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How do family decisions help influence identity
Cultural identity essay by an american
Cultural identity essay by an american
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America is truly an exemplary example of a melting pot of cultures, and in “How to Tame a Wild Tongue”, Gloria Anzaldua tells her personal story of the challenges she faced while adapting to a society split between two distinct cultures: American and Spanish Chicano culture. While growing up, the American half of her society dictated her academics, as she was required to leave behind her native Spanish language and replace it with American English language in an effort to achieve success and respect from her peers in school. The Chicano half of her surroundings governed her home life, forming the basis of her personal identity, as she grew up in South Texas as part of a Chicano family. This struggle to identify herself within two distinct cultures …show more content…
She relays to the reader a time at a dentist’s office when the dentist told her that “we’re going to have to control your tongue”, as her tongue was interfering with his ability to perform the dental work. This anecdote introduces the main subject of her argument – one’s mouth and the language that resonates from it, while also providing a comparable and connecting example to appeal to her audience, as the reader has most likely sat in a dentist’s chair at one point. Furthermore, Anzaldua’s explanation of how she instantly related the doctor’s comment to thoughts of how she must “tame a [her] wild tongue” (Anzaldua 26), meaning her accent, makes it clear to the reader that the judgment that Anzaldua has experienced towards her accent has made her always conscious of how others view her – even in instances such as dental appointments. Anzaldua then initially attracts the attention of the reader by intentionally pointing out the harshness of the judgment she encountered to evoke pathos, as the reader feels sympathy when imagining Anzaldua’s vivid descriptions of how she has been treated in the past. She uses pathos to qualify her assertion that the acculturation process is harsh by referencing the First Amendment, explaining that this Amendment is violated when an individual has his form of expression attacked with intent of censure. Anzaldua’s explanation of a time at school when she was hit on the knuckles with a ruler for being caught speaking Spanish, induces anger in the reader as they see how poorly Anzaldua was treated when she was just a young schoolgirl. In a latter example, Anzaldua shares the story of a time when the teacher accused her of talking back when she was simply just trying to explain how to correctly pronounce her name. The insertion of the teacher’s exact words to her: “If you want to be American, speak
This book was published in 1981 with an immense elaboration of media hype. This is a story of a young Mexican American who felt disgusted of being pointed out as a minority and was unhappy with affirmative action programs although he had gained advantages from them. He acknowledged the gap that was created between him and his parents as the penalty immigrants ought to pay to develop and grow into American culture. And he confessed that he got bewildered to see other Hispanic teachers and students determined to preserve their ethnicity and traditions by asking for such issues to be dealt with as departments of Chicano studies and minority literature classes. A lot of critics criticized him as a defector of his heritage, but there are a few who believed him to be a sober vote in opposition to the political intemperance of the 1960s and 1970s.
Gloria Anzaldúa was a Chicana, lesbian feminist writer whose work exemplifies both the difficulties and beauty in living as one’s authentic self. She published her most prominent work in 1987, a book titled Borderlands/La Frontera: The New Mestiza. In Borderlands, she write of her own struggle with coming to terms with her identify as a Chicana, an identity that lies at the border between Mexican and American. For instance, she writes,“we are a synergy of two cultures with various degrees of Mexicanness or Angloness. I have so internalized the borderland conflict that sometimes I feel like one cancel out the other and we are zero” However, even as she details this struggle she asserts pride in her identity, declaring, “I will no longer be
She writes, “‘We’re going to have to do something about your tongue,’ … And I think how do you tame a wild tongue, train it to be quiet, how do you bridle and saddle it? How do you make it lie down?” This example includes Anzaldúa at the dentist and the dentist attempting to work on her mouth but her tongue interferes with the procedure and makes it difficult for the doctor to work. In this example, tongue works as a double meaning for both the body part and for one’s mother tongue, or the language they natively speak. This is how the struggles that the dentist has with her tongue becomes a metaphor for the struggles she experiences due to her wild tongue, as in native language rather than the body part, in Texas. The ethos in this passage are encompassed in the personal experience aspect of the passage and the pathos is due to the descriptive nature of the violent actions used to take away one’s native tongue. The emotion comes across due mainly to Anzaldúa’s analysis of the situation, where she uses harsh language with strong negative connotations. Accompanying her word choice with her analysis of the situation, the reader understands the emotion and empathizes with
In her essay “Always Living in Spanish,” Marjorie Agosin justifies her preference for writing in Spanish as surviving to culture shock, a reminder of her childhood, and a vivid experience of her senses. As a member of an immigrant family, Marjorie Agosin deals with the sorrow and pain of leaving behind her native land to migrate from Chile to United States. She illustrates the frustrations of “...one who writes in Spanish and lives in translation” (167). During her teenage years, Agosin discovers writing in Spanish as the only getaway to escape from constant discrimination, because “... [her] poor English and [her] accent were the cause of ridicule and insult” (167). For this reason, in such times of emotional turmoil, the author decides that
The Statue of Liberty is an American icon because it symbolizes freedom, success, and the power of this nation. This image is what the U.S stands for to the outside world. Foreigners strive to move to America because of its wealth and acceptance towards all races and ethnicity. “How the Garcia Girls Lost Their Accents” recounts the story of how Carlos Garcia, Laura Garcia, and their four girls move from the Dominican Republic to the United States to escape a dictatorship, and establish a new life in flourishing New York City. Many unexpected culture shocks await them in their new country. Although the girls find it difficult to adapt at first, they soon begin to assimilate and Americanize. On the other hand, “The Struggle to Be an All-American Girl” by Elizabeth Wong illustrates the life of an Asian American having to embrace two entirely different cultural identities. Both the Garcia family and Elizabeth Wong's family have to deal with two opposing cultures without losing too much of their heritage. The book and the essay are similar in that characters in each story lose much of their original tradition. However, they are different in that the families move to the states for distinctive reasons, and the cultural preference of “The Struggle to Be an All-American Girl” is more evident than that of “How the Garcia Girls Lost Their Accents”.
Language is more than just a means of communication; it is part of one's culture, self-expression, and identity. “How to Tame a Wild Tongue” is a chapter from the book ,Borderlands/La Frontera: The New Mestiza ,written by Gloria E. Anzaldua. In this chapter, Anzaldua talks about her Chicana life in a period full of immigrant controversies where Latinos living in the United States were struggling to find their national identity and a language to speak freely without feeling any shame and fear from others. She expresses the dilemma she had to face about her own language in which she was often criticized and scolded for her improper Spanish accent. From these experiences she labeled these attacks on languages as “Linguistic Terrorism”. Anzaldúa
Anzaldua grew up in the United States but spoke mostly Spanish, however, her essay discusses how the elements of language began to define her identity and culture. She was living in an English speaking environment, but was not White. She describes the difficulty of straddling the delicate changing language of Chicano Spanish. Chicano Spanish can even differ from state to state; these variations as well as and the whole Chicano language, is considered a lesser form of Spanish, which is where Anzaldua has a problem. The language a person speaks is a part...
Is it possible to make vital life changes to become a better person at heart? Who’s the one that can help you? The only person that will get you up on your feet is yourself, and you have to believe deeply to make those changes. In this essay there are many main points that are being brought across to explain the problems and wisdom that arose from Baca’s life as an inmate. It talks about how he was grown up into an adult and the tragedies that he had to face in order to become one. Later I fallow steps that lead to the purpose and rhetorical appeals of Baca’s essay. The purpose dealt with the cause and effect piece and problem/ solution structure.
The linguistic and cultural clashes that children encounter, and how they negotiate between their ethnic and American “mainstream” cultures, and how these clashes and problems influence their relationship with their parents and their ethnic identities as a whole and how they were dealt with differently as we look at two stories dealing with two girls who are both coming of age in different society from where they originally came from. Jairy’s Jargon a story written by Carmen-Gloria Ballista, is a story that encounters the life of a young girl coming of age in Puerto Rico, except she’s originally from New York. Milly Cepeda’s story, Mari y Lissy, is a story about twin sisters who differ in personality and are often at odds with each other, but are both learning to live in a city that is very different from where they came from.
Like many Chicanos, she developed a strong sense of cultural belonging. This is primarily due to discrimination amongst neighboring Mexicans, whites, and anyone in between. Latinos and latinas would attack her, saying “...cultural traitor, you’re speaking the oppressor’s language, you’re ruining the Spanish language” (Anzaldua 412). It was this ethnic struggle that drove her to latch onto her cultural background so strongly. In the personal narrative “How to Tame a Wild Tongue” by Gloria Anzaldua, Anzaldua states “When other races have given up their tongue, we’ve kept ours. We know what it is to live under the hammer blow of the dominant norteamericano culture” (Anzaldua 419) when referring to the resilience of her native people. She states this in response to other cultural groups having abandoned their language, meanwhile they retained theirs. The Chicanos are aware of the harsh standards of North American society. By saying “When other races have given up their tongue, we’ve kept ours,” she means that even when other ethnicities have been pushed to eliminate their languages, her ethnicity stayed strong; they refused to cave in. Likewise, when Anzaldua states “We know what it is to live under the hammer blow of the dominant norteamericano culture,” she draws pride from her culture’s ability to fend off even the most suffocating adversities. In this way, Anzaldua conveys
How to tame a wild tongue is an essay by Gloria Anzaldua. This essay focuses on the different types of Spanish people spoke, and in this case, Anzaldua focuses on losing an accent to adjust to the environment she was living in. The issue that was applied in this essay was that the Spanish she spoke wasn’t exactly considered “Spanish”. The essay was divided into different sections as where the author tries to let people know, her Spanish speaking language should be considered valid just like every other Spanish speaking language out there.
Gloria Anzaldúa writes of a Utopic frame of mind, the borderlands created in and lived in by the new mestiza. She describes the preexisting natures of the Anglos, Mexicanos, and Chicanos as seen around the southwest U.S. / Mexican border, indicative of the nations at large. She also probes the borders of language, sexuality, psychology and spirituality. Anzaldúa presents this information in various identifiable ways including the autobiography, historical/informative essay, and poetry. What is unique to Anzaldúa is her ability to weave a ‘perfect’ kind of compromised state of mind that melds together the preexisting cultures while simultaneously formulating a fusion of genres that stretches previously constructed borders, proving both problematic and a step in the right extremely ideal direction.
When women migrate from one nation or culture to another they carry their knowledge and expressions of distress with them. On settling down in the new culture, their cultural identity is most likely going to change and that encourages a degree of not belonging; they also attempt to settle down by either assimilation or biculturalism. Consider identity issues of women from the borderlands like feminist Gloria Anzaldua. Her life in the borderlands was a constant battle of discrimination from the Anglo, she was caught in a world of two cultures, various languages, and male domination, “She realized she had two options, to be the victim or to take control of her own destiny” (Borderlands). In her book, Borderlands/La Frontera, she discusses conflicts of linguistic, sexual, and ethnic identity that exists on the border of Mexico and the United States. Gloria Anzaldúa articulates in one of her chapters, “How to Tame a Wild Tongue”, that “ethnic identity is twin skin to linguistic identity;” the languages she possess wield extraordinary influence over her cultural identification (Borderlands). In her book she combines both Spanish and English to emphasize the significance of the position from which she writes, yet Anzaldúa also depicts the near impossibility of reconciling the cultures her speech reflects. When she speaks English, she speaks “the oppressor’s language” (Borderlands); when she speaks Chicano Spanish, she speaks “an orphan tongue” (Borderlands). As a result, the implications of language on her identity are, at times, problematic. Since the English speakers she must accommodate deem her tongue “illegitimate,” she deems herself illegitimate (Borderlands). Her life struggles in the borderlands compelled Gloria Anzaldúa to be resilient and even hopeful. She will use her native tongue to “overcome the tradition of
The contrast between the Mexican world versus the Anglo world has led Anzaldua to a new form of self and consciousness in which she calls the “New Mestiza” (one that recognizes and understands her duality of race). Anzaldua lives in a constant place of duality where she is on the opposite end of a border that is home to those that are considered “the queer, the troublesome, the mongrel and the mulato” (25). It is the inevitable and grueling clash of two very distinct cultures that produces the fear of the “unknown”; ultimately resulting in alienation and social hierarchy. Anzaldua, as an undocumented woman, is at the bottom of the hierarchy. Not only is she a woman that is openly queer, she is also carrying the burden of being “undocumented”. Women of the borderlands are forced to carry two degrading labels: their gender that makes them seem nothing more than a body and their “legal” status in this world. Many of these women only have two options due to their lack of English speaking abilities: either leave their homeland – or submit themselves to the constant objectification and oppression. According to Anzaldua, Mestizo culture was created by men because many of its traditions encourage women to become “subservient to males” (39). Although Coatlicue is a powerful Aztec figure, in a male-dominated society, she was still seen
Gloria Anzaldula is a Mexican-American writer who wrote “How to Tame a Wild Tongue.” Through this chapter, Anzaldula voices her views on language, and what it means to her. Anzaldua states “a language which they can connect their identity to” (Anzaldua 530). She is multi-lingual and believes that her languages are not only a part of who