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Gloria anzaldua borderlands la frontera analysis
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Gloria anzaldua borderlands analysis
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Of the works we had to review for this module, Gloria Anzaldúa's First Chapter (from her book Borderlands/ La Frontera: The New Mestiza) The Homeland, Aztlan invoked thoughts and feelings. Upon reading certain sections, I was emotionally invested (especially in her personal anecdote as she watched her cousin being dragged away by Border Patrol). I've re-read the opening but still have a difficult time understanding it. Why would she mention a portion of Los Tigres del Norte lyrics? How does it tie in with her main argument?
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.
When it comes to analyzing the “banana massacre” scene in chapter 15, I found three narrative techniques the author used to describe this scene. Therefore, one can notice that this part of the book is the climax. As a result, one infers what the author is trying to say about Latin American history and politics.
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
...n, Gonzalez states his identity; "I am Aztec Prince and Christian Christ." This combination of culture is the basis of his poem, which can be found at http://www.pbs.org/chicano/joaquin.html, and is representative of the heritage of Mexican Americans. The concept of Aztlan is explained in Chicano!, and the mural ‘Corazon de Aztlan,’ found in Chicano Park (http://chicanopark.org/murals/north/n8.html ), reinforces the importance of this image in the lives of Chicanos. The myth of Aztlan symbolizes centuries of culture and struggles of Mexican Americans who went through incredibly difficult times throughout history, but never lost hope and always stayed strong, determined to one day be treated equally as citizens of the United States of America.
Anzaldua grew up in the United States but spoke mostly Spanish, however, her essay discusses how the elements of language began to define her identity and culture. She was living in an English speaking environment, but was not White. She describes the difficulty of straddling the delicate changing language of Chicano Spanish. Chicano Spanish can even differ from state to state; these variations as well as and the whole Chicano language, is considered a lesser form of Spanish, which is where Anzaldua has a problem. The language a person speaks is a part...
The normalization of being a heterosexual presence would classify you as normal and you’d feel accepted by many different groups and communities by default. Certainly no one would deny that being true. What seems to be the issue is why is being heterosexual is the only type of normality society seems to accept. While reading Gloria Anzaldua’s Borderlands/ La Frontera, the author brought up her personal struggles with her sexuality within her culture and with society. As well as other difficulties when being a female and being lesbian (Anzaldúa and Saldívar-Hull, 41). The scope of this essay should cover the many different borders we face as humans when it comes to where we draw the line on sexuality.
Ragland, Cathy. Música Norteña: Mexican Migrants Creating a Nation between Nations. Philadelphia, PA: Temple UP, 2009. Print.
Like many Chicanos, she developed a strong sense of cultural belonging. This is primarily due to discrimination amongst neighboring Mexicans, whites, and anyone in between. Latinos and latinas would attack her, saying “...cultural traitor, you’re speaking the oppressor’s language, you’re ruining the Spanish language” (Anzaldua 412). It was this ethnic struggle that drove her to latch onto her cultural background so strongly. In the personal narrative “How to Tame a Wild Tongue” by Gloria Anzaldua, Anzaldua states “When other races have given up their tongue, we’ve kept ours. We know what it is to live under the hammer blow of the dominant norteamericano culture” (Anzaldua 419) when referring to the resilience of her native people. She states this in response to other cultural groups having abandoned their language, meanwhile they retained theirs. The Chicanos are aware of the harsh standards of North American society. By saying “When other races have given up their tongue, we’ve kept ours,” she means that even when other ethnicities have been pushed to eliminate their languages, her ethnicity stayed strong; they refused to cave in. Likewise, when Anzaldua states “We know what it is to live under the hammer blow of the dominant norteamericano culture,” she draws pride from her culture’s ability to fend off even the most suffocating adversities. In this way, Anzaldua conveys
In the story, “An Hour With Abuelo” by Judith Ortiz Cofer, Arturo goes to visit his Abuelo and throughout the story realizes that he shouldn’t be so quick to judge the people that care about him because you might find them to be worth your time. This story teaches its readers that you should cherish the time you have with the people that love you. Arturo thinks to himself, “I want my mother to have to wait a little. I don’t want her to think that I’m in a hurry or anything.” (Cofer, 140) This quote proves that he realizes he has a lot in common with his Abuelo and ended up enjoying the time he had with him. Throughout the story Arturo and Abuelo realize all the things they have in common with each other. This idea brings the readers back to the thought that it is never too late to make a connection and enjoy the time you have with the people who love you.
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).
I chose to write about Only Daughter by Sandra Cisneros because I am the only daughter of three children. Therefore, I can relate to this essay because I constantly strive to make my father proud in everything that I do, along with feeling as though I am alone and not understood by my family. My father is constantly in the back of my mind so whatever I do revolves around how I know he would feel about it. Due to this I am more studious when it comes to my education because I know that he will be more supportive the better that I do. Without my dad I would not have come this far in what I have accomplished because I would not have had to prove myself to anyone. Being the first born and the only girl, my parents and family many times do not know how to handle how I feel or what I enjoy because I am more studious out of my entire family. Because of this I
Borderlands/La Frontera: The New Mestiza, written by Gloria E. Anzaldúa, offers insight to the life and struggles of a Chicana lesbian living on the Texas-Mexico border. She uses this border as a metaphor to how her identities intersect, and how living within the border, a gray area in a world of black and white, has both oppressed her and empowered her. The following will address Anzaldúa’s main themes and points within Borderlands, as well as compare it to other works by influential authors in regards to identity, intersectionality, and marginality.
Overtime, we have seen the influence and power that authors held through their writing(s). Authors such as William Shakespeare, Charles Dickens, and J.K Rowling have had lasting impacts on society whether it be through the entertainment business (ex. J.K Rowling and the Harry Potter franchise) or through studies inside and outside of the classrooms. Gloria Anzaldúa adds to the list of influential authors as her novel Borderlands/La Frontera: The New Mestiza has “the power to change minds” (Cantú and Hurtado 1), and has been taught in classrooms particularly geared towards women studies and feminist theory. Borderlands is a metaphor that conveys the limitations- socially, culturally, geographically, and sexually- within the border of two counties, particularly the U.S Mexican border. Gloria furthers her discussion in chapter six and seven by expressing her frustration of being stuck between these borders, the battle of feminism, and the loss of herself due to her oppressors.
In the story Norma, by Sonia Sanchez, the character Norma excelled at school, even being the smartest person in math (pg. 5 ln. 50-51) and the best linguist in French class (pg. 6 ln. 71-73). Yet Norma made many mistakes that made her much less successful than she probably would have become. The moral of the story is to not do drugs, don’t become a parent while in school, and go to college.