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For the third Critique I have decided to look at Gloria Anzaldúa’s “Borderlands/La Frontera: The New Mestiza”. “The New Mestiza” theory focuses on the main concepts of what the new “Mestiza” is anyways by using where she lives, her native tongue, and her personal beliefs to define what the new “Mestiza” is. Should Gloria Anzaldúa’s “Borderlands/La Frontera: The New Mestiza” be read, discussed, and researched for the Literary Criticism course? Does Anzaldúa’s hold up with today mind set and is Anzaldúa text even necessary? In order to determine the case of Anzaldúa’s “Borderlands/La Frontera: The New Mestiza” we must understand what “The New Mestiza” is. Starting off with the definition of Mestiza. A Mestiza is defined as a woman of mixed …show more content…
A few strengths in Gloria Anzaldúa’s “Borderlands/La Frontera: The New Mestiza” is the use of alliteration to further illustrate her point making her point of the “Borderland” and the new Mestiza easier to understand and get a grasp on as an overarching theory. Speaking of the theory’s positives one strength is going against the aryan theory of purity. I believe that Gloria Anzaldúa’s “Borderlands/La Frontera: The New Mestiza” demonstrates the way of life that Gloria Anzaldúa lived through as a mestiza and how her life experiences affected her ideas of the “Borderland” and the concept of the “Borderland” itself is an enthralling …show more content…
From texts to forums the amount of subcultures from the internet that have been created from like minded individuals are staggering. If you feel like you 're alone or have a weird interest chances are that there is already a website, forum group, and more information on it then you probably need to know. With the widespread nature of culture one must look at what a culture is and if this example is even pertinent. A culture is defined by google is “The arts and other manifestations of human intellectual achievement regarded collectively:” The arts and manifestations that are achieved through a collective? That sounds exactly like public forums,websites, and other forms of internet communication to achieve a goal or art. Where Gloria Anzaldúa’s definition of culture refers more to a culture that is nearby and directly impacted her this anonymous and virtual collective of minds is a completely different example that isn 't defined by Gloria Anzaldúa’s “Borderlands/La Frontera: The New
In a story of identity and empowerment, Juan Felipe Herrera’s poem “Borderbus” revolves around two Honduran women grappling with their fate regarding a detention center in the United States after crawling up the spine of Mexico from Honduras. While one grapples with their survival, fixated on the notion that their identities are the ultimate determinant for their future, the other remains fixated on maintaining their humanity by insisting instead of coming from nothingness they are everything. Herrera’s poem consists entirely of the dialogue between the two women, utilizing diction and imagery to emphasize one’s sense of isolation and empowerment in the face of adversity and what it takes to survive in America.
Norma Elia Cantu’s novel “Canícula: Imágenes de una Niñez Fronteriza” (“Canícula: Snapshots of a Girlhood en la Frontera”), which chronicles of the forthcoming of age of a chicana on the U.S.- Mexico border in the town of Laredo and Nuevo Laredo in the 1940s-60s. Norma Elia Cantú brings together narrative and the images from the family album to tell the story of her family. It blends authentic snapshots with recreated memoirs from 1880 to 1950 in the town between Monterrey, Mexico, and San Antonio, Texas. Narratives present ethnographic information concerning the nationally distributed mass media in the border region. Also they study controversial discourse that challenges the manner in which the border and its populations have been portrayed in the U.S. and Mexico. The canícula in the title symbolizes “The dog days of 1993,” an intense part of summer when the cotton is harvested in South Texas. The canícula also represents summer and fall; also important seasons and concepts of that bridge between child and adulthood. She describes imaginative autobioethnography life growing up on ...
The third chapter is quite a different spin from what I read in the previous chapters from author's Gloria. E. Anzaldua's book entitled Light In The Dark/Luz En Lo Oscuro. Chapter three is quite interesting. In this particular chapter on page 48, she reveals her identity as a jotitita (queer Chicana). Anzaldua goes to further states that this "mexicatjena-to enter a museum and look at indigenous objects that were once used by my ancestors"(48 Anzaldua). What is interesting to me is the she ponders on whether or not she finds her historical Indian identity at the museum. In addition, she also questions whether her identity could be found along the ancient artifacts and their as she puts it their mestizaje. I really
Preceding her youth, in 1977, Anzaldua became a High School English teacher to Chicano students. She had requested to buy Chicano texts, but was rejected to do so. The principal of the school she worked for told her, in Anzaldua’s words: “He claimed that I was supposed to teach “American” and English literature.” She then taught the text at the risk of being fired. Anzaldua described, “Being Mexican is a state of soul – not on of mind.” All in all, the reprimanding she had to endure only made her stronger: “Until I can take pride in my language, I cannot take pride in myself.” It led to Anzaldua embracing her Mexican culture even more, contrary to shoving it aside. Anzaldua transformed her beliefs into something both cultures can applaud, and be honored
Author’s Techniques: Rudolfo Anaya uses many Spanish terms in this book. The reason for this is to show the culture of the characters in the novel. Also he uses imagery to explain the beauty of the llano the Spanish America. By using both these techniques in his writing, Anaya bring s the true culture of
All in all Anzaldua's essay is very motivating and “colorful”, due to her utilization of metaphors she uses give the reader gains insight into her writing process, most of all into the process of connecting images and building ideas. However Anzaldua's use of language and style, the transition from English to Spanish and back again in particular, may create confusion for certain readers, who are not familiar with the different
In the beginning of the essay, Anzaldua speaks about a time when she was in class and was trying to give her teacher an explanation about something, but instead, she immediately got punished in which they considered her “talking back”. The teacher then proceeded to tell her, if she wanted to live in America, she will have to speak American, and if she didn’t like it, she could go back to Mexico where she belongs. From a very young age, young girls are taught not to talk back and not ask too many questions as where the adults would take this as a f...
Torres, Hector Avalos. 2007. Conversations with Contemporary Chicana and Chicano Writers. U.S.: University of New Mexico press, 315-324.
Elena Poniatowska escrita durante una epoca de cambio en Mexico. Antes de sus obras las mujeres mexicanas eran sometidos, docil, y pasivo. En la tiempo de sus obras las mujeres estaba tratando salir de los estereotipos de antes. Esta problema social tomo un afecto en Elena. Aunque ella no viene de un movimiento literatura directamente, ella escrita con el concepto de compremetido. En su narrative El Recado ella crea un mujer estereotipical que no puede controlar sus emociones. La titula es eso porque ella viene a ver su amante, pero el no esta, asi ella escribe las cosas que sentia. La perspectiva es de un personaje y ella nunca interacta con otros personajes. En facto la unica descripcion de un personaje otro de la protagonista es de su amante Martin. Habla de otros personajes, pero solamente de sus acciones. Porque ellas es la unica perspectiva que tenemos es sencillo a sentar compasion para una protagonista de quien nombre no aun sabemos. Ella da la descripcion de toda que vea, y mas importante todo que se sienta. Tambien tropos y figuras retoricas dan un tono significante al poema. Estos sentimientos de la portagonista y el tono emocional de la narrativa transporta una tema de una mujer estereotipical y debil quien quiere ser reconocido.
At the beginning of the essay, Anzaldúa recounts a time when she was at the dentist. He told her, “We’re going to have to control your tongue” (33). Although he was referring to her physical tongue, Anzaldúa uses this example as a metaphor for language. The dentist, who is trying to cap her tooth, symbolizes the U.S. who is similarly seeking to restrict the rights of minority groups. Nevertheless, the tongue is preventing the dentist from doing his job. Likewise, there are several minority groups who refuse to abide to the laws of dominant cultures and are fighting back. Anzaldúa also touches on a personal story that happened at school. When she was younger, she was sent to the corner because apparently, she spoke back to her Anglo teacher. The author argues that she was unfairly scolded because she was only telling her teacher how to pronounce her name. Her teacher warned her, “If you want to be American, speak American. If you don’t like it, go back to Mexico where you belong.” This short story provides an understanding of what Anzaldúa’s life was like. It demonstrates how even at a young age, she was continually pressured because of where comes
The eternal endeavor of obtaining a realistic sense of selfhood is depicted for all struggling women of color in Gloria Anzaldua’s “Borderlands/La Frontera” (1987). Anzaldua illustrates the oppressing realities of her world – one that sets limitations for the minority. Albeit the obvious restraints against the white majority (the physical borderland between the U.S. and Mexico), there is a constant and overwhelming emotional battle against the psychological “borderlands” instilled in Anzaldua as she desperately seeks recognition as an openly queer Mestiza woman. With being a Mestiza comes a lot of cultural stereotypes that more than often try to define ones’ role in the world – especially if you are those whom have privilege above the “others”.
En la cultura maya de Guatemala no existia la nocion de que las mujeres deben de ser tratados como los hombres. Menchu tenia la oportunidad de hablar con gente de distintos paises sobre el topico de la lucha de las mujeres. La mama de Menchu no conocia ideas femenistas. Ellas tenian una relacion muy especial que tambien le influyo a Menchu. La mama de Menchu le ensenaba las costumbres indigenas. Por ejemplo que una mujer indigena no debe de maquillarse porque eso le quita la belleza natural que Dios le dio a ella. Tambien hablaba del maiz y su importancia en la cultura maya. El maiz era algo "fertile" que mantiene la vida de la gente.
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).
Consquently, Anzaldúa further develops the idea of mestiza as a “new higher consciousness” that will break down barriers, and fight against the male/female dualistic norms of gender (Anzaldúa 79). According to her, anyone can become a new, or nueva, mestiza, one who supports various cultures, particularly the Chicano/a culture, by means of solidarity and understanding. Anyone can participate because the process is not separated by culture or race, but entirely the opposite. Instead, it is based off of cognizance and awareness of the struggles endured by others, such as Chicana/Latinas, and calls for acceptance rather an exclusion. She states that the mestiza constantly has to shift to different problems and means constantly to include rather
“Culture” is a term that over the years, has taken many forms, served many purposes and has been defined in a variety of contexts. At the rise of the industrial era, inhabitants of rural areas began to migrate to cities, thus starting urbanization. As this new era began to unfold, urbanization, mass production, and modernization became key ingredients in the transformation of culture. As more people became literate and the production of mass media such as magazines, pamphlets, newspapers etc. increased, many had the option and desire to identify collectively – popular culture began to rise. Popular or “mass” culture can be described as a “dynamic, revolutionary force, breaking down the old barriers of class, tradition, taste, and dissolving