Rhetorical Analysis on Anzaldua’s How to Tame a Wild Tongue The passage How to Tame a Wild Tongue is a very defensive and straightforward argumentative essay which defends her language and the people who speak it against the discrimination that the author herself has experienced first hand (Ethos). From this text we can infer that the author is most likely from hispanic descent as she is speaking spanish a lot of the time throughout the text. This text mainly speaks about the discrimination many Mexican-Americans suffer because they are spanish speaking.
In “How to Tame a Wild Tongue,” Gloria Anzaldua argues for the permission to define her own Chicano/ Feminist voice without being hindered by stereotypes and limitations. Gloria argues that, “wild tongues can’t be tamed, they can only be cut out,” but specifically argues that different accents stir up one big culture. She says “We oppress each other trying to oust Chicano each other, tying to be the “real” Chicanas, to speak like Chicanos.” meaning each Spanish is a variation of two languages, and that there’s different ways she speaks to others in certain situations like having two tongues. Gloria also argues that she shouldn’t be embarrassed by her language and accent by saying “I am my language” meaning her language is what makes her special and unique.
During the early stages of Zora Neale Hurston’s life she lived as a daughter without a caring mom. Since the age of nine her and her mom had a special connection but after her mom died, “Zora wasn’t interested in life at home and at the age of fourteen, packed her bags and traveled with a theatrical group for a whole year in the south”(Parini) . “In 1917, after leaving the troupe in Baltimore, Hurston attended Morgan Academy, now Morgan State University” (Parini). After this she
Hurston employs cause and effect to illustrate how she “left Eatonville” a “Zora” but once at school and far from home, she became “a little colored girl”. Hurston describes how even when she began to learn of the racial inequities in the US, she kept a positive mindset. She illustrates “there is no great sorrow dammed up in my soul, nor lurking behind my eyes,” utilizing personification to illustrate her genuine happiness. Again contrasting her attitude to the “typical” attitude of many blacks, Hurstron illustrates the “sobbing school of Negrohood '' who blame the hand they have been dealt and just feel sorry for themselves. Nonetheless, Hurston believes there is no use fretting about the past because she is “too busy sharpening (her) oyster knife” to worry about what she cannot control.
Life is time intervals of change that move each and every person with each passing moment, and reflect the world around us. Literature frequently reflects the culture along with the emotions and feelings of the environment and people around us. The novel, Their Eyes Were Watching God, by Zora Neale Hurston, takes us through the life of Janie Crawford, a black woman in the early 1900’s, and her journey for love and identity through three different marriages. Janie’s different experiences and what goes on around her reflects how Zora Neale Hurston’s writing is both a reflection and departure from the ideas of the Harlem Renaissance, from the influence of slavery, and the re-emergence of stereotypes, respectively. The Harlem Renaissance was
Miss Tushabe presented us with statistics that helped us understand the racial climate of the time. For example, she showed us that in 1920, only 3% of the African American population in the United States lived in the North, while the vast majority lived in the South. This helped us understand the challenges and experiences of Hurston as a Black woman in the South during this period. Also, Miss Tushabe used quotations from the text to help us understand Hurston's message.
Zora Hurston uses vivid imagery, natural diction, and several literary tools in her essay “How It Feels to Be Colored Me”. Hurston’s use of imagery, diction, and literary tools in “How It Feels to Be Colored Me” contributes to, and also compliments, the essay’s theme which is her view on life as a “colored” person. Throughout “How It Feels to Be Colored Me” Hurston carefully incorporates aspects of her African American culture in an effort to recapture her ancestral past. Hurston’s use of imagery, diction, and use of literary tools shape her essay into a piece of Harlem Renaissance work. Imagery in “How It Feels to Be Colored Me” is quite abundant.
Written by Gloria Anzaldua, “How to Tame a Wild Tongue”, is an opinion easy , a retrospection of her past and a story about identity and recognition of a wild tongue. The following is a rhetorical analysis and personal response of this easy . My analysis will be divided into 4 separate parts including intended audience, main claim, purpose and situation. (a) Intended audience : The first thing that anyone who even skims through this easy would notice is Anzaldua’s multi-lingual language use.
What makes a piece of writing effective? A piece of writing includes many things that make it effective, such as the style that appeals to the reader and rhetorical devices used in the writing that make it much more interesting. In this piece of writing titled “ How to tame a wild tongue “ includes many of these things. Even starting with the title it makes me curious as to what the piece will be about. There are two devices Anzaldua uses effectively in her essay which are anecdotes and parallel structure.
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.”
The power of language We all have some form of language limitations, no matter where we come from and what our background is. “Mother tongue” by Amy Tan and “How to Tame a Wild Tongue” by Gloria Anzaldua both share similar themes in their stories that demonstrate how they both deal with how different forms of the same language are portrayed in society. In both stories they speak about what society declares the right way of speech and having to face prejudgment, the two authors share their personal experiences of how they’ve dealt with it.
Throughout the text, Hurston infers that she's optimistic about being colored. “How can any deny themselves the pleasure of my company”(67)? Hurston writes that she feels discriminated against but also feels how could anyone not want to be in her presence therefor She feels optimistic about the future. Hurston recalls that “Slavery is sixty years in the past” (65).
Hurston and Janie both endured oppression during their lives based upon their race and gender however, their strong wills propelled them threw unforeseen obstacle. Zora Neale Hurston was a phenomenal African American woman whom despite her rough childhood would become one of the most profound authors of the century. Throughout her lifetime she was the, “Recipient of two Guggenheims and the author of four novels, a dozen short stories, two musicals, two books on black mythology, dozens of essays, and a prizewinning autobiography” (Gates 4). Hurston had to overcome numerous obstacles because of her gender, economic status, and racial identity. Hurston was born in 1891 in Notasulga, Alabama but grew up in Eatonville, Florida.
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. The fact that Anzaldúa developed faster than is deemed normal the first struggle in forming her identity.
Historical criticism strives to cognize a literary work by examining the social, cultural, and intellectual context that essentially includes the artist’s biography and milieu. Historical critics are more concerned with guiding readers through the use of identical connotation rather than analyzing the work’s literary significance. (Brizee and Tompkins). The journey of a historical reading begins with the assessment of how the meaning of a text has altered over time. In many cases, when the historical context of a text is not fully comprehended, the work literature cannot be accurately interpreted.