.
Situated near the U.S.-Mexico border during the early twentieth century is the fictional setting of Fort Jones, the outskirts of which is where Americo Paredes’ short story “Macaria’s Daughter” takes place. Emblematic of the disappropriation of Mexican land, as well as the increased marginalization of the Mexican people, the overbearing presence of Fort Jones reveals the struggle for preservation that characterizes the Mexican-American community of the story. “Macaria’s Daughter” is the tragic account of what happens in a small community when the upholding of Mexican values and institutions, and opposition to Anglo-American culture, become more important than a young woman’s life. In this essay, I will argue that “Macaria’s Daughter” is a text
Selena Quintanilla pérez was a Mexican American singer. Her life was filled with hardships and tribulations. Unfortunately her career was cut short by the president of her own fan club, Yolanda Saldívar. Saldívar had been embezzling money submitted by member and of the fan club as well as financial profit from Selena's clothing store. Selena met with Saldívar to take her to the hospital when Saldívar claimed she was raped in Mexico. Tests showed this claim was false, the two women got into a disagreement at Saldívar’s hotel room As Selena went to leave she was shot in her back by Yolanda. This essay will be about Selena's musical career and accomplishments, as well as her tribulations through her time performing as a child to her professional adult career.
Selena Quintanilla-Perez was a talented Mexican-American singer, songwriter, spokesperson, and fashion designer. On top of her career, she had respect, and was admired as a great role model by Mexican Americans. The “Queen of Tejano” music, her contributions to music and fashion made her one of the most celebrated Mexican-American entertainers of the late 20th century. Billboard magazine named her the “Top Latin Artist of the 90s” and then “Best Selling Latin Artist of the decade”. Selena ranks among the most influential Latin artists of all time and is credited for catapulting a music genre into the mainstream market. Even though Selena was murdered, she achieved many great things throughout her lifetime. She is remembered today for her wonderful accomplishments. Selena was one of many Mexican-Americans to achieve crossover success with her music to become a global artist.
Cindy Cruz’s “Toward an epistemology of a brown body” addresses the absence of educational research regarding the “brown body” and sexual orientation of Latinx. Cruz discusses her experience as a lesbiana and not knowing there was a possibility that anyone else in her family shared her orientation. She reflects on her grandmother’s funeral and how she became aware of the “generations of queers” that surrounded her (Cruz 2001, 658). Knowledge of the brown body, Cruz claims, comes from mothers and grandmothers and from the actions of past women of color. Stories about the brown body experiences are often dismissed due to the fact that they are performed rather than explained, and the theoretical aspect of these accounts exists outside of our present reality (Cruz 2001, 659). There are many ways to view the world and the human experience, including those of the oppressed such as women of color, mestizas, and LGBTQA+. Cruz uses the writings of Chicana theorist Gloria Anzaldúa as a base for her own analyses. From Anzaldúa’s notions, Cruz concludes that mestizaje, or the consciousness of metizas, can change the way society interprets contrasting ideas of rationalism and positivism in a way that allows the mind and body to be one. Cruz then moves onto explaining how Chicana education researchers could reclaim their history and experience: (a) through recognizing the points of views of communities that actively participate in government and (b) through commitment
Up until the 1960s Anglo social scientists wrote most of the literature about the people of Mexican- descent in the United States. Their analysis of Mexican American culture and history reflected the hegemonic beliefs, values, and perceptions of their society. As outsiders, Anglo scholars were led by their own biases and viewed Mexicans as inferior, savage, unworthy and different. Because Mexican scholars had not yet begun to write about their own experiences, these stereotypes were legitimized and reproduced in the literature. However, during the mid- 1960s scholars such as Octavio Ignacio Romano, Nick Vaca, Francisco Armando Rios, and Ralph Ricatelli began to reevaluate the literature written by their predecessors. In their work they analyze
Latin American women face challenges every single day and moment of their lives. They are strongly discriminated against in all sectors of employment, in public places, and even while just walking down the street. In her essay, "The Myth of the Latin Woman," Judith Ortiz Cofer describes her own experiences using illuminating vignettes, negative connotation, and cultural allusion to exemplify how she used the struggles in her day to day life as a Latin woman to make herself stronger.
The exotification of women of color through the introduction of sound technology in films in the 1920s and 1930s drastically influenced Dolores del Rio and her career. Because the sound of a language in films could now be heard on screen, cultural diversity in the English language and its use in the United States was acknowledged through different accents and slang. Cultural diversity in the United States was only allowed if it was through ethnic European accents. The rise of sound films in the 1930s challenged Mexican star Dolores del Rio’s ability to conform to public demands and Hollywood’s expectations through the hypersexualition of Latinx women and her involvement in transnational affairs.
Generalizations take after specific individuals for the duration of their lives. Judith Ortiz Cofer is a Latina who has been stereotyped and she delineates this in her article, "The myth of the Latin lady: I just met a young lady named Maria." Cofer depicts how pernicious generalizations can really be. Perusers can understand Cofer 's message through the numerous explanatory interests she employments. Cofer utilizes moral and, enthusiastic interest to communicate as the need should arise to others that the generalizations of Hispanic ladies can have negative impacts.
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.
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
Discuss the ways in which Rosario Castellanos challenges and subverts gender stereotypes in her work?