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What is american exceptionalism essay
Define “manifest destiny” and discuss the influence of this ideology on latenineteenth and early twentieth century United States expansion
Manifest destiny essay U.S. history
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The United States has depicted history from a unique viewpoint in comparison to many non-American entities. From the 19th century and the birth of Manifest Destiny as an ideology, the society within the United States has been engulfed with the ideas of American Exceptionalism, which puts the U.S. on a positive pedestal due to democracy and freedom as a forefront. A recent academic school of thought has attempted to combat this exceptional white-washed version of history, which includes the work of author Americo Paredes. Paredes has contributed to this school of thought by focusing his writings on describing the truth behind living on the border and the racial/class relations between Mexican Americans and Anglo Americans. He is famously known for telling the story of Gregorio Cortez in his publication With a Pistol in His Hand. The ballad of Gregorio Cortez starts with the sheriff killing his brother and Cortez trading shots with the sheriff and running away. Then the story continued by conveying that Cortez was a fearless frightening man that had his “Cortez Gang” causing havoc and fighting the …show more content…
Mexican Americans have become emotionally connected with the story of Gregorio Cortez. The Ballad may be exaggerated and not factual to Gregorio’s life, however, many saw this story as a hope to change the status quo. Today, people look back on this story and feel culturally connected to it. This legacy has translated into an academic movement to address a non-white-washed version of history. Many other stories like the one of Gregorio Cortez also share symbolic properties. For example, the story of Pretty Boy Floyd has resonated for a lot of people as a story of a hero, even though he was a man who was a criminal under the law. Stories/ballads hold an inspirational significance that may contribute to a
Martinez’s story is not so much one that pieces together the events of the crash, nor the lives of the three youths, but it is an immigrant’s tale, discovered through the crossings of the various Chavez family members and profiles of Cheranos in Mexico.
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.
Rain of Gold, is a true story about the history of Mexican people, their culture, traditions and customs that were passed down from the Euro-Indian heritage of Mexico. Rain of Gold was written by Juan Villasenor in search for his ancestral roots. The people of this story are real and not fiction. The places that are discussed are true. And the incidents did actually happen to his family. There are several underlying themes that need addressing. Such as: the importance of family, the importance of religion and spiritualism, woman as center of home and family, respect--protection of woman's virtue; ideal of women as pure, power of the woman--the mother, being a man-man as protector of the family, pride of man to be a provider, importance of traditions, respect for life, work and education/learning, death as part of life, honor, dignity, and finally discrimination and prejudice. I will be using this book as a reference and as a guide throughout this review to discuss the themes that are stated above.
The nineteenth century introduced several great leaders into this world, many recognized by historians today. These men, Thomas Jefferson, Abraham Lincoln, and others, have all been honored and commemorated for their contributions. One such leader, José Martí, continues to remain anonymous outside the Hispanic community, and hidden in the shadows cast by these men. His name does not appear in the history books or on the tongues of many proud Americans, for he was neither a citizen of America nor an American hero.
Traditionally history of the Americas and American population has been taught in a direction heading west from Europe to the California frontier. In Recovering History, Constructing Race, Martha Mencahca locates the origins of the history of the Americas in a floral pattern where migration from Asia, Europe, and Africa both voluntary and forced converge magnetically in Mexico then spreads out again to the north and northeast. By creating this patters she complicates the idea of race, history, and nationality. The term Mexican, which today refers to a specific nationality in Central America, is instead used as a shared historic and cultural identity of a people who spread from Mexico across the southwest United States. To create this shared identity Menchaca carefully constructs the Mexican race from prehistoric records to current battles for Civil Rights. What emerges is a story in which Anglo-Americans become the illegal immigrants crossing the border into Texas and mestizo Mexicans can earn an upgrade in class distinction through heroic military acts. In short what emerges is a sometimes upside down always creative reinvention of history and the creation of the Mexican "race (?)".
Tindall, George, and David Shi. America: A Narrative History. Ed. 9, Vol. 1. New York: WW. Norton & Company, 2013. 185,193. Print.
Torres, Hector Avalos. 2007. Conversations with Contemporary Chicana and Chicano Writers. U.S.: University of New Mexico press, 315-324.
Rosales, F. Arturo. Lecture 2/14 Film The US-Mexican War Prelude. Weber, David J. - "The 'Path of the World'" Foreigners in Their Native Land: The Historical Roots of Mexican Americans.
Although it is desirable to incorporate personal experiences of others to get a feel of the encounters that occurred to the typical or atypical individual within the Chicano movement, this does not entirely mean that the filmmakers left out those who studied the history of it. Historian Mario T. Garcia was a prominent addition in contributing to the historical experiences within the movement and brings in credibility. The concept of utilizing Chicanos who endured the reign of oppression and discussed their involvements to the impartiality efforts was a thrilling and clever one, there was still a need of a backbone in the factual side of it. By introducing an essence of experience, it generates a personal and emotional aspect in the documentary that can be unfavorable and stray from the informative attitude of a documentary. Having Garcia apart of the documentary grounds this enlightening dimension that insights as preventative measure which is an adept move on behalf of directors Luis Ortiz and Antonio
In Michelle's paper she recaps the history of Mexicans in the United States that was not completely dealt with in either the website or the movie. Michelle points out that the Latin@s history is essential to understanding the Mexicans experience. She also wrote of the Mexican's el movemiento and how the website and movie brought about different accounts of this momentous event.
During the late 19th century and early 20th century, a form of Mexican folk music called the corrido gained popularity along the Mexico-Texan border (Saldívar). Growing from the Spanish romance tradition, the corrido is a border ballad “that arose chronicling the history of border conflicts and its effects on Mexican-Mexican culture” (Saldívar). A sort of “oral folk history,” the corrido was studied intensely by Américo Paredes, who then constructed his masterpiece, George Washington Gomez, around the “context and theme” of the corrido (Mendoza 146). But the novel is not a traditional corrido, in which the legendary hero defends his people and dies for his honor. Instead, through its plot, characterization, and rhetorical devices, George Washington Gomez is an anti-corrido.
Being so naïve about the country I came from being influenced by the way other people look at Mexico made me ashamed of who I was. Even taking it as far as dreading the color of my skin and despising the blood that ran through my veins. Not knowing of course that blood and the way I am and look is what ties me to my ancestors and my future family. Now, having the ability to block out the unnecessary opinions of outsiders and finally having the courage to love myself and my roots; I’m able to fill my own head with information. Learning from how people in Mexico treated the land like a part a part of themselves, I decided that I’m as important as the seasonal fruits, as intricate as el mole, sweet life the pineapple, and as bright and persuading as the sunflower. For the first time everything I see and am is as beautiful as it should be.
The struggle to find a place inside an un-welcoming America has forced the Latino to recreate one. The Latino feels out of place, torn from the womb inside of America's reality because she would rather use it than know it (Paz 226-227). In response, the Mexican women planted the seeds of home inside the corral*. These tended and potted plants became her burrow of solace and place of acceptance. In the comfort of the suns slices and underneath the orange scents, the women were free. Still the questions pounded in the rhythm of street side whispers. The outside stare thundered in pulses, you are different it said. Instead of listening she tried to instill within her children the pride of language, song, and culture. Her roots weave soul into the stubborn soil and strength grew with each blossom of the fig tree (Goldsmith).
Cultural genocide exists in México, and the blame is not with McDonalds which has taken over the local taco vender, or even Starbucks - now on practically every corner- engulfing the national coffee brand; this cultural genocide is institutional, societal, and scholarly in its misrepresentation of the African manifestation in México. The presence of the “negro” in México is an enigma, not only for the Mexican population in general, but also - and more specifically - for the black Mexicans themselves. A country that prides itself on its national identity, México is progressively, through action and also silence, erasing the cultural identity and importance of its black population. However, México as a nation cannot be held fully responsible
Chicano Pride: An American Paradox “Yo soy Joaquín, que se sangra de muchas maneras. Los altares de Moctezuma yo manché con sangre roja” (Gonzáles 10). “I am Joaquín, who bleeds in many ways. The altars of Moctezuma I stained a bloody red” (Gonzáles 24). “Yo Soy Joaquín” is a piece reflecting the plight of Rodolfo “Corky” Gonzáles and the Chicano people.