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Psychological effects of war on soldiers
Essays stories of civil war in el salvador
Essays stories of civil war in el salvador
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A Collection of Memories Dalia and Carolina Rivera both grew up in civil war. A bloody civil war, from1980-1992, in El Salvador that was responsible for the killing of many innocent people and for the separation of families. Both struggle to find their place, identity, and the role they play in a country that is dangerously chaotic. The book written by Rivera, …after…, in which Dalia is the main character, is in itself a collection of her own memories that form a physical testimony to how Rivera refuses to be oppressed. El Salvador’s civil war and its government might have forced her into exile, but even so Rivera does not back down from the fight and instead decides to put her memories on paper. By doing this she resisted intimidation, she …show more content…
It is her need to survive mixed with her determination to not be controlled by the government that pushes her to fight the government by participating in a guerilla. It can thus be said that the government’s actions to stop young adults/students from joining the guerilla movement has the opposite effect on Dalia. Although Dalia can’t be said to be one of the most radical and fully involved guerilla member, her small acts of defiance are enough to convince us of her rebellion. This is seen in her effort “to spread the word that the guerillas are luminous, alive and fighting in the mountains” (p.14) through graffiti, spreading pamphlets, and announcements on buses. No matter how small her involvement was with the guerilla it was still dangerous. For we only have to look to see what became of some of her friends, who did the same things she did, to understand the risk she was taking. “…I think about Dora surrounded by military and shot to death in el parque Cuscatlán---and of Trompita, the musician, his body burned and disappeared by chemicals, a favored military tactic to horrify the people” (p.14). Violence, we now understand, is clearly part of Dalia’s everyday life, but all these memories she grows up with serve to show her who she must fight against. Despite all the violence and all that this war has taken from her, we continue to see Dalia grow into a woman who knows what side she stands
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.
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”
As far back as Rigoberta Manchu can remember, her life has been divided between the highlands of Guatemala and the low country plantations called the fincas. Routinely, Rigoberta and her family spent eight months working here under extremely poor conditions, for rich Guatemalans of Spanish descent. Starvation malnutrition and child death were common occurrence here; rape and murder were not unfamiliar too. Rigoberta and her family worked just as hard when they resided in their own village for a few months every year. However, when residing here, Rigoberta’s life was centered on the rituals and traditions of her community, many of which gave thanks to the natural world. When working in the fincas, she and her people struggled to survive, living at the mercy of wealthy landowners in an overcrowded, miserable environment. By the time Rigoberta was eight years old she was hard working and ...
In the movie Spanglish written and directed by James L. Brooks, is narrated from the point of view of little girl, named Cristiana Moreno. This movie is the story of young lady writing her acceptances letter to Princeton University, answering a very complex question. How has been the most influential person in your life? And she delightedly replies: My mother! And is when the story star to develop. The story began when her mother Flor Moreno decided to leave Mexico because her husband left her, but mainly to give her daughter of six year old, a better life. They made their first stop in Texas, that back in those days the Hispanic population was 34 percent, but Flor feel that in order to raise her daughter properly she needed the security of
His audience can see, from his initial introduction to language, to his cultural education, to his superiors’ reaction to his literacy, that Baca’s willingness to speak out, to write poetry, and to communicate are inherent acts of resistance and revolution, no matter how inconsequential they may seem at face value. As his memoir is a depiction of a real life, whether liberation is or is not achieved is up for debate (if liberation is achievable at all), but, through the use of language, Baca establishes the beginning of his resistance to many of the vicious cycles which marginalization can perpetuate, a form of resistance that will hopefully continue on to aid the generations that may follow in his footsteps. Through language, Baca finds his self-worth and is able to acknowledge the systematic injustices that have plagued and destroyed facets of himself, as well as most of his family. Though language does not provide the opportunity to entirely reconstruct what has been lost, it can act as a safeguard against the possibility of even more devastation. Thus, the existence of A Place to Stand is a form of resistance in itself. Just like other texts by incarcerated figures, such as Wall Tappings and Mother California, Jimmy Santiago Baca’s memoir is a staunch reminder that incarcerated men and women desperately and unequivocally believe they need to be
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.
Oftentimes, societal problems span across space and time. This is certainly evident in Julia Alvarez’s How the García Girls Lost Their Accents a novel in which women are treated peripherally in two starkly different societies. Contextually, both the Dominican Republic and the United States are very dissimilar countries in terms of culture, economic development, and governmental structure. These factors contribute to the manner in which each society treats women. The García girls’ movement between countries helps display these societal distinctions. Ultimately, women are marginalized in both Dominican and American societies. In the Dominican Republic, women are treated as inferior and have limited freedoms whereas in the United States, immigrant
Reyna Grande 's novel, Across a Hundred Mountains, focuses on the dynamic of the development and rethinking of the concept of a traditional Latino patriarchal family built up around male dominance. In low income and uneducated cultures, there are set of roles that throughout time have been passed by from generation to generation. These gender roles most often consist of the men being the breadwinner for the family. While the women stay home to cook, clean, and raise the children. Women are treated as possessions with limited rights and resources. Throughout the novel, Grandes challenges gender roles in the story of a young woman named Juana who, despite all adversity, fights stereotypes and is able to rewrite her own ending.
In The Underdogs written by Mariano Azuela, we are introduced to a character that strongly symbolizes the fuel of the Mexican Revolution. Heroes like Demetrio Macias brought the Serrano’s hope of giving them what they felt they truly deserved. Although Demetrio Macias, the general (colonel) of a rebel army is hunting down the army of Pancho Villa, he seems to have the same ideals as the enemy. In addition to Demetrio Macias, we meet women like Camilla and War Paint who represent the different roles that women played during the Mexican Revolution.
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.
A Raisin In the Sun, The House On Mango Street, and A Yellow Raft In Blue Water all contain strong, defined images of women. These women control and are controlled. They are oppressed and liberated. Standing tall, they are confident and independent. Hunched low, they are vulnerable and insecure. They are grandmothers, aunts, mothers, wives, lovers, friends, sisters and children. Although they span a wide range of years and roles, a common thread is woven through all of their lives, a thread which confronts them day in and day out. This thread is the challenge they face as minority women in America to find liberation and freedom from lives loaded down with bondage. These women fight to live and in their living they display their strengths and their weaknesses. They demonstrate the opposition many women face being viewed as the inferior sex as well as discrimination against their ethnicity. In this struggle Hansberry, Dorris and Cisneros depict women attempting to find confidence and security in the society around them. Comparing and contrasting the novels A Raisin In the Sun, The House On Mango Street, and A Yellow Raft In Blue Water, three principal images of women emerge: their strength, bondage and liberation. These images combine to depict the struggle of many minority women, regardless of their ethnic background, and shapes the character they draw from society.
Toni saw this opportunity to write this particular article into a novel to show people how the days of slavery were and the sacrifices those that had run away would make if they stood a chance to be recaptured. The novel also introduces us to the spirits of the souls that were lost and how they never rested in peace until they finished what they had left behind. Toni really captures the audience’s attention in this particular novel.
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”.
The best novels circulate around intricate topics that lead to a change or realization in its readers. Isabel Allende is an author who can affect her readers with her talent of weaving complex themes into captivating plots that enraptures readers. Her inspiration comes from the personal struggles she overcame in life. She experienced misfortunes because of the political strife in Chile and obstacles becoming a writer relating to her gender. The trials and tribulations she confronted in her life has inspired Allende’s many works of novels, plays, and short stories as well as the person she is today (Kellman, Steven G., and Frank N. Magill).
“When men are oppressed, it’s a tragedy. When women are oppressed, it’s tradition”- Letty Cottin Pogrebin. The book, A Chronicle of a Death Foretold, retells the story of Santiago Nasar’s death that happened years ago in a quaint town in Colombia. The plot follows the narrator, as he tries to piece together what had happened that day through different people’s perspectives. With each retelling of the story, the reader comes to understand the impacts people, especially women, have on the storyline. In Chronicle of a Death Foretold by Gabriel Garcia Márquez, the author illustrates society’s disregard for women through the characters of Divina Flor, Angela Vicario, and Clotilde Armenta, in order to show how women are being oppressed by society