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How the garcia girls lost their accents book report
How the garcia girls lost their accents five page paper
How the garcia girls lost their accents five page paper
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Few scholars have attempted to explain Sandi’s complex character in Julia Alvarez’s novel How the Garcia Girls Lost Their Accents. Sandi experiences a sense of unexplainable loss during her early years in the 1950s Rafael Trujillo-led Dominican Republic, and this elusive quality seems to defy interpretation in its foreshadowing of the breakdown that she undergoes as an adult in 1970s America. The focus of my essay is to demystify Sandi’s character through a critical analysis of the consequences that she faces when she learns to overcome the loss of the power to create her identity by allowing others to reduce her to a doll. The doll image figures largely in Sandi’s story, whether it is the static representations of the Virgin Mary statue or
a Barbie. The gendered and cultured scripts presented in these depictions force her to adhere to their characteristics of fragility, an exotified and commodified cultural identity, and sexual object. The breakdown that she experiences as an adult is the outcome of the conflict between submitting herself to the limited representations that give her power and the need to be nonsexual characterized by the whore/Madonna complex that subjugates women in patriarchal societies. I will argue that during the moments when Sandi feels powerless in shaping her identity, she learns to find safe ground in reducing it to doll-like behaviors and appearances. I will then show how this doll identity as a means of survival, of gaining power, results in the mental collapse that she experiences as an adult.
There are seven billion humans living on planet earth, with hundreds of different cultures and ethnicities. As the leading species on earth, humans have further felt the need to also have a dominant gender. This title is given to the males of society. In the novel How the Garcia Girls Lost Their Accents by Julia Alvarez, the main characters experience a firsthand look to how male dominance prevails in not only the Dominican Republic but also in America. The Garcia family is a prestigious family line in the Dominican Republic, as a result the children of the family have a traditional and very controlled upbringing. The Garcia family moves from the Dominican Republic to the United States which causes the children of the family: Sofia, Yolanda,
“From Lieutenant Nun,” a memoir written by doña Catalina de Erauso, tells an intriguing story of a young Spanish female and her advantageous journey through Spain and the New World. Her family intends for her to become a nun but, that is not the life she seeks for herself. Therefore, she breaks away from the convent in hopes of finding somewhere to make her fortune by passing as a male. Catalina’s story is noteworthy because it gives readers another perspective of exploration focusing on self-discovery during the seventeenth century emphasizing how passing as a male is the only thing that secured her ability to explore. In the memoir, Catalina repeatedly reminisces about clothing and, whether she consciously or unconsciously does so, she allows the reader to see that this is an important aspect of her exploration. Throughout Catalina’s journey, clothing plays an increasingly important role not only in her travels but, also her personal life because it symbolized ones status, role, gender and privileges.
She was not a master of style, plot development or characterization, but the intensity of feeling and aspiration are evident in her narratives that overrides her imperfections. Sandra Cisneros’ The House on Mango Street, written in 1984, and Anzia Yezierska’s Bread Givers, published in 1925, are both aimed at adolescent and adult audiences that deal with deeply disturbing themes about serious social conditions and their effects on children as adults. Both books are told in the first person; both narrators are young girls living in destitute neighborhoods; and both young girls witness the harsh realities of life for those who are poor, abused, and hopeless. Although the narrators face these overwhelming obstacles, they manage to survive their tough environments with their wits and strength remaining intact. Esperanza, a Chicano with three sisters and one brother, has had a dream of having her own things since she was ten years old.
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
Grande introduces to the audience various characters that cross Juana 's path to either alter or assist her on her journey to find her father. Through those individuals, Grande offers a strong comparison of female characters who follow the norms, versus those that challenge gender roles that
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
Demetria Martínez’s Mother Tongue is divided into five sections and an epilogue. The first three parts of the text present Mary/ María’s, the narrator, recollection of the time when she was nineteen and met José Luis, a refuge from El Salvador, for the first time. The forth and fifth parts, chronologically, go back to her tragic experience when she was seven years old and then her trip to El Salvador with her son, the fruit of her romance with José Luis, twenty years after she met José Luis. And finally the epilogue consists a letter from José Luis to Mary/ María after her trip to El Salvador. The essay traces the development of Mother Tongue’s principal protagonists, María/ Mary. With a close reading of the text, I argue how the forth chapter, namely the domestic abuse scene, functions as a pivotal point in the Mother Tongue as it helps her to define herself.
This novel is a story of a Chicano family. Sofi, her husband Domingo together with their four daughters – Esperanza, Fe, Caridad, and Loca live in the little town of Tome, New Mexico. The story focuses on the struggles of Sofi, the death of her daughters and the problems of their town. Sofi endures all the hardships and problems that come her way. Her marriage is deteriorating; her daughters are dying one by one. But, she endures it all and comes out stronger and more enlightened than ever. Sofi is a woman that never gives up no matter how poorly life treats her. The author- Ana Castillo mixes religion, super natural occurrences, sex, laughter and heartbreak in this novel. The novel is tragic, with no happy ending but at the same time funny and inspiring. It is full of the victory of the human spirit. The names of Sofi’s first three daughters denote the three major Christian ideals (Hope, Faith and Charity).
This book is a story about 4 sisters who tell their stories about living on an island in the Dominican Republic , and then moving to New York . What is different about this book is the fact that you have different narrators telling you the story , jumping back and forth from past to present . This is effective because it gives you different view point’s from each of the sisters . It may also detract from the narrative because of the fact that it’s confusing to the reader . This is a style of writing that has been recognized and analyzed by critics . Julia Alvarez is a well- known writer and in a way , mirrors events that happened in her own life , in her book . Looking into her life , it show’s that she went through an experience somewhat like the sisters . I interviewed an immigrant , not from the same ethnic back ground as the sisters , but a Japanese immigrant . This was a very
Imagine getting forced to live in a foreign country where everyone has a different cultural background and speaks a different language than you. A place where you can only truly understand the thoughts that are in your head, and where everyone views you as an outsider. In the novel, How the Garcia Girls Lost Their Accents, that is the exact situation the Garcia sisters found themselves in when they were forced to live in the United States. The Garcia family found themselves in many confusing situations where they did not understand the English meanings to words and phrases, or how to react in certain situations in the American culture. Their Dominican roots conflicted with the roots of American society that they were forced to adapt to or they would have been eaten alive in their new environment. Four different instances of misunderstandings of language in How the Garcia Girls Lost Their Accents are when Yolanda, one of the sisters, gets mistaken for Joe, when
In the autobiography, Next Year in Cuba: A Cubano’s Coming-of-Age in America, Cuban American Gustavo Perez Firmat takes advantage of the upraising of sexuality as a social norm in the 90’s to accord sexuality as a prominent place in his autobiography. Throughout the text Figures of women are constantly used to illustrate the difficulty of a bicultural identity. Firmat compares American and Cuban women, which emphasize his struggle to define his identity.
If you are not fluent in a language, you probably don 't give much thought to your ability to make your personality attractive, to be in touch with the people and be understood in your world, that doesn’t mean you are an underestimated person. Every person has something special to make them more unique, remarkable, and gorgeous between people. The opinions could lead towards success, or those opinions could be one that is losing, and have a negative impact on how people connect with you. In Amy Tan 's “Mother Tongue” she made this book for several reasons. She had started her life by learning language, and she always loved to spend her time to learn language, but this story focuses about Amy Tan 's mother with her terrible English,
The poem “Exile” by Julia Alvarez dramatizes the conflicts of a young girl’s family’s escape from an oppressive dictatorship in the Dominican Republic to the freedom of the United States. The setting of this poem starts in the city of Trujillo in the Dominican Republic, which was renamed for the brutal dictator Rafael Trujillo; however, it eventually changes to New York when the family succeeds to escape. The speaker is a young girl who is unsophisticated to the world; therefore, she does not know what is happening to her family, even though she surmises that something is wrong. The author uses an extended metaphor throughout the poem to compare “swimming” and escaping the Dominican Republic. Through the line “A hurried bag, allowing one toy a piece,” (13) it feels as if the family were exiled or forced to leave its country. The title of the poem “Exile,” informs the reader that there was no choice for the family but to leave the Dominican Republic, but certain words and phrases reiterate the title. In this poem, the speaker expresser her feeling about fleeing her home and how isolated she feels in the United States.
Using both English and Spanish or Spanglish the author Gloria Anzaldua explores the physical, cultural, spiritual, sexual and psychological meaning of borderlands in her book Borderlands/La Frontera: A New Mestiza. As a Chicana lesbian feminist, Anzaldua grew up in an atmosphere of oppression and confusion. Anzaldua illustrates the meaning of being a “mestiza”. In order to define this, she examines herself, her homeland and language. Anzaldúa discusses the complexity of several themes having to do with borderlands, mestizaje, cultural identity, women in the traditional Mexican family, sexual orientation, la facultad and the Coatlicue state. Through these themes, she is able to give her readers a new way of discovering themselves. Anzaldua alerts us to a new understanding of the self and the world around us by using her personal experiences.