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What is identity in literature
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She demonstrates the meaning of Silent Dancing through perspective, imagery, and repetition which depicts how her culture goes through discrimination. Her thoughts become based off on the “typical” immigrant Puerto Rican decor. Furthermore, she includes the history of a girl–Niña– mocked by people in her hometown. She wanted to change who she was, not accepting who she was and the culture she was born in. Initially, the repetition of “la gringa” would overwhelm her mind. Niña becomes traumatized daily by the repetition of “la gringa” which means white female because she wanted to become more Americanized than being Puerto Rican. There is irony in this piece since she never ended up in the U.S., but isolated in the village far away from communities …show more content…
Chick critiqued Judith Ortiz Cofer’s Silent Dancing by advising that it is a collection of fourteen essays and poems. It talks about Cofer’s adolescence and how she did not achieve the expectations for her to become a traditional Puerto Rican woman (AEW 381). Initially, Mamá is portrayed as an authority figure because she keeps her family in control just by the use of storytelling. With Chick’s point of view, I cannot disagree since it is accurate. Cofer, also disagrees with becoming the traditional Puerto Rican woman from receiving an education and going on her own path to becoming a writer. It is interesting how some of the characters are perceived, although they are considered as fiction since their identities are hidden. Cofer achieves her storytelling by being half fiction and auto-biography since it is written by herself. She reevaluates how women should be known as, but specifically the means of the life of a Puerto Rican …show more content…
Cofer would occasionally reference the Bible “I suffered biblical torments,” this would describe the pain she went through is torture (39). It creates a scenery of hell since it gives the description of torment. Her suffering is caused by her father since he read her poems. She felt more than embarrassed. Through this torment, it describes her feelings towards her father-no affection. Furthermore, she releases the guilt she built up over years and forgave her father. Eventually, she demonstrated personification comparing her dad to a starving spirit. It is known that her father is not living, “I’d take my books of poetry as an offering//to your starved spirit//that fed on my dreams in those days” suggesting that he can’t really feed on her dreams (40). Her father’s soul walks by her and encourages her to continue writing as if she were writing to him. Initially, tone characterizes that she is sad, upset, and hatred because of the loss of her father. She overcomes the the hatred when he reads her poems since some were meant for him. She feels at peace once she forgives him “the decade is over, time to begin forgiving old sins,” there is no need to hate him since it was a decade that passed by (39). His death encouraged her to write more than before. Cofer recognizes that there should be forgiveness to live life in peace rather than
Sandra Cisneros “Never Marry a Mexican” and Junot Diaz’s The Brief Wondrous Life of Oscar Wao are stories that reflect on the cultures in which the characters grew up in. In Never Marry, Clemencia, the narrator, reflects on her past sexual relations as well as her childhood. She speaks of her parents’ marriage and then transitions into her relationship with college professor and his son. In Oscar Wao, Yunior, the narrator, gives a second-hand retelling of Oscar’s experiences in New Jersey growing up as well as in the Dominican Republic. A person’s identity is largely influenced by their culture, this is especially the case in Hispanic cultures. The social constraints that these cultures place on social class, sexuality, and gender norms can be very detrimental to a person’s self-esteem.
In Judith Ortiz Cofer’s “The Story of My Body” Ortiz Cofer represents herself narrative story when she were young. Her autobiography has four headlines these parts are skin, color, size, and looks. Every headline has it is own stories underneath it. Ortiz Cofer’s is expressing her life story about her physical and psychological struggle with her body. Heilbrun’s narrative, “Writing a Woman’s Life” shows that, a woman’s does not have to be an ideal to write a self-autobiography to tell the world something about herself and her life. Ortiz Cofer’s facing a body struggle that is not made by herself, but by people around her. Therefore, every woman is able to write can write an autobiography with no exception.
In “Girl,” Jamaica Kincaid’s use of repetitive syntax and intense diction help to underscore the harsh confines within which women are expected to exist. The entire essay is told from the point of view of a mother lecturing her daughter about how to be a proper lady. The speaker shifts seamlessly between domestic chores—”This is how you sweep a house”—and larger lessons: “This is how you smile to someone you don’t like too much; this is how you smile to someone you don’t like at all…” (Kincaid 1). The way in which the speaker bombards the girl overwhelms the reader, too. Every aspect of her life is managed, to the point where all of the lessons she receives throughout her girlhood blur together as one run-on sentence.
In this study I will examine how, from a feminist perspective, both Toni Morrison's fourth African-American novel, Tar Baby (1981), and Rosa Montero's third post-Franco Spanish novel, Te trataré como a una reina (1983), explore the problems that arise when women believe that they are the stereotypes permeating literature. Both women writers employ similar techniques that subvert and deconstruct the stereotypical roles of men and women, unveiling the fairy tale icons of the heroine and the hero that have been masquerading as "real" people.
Judith Ortiz Cofer’s use of diction had effectively implemented the dismissiveness behind an individual’s transition from childhood into adulthood, which had been the central meaning of the poem. Cofer’s uses a rather negative choice of wording in the first line of the poem that being, “My dolls have been put away like dead children”. As the poet decides to use the words “dead children” it brings a sense of gloominess upon the passage. Once the reader continues reading it appears that a connection can be made between the gloominess in the act of putting away the young girl’s dolls like “dead children” to her Quinceanera. Further Along the poem, the pessimism towards the act of maturing is found once again as the poet uses defeatist words such as “poison” when describing the fluids of her body that being blood. It seems that the young girl’s blood symbolizes her menstrual cycle, which effectively marks her entrance into womanhood. When describing the fluids of her body by using the word “poison” it creates a somber image of adulthood as she views her rite of passage as being toxicant. Ultimately, it seems that the poet’s use of diction provides the poem with a solemn tone which ultimately supplies the p...
Symbolism is the key to understanding Sandra Cisneros’ novel, “The House on Mango Street”. By unraveling the symbolism, the reader truly exposes the role of not only Latina women but women of any background. Esperanza, a girl from a Mexican background living in Chicago, writes down what she witnesses while growing up. As a result of her sheltered upbringing, Esperanza hardly comprehends the actions that take place around her, but what she did understand she wrote in her journal. Cisneros used this technique of the point of view of a child, to her advantage by giving the readers enough information of what is taking place on Mango Street so that they can gather the pieces of the puzzle a get the big picture.
Junot Diaz’s novel The Brief Wondrous Life of Oscar Wao is focused on the hyper-masculine culture of the Dominican, and many argue that his portrayal of the slew of women in the novel is misogynistic because they are often silenced by the plot and kept out of the narration (Matsui). However, Diaz crafts strong women, and it is society that views them as objects. The novel recognizes the masculine lens of the culture while still examining the lives of resilient women. In this way, the novel showcases a feminist stance and critiques the misogynist culture it is set in by showcasing the strength and depth of these women that help to shape the narrative while acknowledging that it is the limits society places on them because of their sexuality
For a first example of stereotypes, In “The Myth of the Latin Woman,” Judith Ortiz Cofer writes about the many stereotypes that she, as a Puerto Rican woman, has endured. She opens with a tale of how she had been publicly serenaded—on a London bus, of all places—by, as Cofer puts it, “a young man, obviously fresh from a pub” (187). Later on, she mentions a second random serenade of sorts, this time from a older man in a classy metropolitan hotel. The young man sang “Maria” from West Side Story, the older man first chose a song from Evita, then encored with a crudely-worded song to the tune of “La Bamba.” In both situations, whether it was their intention or not, their actions resulted in alienation of the author, singling her out and thrusting the stereotypes of her lineage in her face. The men may have meant well; they may have felt that what they were doing was good-hearted fun. They may have even been trying to...
As much as men are working, so are women, but ultimately they do not face the same obstacles. For example, “Even if one subscribes to a solely economic theory of oppression, how can one ignore that over half of the world's workers are female who suffer discrimination not only in the workplace, but also at home and in all the areas sex-related abuse” (Moraga 98). This gives readers a point of view in which women are marginalized in the work place, at home, and other areas alike. Here Moraga gives historical accounts of Chicana feminists and how they used their experiences to give speeches and create theories that would be of relevance. More so, Moraga states how the U.S. passes new bills that secretly oppress the poor and people of color, which their community falls under, and more specifically, women. For instance, “The form their misogyny takes is the dissolution of government-assisted abortions for the poor, bills to limit teenage girls’ right to birth control ... These backward political moves hurt all women, but most especially the poor and "colored." (Moraga 101). This creates women to feel powerless when it comes to control one’s body and leads them to be oppressed politically. This places the government to act as a protagonist, and the style of writing Moraga places them in, shines more light to the bad they can do, especially to women of color. Moraga uses the words, “backward moves”
This paper argued that the mother in Jamaica Kincaid’s short story “Girl” is loving towards her daughter because the mother is taking time to teaching her daughter how to be a woman, and because she wants to protect her in the future from society’s judgment. Kincaid showed that the mother cared and loved her daughter. The mother wants her daughter to know how to run a home and how to keep her life in order to societies standards. Alongside practical advice, the mother instructs her daughter on how to live a fulfilling
“Girl” written by Jamaica Kincaid is essentially a set of instructions given by an adult, who is assumed to be the mother of the girl, who is laying out the rules of womanhood, in Caribbean society, as expected by the daughter’s gender. These instructions set out by the mother are related to topics including household chores, manners, cooking, social conduct, and relationships. The reader may see these instructions as demanding, but these are a mother’s attempt, out of care for the daughter, to help the daughter to grow up properly. The daughter does not appear to have yet reached adolescence, however, her mother believes that her current behavior will lead her to a life of promiscuity. The mother postulates that her daughter can be saved from a life of promiscuity and ruin by having domestic knowledge that would, in turn also, empower her as a productive member in their community and the head of her future household. This is because the mother assumes that a woman’s reputation and respectability predisposes the quality of a woman’s life in the community.
A. Women in Modern America: A Brief History. New York: Harcourt Brace, 1974. Glaspell, Susan. A. Trifles. Making Literature Matter: An Anthology for Readers and Writers. Ed.
These novels, poems and short stories show how sexism is very much an issue in past decades but also in present and future decades. The America that we live in wants to believe in the fact that all men and women are created equal, it has yet to do anything. Women are still seen as objects to an extent. We are still seen as Daisy or as Charlotte Perkins main character, or the woman Carlos Gomez Andres writes about. The fact that we might die from the loss of freedom, because one cannot escape from an unhappy marriage, is considered ridiculous.
In the short story, “Girl,” the narrator describes certain tasks a woman should be responsible for based on the narrator’s culture, time period, and social standing. This story also reflects the coming of age of this girl, her transition into a lady, and shows the age gap between the mother and the daughter. The mother has certain beliefs that she is trying to pass to her daughter for her well-being, but the daughter is confused by this regimented life style. The author, Jamaica Kincaid, uses various tones to show a second person point of view and repetition to demonstrate what these responsibilities felt like, how she had to behave based on her social standing, and how to follow traditional customs.
...Halevi-Wise, Yael (1997). Story-telling in Laura Esquivel's Como Agua Para Chocolate. The Other Mirror: Women’s Narrative in Mexico, 1980-1995. Ed. Kristine Ibsen. Westport, CT: Greenwood Press, 1997. 123-131.