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More handpicked essays just for you.
The role of culture in the development of adolescents
Family influence in adolescence
Understand Cuban American culture
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In a world where people view cultural identification in black and white, simple categorization cannot apply to everyone. Immigration is one method that can result in a blend of two or more cultures, with immigrants simultaneously celebrating their home culture and incorporating novel traits into their lives. While many older immigrants attempt to preserve their native culture, youths often adopt new values and traditions throughout adolescence. The result of this mixture is transculturation, in which immigrants become a hybrid of cultures, reflecting aspects of both in their mentalities and actions. This essay will exhibit how Achy Obejas juxtaposes aspects of traditional Cuban values with American culture to demonstrate the transculturation …show more content…
As she matures in the United States and attends college, the narrator begins to dress in the fashion of the other students, leaving behind the styles she wore in Cuba. When she returns home in a fringe jacket and flowing jeans, her mother states that she “almost didn’t recognize [her];” meanwhile, the sweater the narrator wore on her voyage from Cuba is “somewhere in the closet of [her] bedroom,” kept as a memory (Obejas 121). Her mother’s surprised reaction to her fashion shows that although the narrator has continued growing and developing American styles, her parents have kept their identities essentially unchanged. The narrator’s American culture is now as much a part of her character as her Cuban heritage. However, her adoption of these practices does not invalidate nor overshadow her ties to Cuba, as she still possesses the green sweater, her symbol of her native country. While she may no longer dress as she did in Cuba, her past is always with her. After her father’s death, her mother gifts her a box of possessions “all wrapped up in [the] old green sweater,” causing the narrator to become “overwhelmed by the treasures within it” (Obejas 129-130). The green sweater has always remained with the narrator, just as her Cuban identity has never left her. She has embraced new ideologies, but she still values her past. Her Cuban upbringing has merely blended with American culture to form an identity that transcends national
#1.The thesis in “A Partial Remembrance of a Puerto Rican Childhood” by Judith Ortiz Cofer is that because of the stories her grandmother told every afternoon when she was a child, her writing was heavily influenced and she learned what it was like to be a ‘Puerto Rican woman’. The thesis of the selection is stated in the first and last sentence of the second paragraph: “It was on these rockers that my mother, her sisters, and my grandmother sat on these afternoons of my childhood to tell their stories, teaching each other, and my cousin and me, what it was like to be a woman, more specifically, a Puerto Rican woman . . . And they told cuentos, the morality and cautionary tales told by the women in our family for generations: stories that became
In both “Hungry” and “On Being Educated,” Joy Castro uses “academic” prose through her use of emotional, descriptive, and explanatory words and sentences. It is through her experience and lense that she is able to connect such little things to such major historical occurrences and creations. When telling a story, Castro does not leave it at one short explanation, but she furthers the conversation. Instead of simply stating that when she moved in with her birth father she ate lots of food and bought lots of clothes, Castro chooses to say that she was “devouring tuna, wheat bread, peanut butter, putting on weight, putting on the clothes [her father and his wife] bought for [her] in bulk at the outlet store, since [she’d] run away with nothing”
Something that has always fascinated me is the confrontation with a completely different culture. We do not have to travel far to realize that people really lead different lives in other countries and that the saying "Home sweet home" often applies to most of us. What if we suddenly had to leave our homes and settle somewhere else, somewhere where other values and beliefs where common and where people spoke a different language? Would we still try to hang on to the 'old home' by speaking our mother tongue, practising our own religion and culture or would we give in to the new and exciting country and forget our past? And what would it be like for our children, and their children? In Identity Lessons - Contemporary Writing About Learning to Be American I found many different stories telling us what it is like to be "trapped" between two cultures. In this short essay I aim to show that belonging to two cultures can be very confusing.
Islas, Arturo. From Migrant Souls. American Mosaic: Multicultural Readings in Context. Eds. Gabriele Rico, Barbara Roche and Sandra Mano. Boston: Houghton Mifflin Co. 1995. 483-491.
Yolanda’s upbringing was strictly Catholic and Dominican, and to be suddenly thrust into a new world with new cultures and beliefs leaves Yolanda confused. For the most part, Yolanda cherishes her culture and religion. But when surrounded by Americans who do things differently than her, and feel confident in the way they do things, Yolanda wishes she could be like them: “For the hundredth time, I cursed my immigrant origins. If only I too had been born in Connecticut or Virginia, I too would understand the jokes everyone was making” (Alvarez 94). Yolanda wants to be an American and to understand their ways. Being different from everyone takes a toll on Yolanda’s sense of identity. She is riddled with conflict between who she is and who she wishes she could be. She sees herself as being worse or worth less than the Americans, and has to face this on an everyday
Upon returning to the Dominican Republic after many years, Yolanda decides to take a trip across the island––something her family views as ridiculous. “‘This is not the states’ . . . ‘A woman just doesn’t travel alone in this country.” (9) This quote highlights the sexism inherent in Dominican society. Yolanda’s family is asserting that women are not individuals capable of taking care of themselves. On another hand, Yolanda’s close friendship with Mundín causes tensions as their mothers confront them about crossing gender lines. “My mother disapproved. The outfit would only encourage my playing with Mundín and the boy cousins. It was high time I got over my tomboy phase and started acting like a young lady señorita. ‘But it is for girls,’ . . . ‘boys don’t wear skirts.’” (228) This is an example of how Dominican societal norms and gender roles have impacted the sisters. Yolanda and Mundín were the only boy-girl playmates out of all the García children, yet this was frowned upon by both of their parents as to not impede the seemingly inevitable growth of Yolanda’s femininity, and conversely, Mundín’s masculinity. Moreover, this shows how societally-prescribed gender roles were instilled in Yolanda at a young age. However, this is not the only way in which women’s freedoms are
Immigrants come to America, the revered City upon a Hill, with wide eyes and high hopes, eager to have their every dream and wild reverie fulfilled. Rarely, if ever, is this actually the case. A select few do achieve the stereotypical ‘rags to riches’ transformation – thus perpetuating the myth. The Garcia family from Julia Alvarez’s book How the Garcia Girls Lost Their Accents, fall prey to this fairytale. They start off the tale well enough: the girls are treated like royalty, princesses of their Island home, but remained locked in their tower, also known as the walls of their family compound. The family is forced to flee their Dominican Republic paradise – which they affectionately refer to as simply, the Island – trading it instead for the cold, mean streets of American suburbs. After a brief acclimation period, during which the girls realize how much freedom is now available to them, they enthusiastically try to shed their Island roots and become true “American girls.” They throw themselves into the American lifestyle, but there is one slight snag in their plan: they, as a group, are unable to forget their Island heritage and upbringing, despite how hard they try to do so. The story of the Garcia girls is not a fairytale – not of the Disney variety anyway; it is the story of immigrants who do not make the miraculous transition from rags to riches, but from stifling social conventions to unabridged freedom too quickly, leaving them with nothing but confusion and unresolved questions of identity.
The autobiography Journey of Hope Memoirs of a Mexican Girl and the documentary short “Children in No Man’s Land” has brought into light three important topics that are results of immigration. The first is the “American dream” and the notion of yearning to migrate abroad to seek dreams formed by misconceptions of the limited knowledge one has of their destination. The second is assimilation and the process of assimilating oneself to their new homeland. The third is a unique situation presented in both these works, which is estrangement from their family members. This paper attempts to critically analyze the unique journey of immigration for Rosalina, Maria de Jesus, and Rene. It argues that glorified images and dreams of what America could be like falsely creates a sense of hope. It focuses on the dual task of reviewing the process of assimilation based on each immigrant situation, and an examination of familial estrangement as
It sometimes is quite difficult to find one’s voice when no one is truly listening or understands. Yolanda, or "Yo", a Dominican immigrant, has grown up to be a writer and in the process infuriates her entire family by publishing the intimate details of their lives as fiction. “¡Yo!” is an exploration of a woman's soul, a meditation on the writing life, as well as a lyrical account of Latino immigrants’ search for identity and a place in the United States. Julia Alvarez divides her novel ¡Yo! into chapters to distinguish the perspectives of each member of the Garcia family. Through the stylistic, subtle homage to the Spanish language as well as speaking on the horrors that occurred during the Trujillo dictatorship in the Dominican Republic, Julia Alvarez showcases storytelling in the first chapter of her novel titled “From ¡Yo! The Mother” to show how Yo and her entire family used it to cope with their struggles as immigrants in America. By telling stories, Yo’s mother Laura, battles between her Dominican and American identities to ultimately redefine not only who she is, but also who she and her family will be.
The novel Dreaming in Cuban, written by Cristina Garcia, is a novel following the lives of a Cuban family during La Revolución Cubana. Garcia develops her story in great detail, particularly through the struggles this family faces and how each of them attempts to find their own identity. Although the novel has many characters, Cristina Garcia primarily develops the story through the eyes of Pilar Puente. Even though she is one of the youngest characters, Pilar endures a plethora of struggles with her life and her identity. Her mother, Lourdes Puente, moved the family away to New York in order to shield Pilar from what Lourdes deemed to be an unfavorable past in Cuba. The main source of Pilar’s frustration is her internal conflict between her Cuban heritage and her American identity. This struggle stems from the relationship with her grandmother, Celia del Pino, contrasting with her life in America. Along with her struggle with her Cuban heritage, Pilar Puente has many experiences that shape her self-identity throughout the novel Dreaming in Cuban.
Moving from the unpleasant life in the old country to America is a glorious moment for an immigrant family that is highlighted and told by many personal accounts over the course of history. Many people write about the long boat ride, seeing The Statue of Liberty and the “golden” lined streets of New York City and how it brought them hope and comfort that they too could be successful in American and make it their home. Few authors tend to highlight the social and political developments that they encountered in the new world and how it affected people’s identity and the community that they lived in. Authors from the literature that we read in class highlight these developments in the world around them, more particularly the struggles of assimilating
When people migrate to America, they experience a cultural shock. Immigrants feel overwhelmed by the new language and culture. The struggle to adapt to the new environment forces them to try to fit into the American stereotype. In The Soul of Black Folk, Du Bois says that the way white Americans view African Americans creates a tension on African American social identity. This tension is also seen on immigrant’s social identity once they migrate to the United States. Immigrants struggle to reconcile two cultures with a multi-faceted perspective of self, which creates a double consciousness.
Sometimes it is the result of losing their identity. In the article “The Phases of Culture Shock”, Pamela J. Brink and Judith Saunders describe four phases of culture shock. They are: Honeymoon Phase, Disenchantment Phase, Beginning Resolution Phase, and Effective Function Phase. These phases denote some of the stages that exemplify culture shock. The four phases are illustrated in the articles “New Immigrants: Portraits in Passage” by Thomas Bentz, “Immigrant America: A Portrait” by Alejandro Portes and Ruben G. Rumbaut, “When I Was Puerto Rican” by Esmeralda Santiago, “Today’s Immigrants, Their Stories” by Thomas Kessner and Betty Boyd Caroli, and lastly, “The New Americans: Immigrant Life in Southern California” by Ulli Steltzer, and are about the experiences of This essay will examine the four phases of culture shock and classify the experiences of these immigrants by the different phases of culture shock identified.
Although both texts seem to follow a “Desi-Chain” of events, the ways in which memories are used in each text differs greatly challenging conceptions that all Cuban exile experiences are the same. Pablo Medina’s Exiled Memoirs articulates a serious tone, narrating stories about his childhood, family and the struggle of being a Cuban
Two of the cuts are scratched but I buy them anyway… When I thank [the clerk] in Spanish, he’s surprised and wants to chat. We talk about Celia Cruz and how she hasn’t changed a hair or a vocal note in forty years” (GARCIA, 197- 198). This moving away from her usual taste in music and towards Cuban music, is a step in the bridging of her two halves. Furthermore she once again is able to talk to another person in her native language with ease.