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How socioligcal stereotypes affect youth
Challenges of culture and identity
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Recommended: How socioligcal stereotypes affect youth
Personal anecdotes are the most prevalent forms of evidence that Judith Cofer uses throughout her essay. In recounting a memory about Career Day when Cofer couldn’t determine what was appropriate to wear, she claimed that an Italian-American friend made a comment “that coalesced [her] impressions of that day” (5). Her friend helped Cofer understand that Puerto Rican women were seen as always wearing “too much jewelry, too many accessories” (5) and that is where the stereotype that Latinas are “sexual firebrand[s]” (6) originated from. This also helped to establish that not only was she facing discrimination from complete strangers, but now her friends who knew her well were feeding into the stereotype and promoting the discriminatory behaviors. …show more content…
This provides evidence of the stereotype that Latinas are sexual beings as she is called out for not reciprocating an act that majority of girls would deny anyhow, but since she is a Latina it is assumed that she likes it. She goes on to state in a metaphor that “I was supposed to ripen, not just grow into womanhood like other girls,” (8) meaning that she was thought of as a fruit, an inanimate object, used for the pleasure and to satisfy other people, even though she is a human being herself. Finally, the author’s last personal anecdote is one where she was at a poetry reading and “an older woman motioned [her] to her table” (13) and Cofer believed it was to sign an autograph. However, the woman “ordered a cup of coffee from [her], assuming that [she] was the waitress”
Moreover, she feels that the "U.S society is gendered and racialized: it expects certain behavior from women, certain bearings from men, certain comportment from queer mujeres, certain demeanor from queer hombres, certain conduct from disabled, and so on"(65 Anzaldua).
Esperanza tries to be a good friend to Sally, but ends up appearing immature and silly. Esperanza feels shame, as she “wanted to be dead”, to “turn into the rain”, and have “my eyes melt into the ground like black snails” (Cisneros 97). With sensory-rich imagery, the author uses similes and metaphors to describe Esperanza’s feelings of utter mortification as she embarrasses herself in front of Sally. Esperanza becomes confused about her newfound sexuality and her loss of innocence when she begins acting strangely, yet awkwardly around boys. She doesn’t know whether to act like a child or an adult because although she wants to be mature and glamorous like Sally, and she gets exposed to the harsh nature of society. The disillusioned view of becoming mature and having boys notice her is especially realized by Esperanza when she gets raped at a carnival. Through detailed imagery, Cisneros describes the dirtiness of the boy, elaborating on “his dirty fingernails against my skin” and “his sour smell again” (Cisneros 100) and the confusion and anger from Esperanza. After this experience, Esperanza blames Sally instead for covering up the truth about boys and is heartbroken about the real truth of sexuality and men. It is clear that Esperanza vividly remembers this awful experience, and just reflecting on this experience causes her thoughts to
Initially, understanding an individual's point of view is essential to a discussion or argument. In the essay, ''The Myth of The Latin Women: I Just Met a Girl Named Maria" Cofer attempts to illustrate the effect stereotypes have in a Latina's life. Throughout the piece, she writes of her personal experience and how the positive side of being Latina is being downgraded by stereotypes, she writes, "We cannot change this by legislating the way people look at us. The Transformation, as I see it, has to occur at a much
Symbolism is the key to understanding Sandra Cisneros’ novel, “The House on Mango Street”. By unraveling the symbolism, the reader truly exposes the role of not only Latina women but women of any background. Esperanza, a girl from a Mexican background living in Chicago, writes down what she witnesses while growing up. As a result of her sheltered upbringing, Esperanza hardly comprehends the actions that take place around her, but what she did understand she wrote in her journal. Cisneros used this technique of the point of view of a child, to her advantage by giving the readers enough information of what is taking place on Mango Street so that they can gather the pieces of the puzzle a get the big picture.
By examining the narrative voice as well as the cultural restraints placed on them, readers can see the sexist culture in the novel and that the novel itself does not necessarily advocate this misogyny. Yunior, a Dominican man, is the overall narrator of the novel, so readers essentially see everything through his masculine eye. When discussing a brief fling with Lola, Oscar’s sister, Yunior says, “Even those nights after I got jumped she wouldn’t let me steal on her ass for nothing. So you can sleep in my bed but you can’t sleep with me?” (Diaz 169) His question suggests that it is his right to sleep with her, and his discussion of Lola herself objectifies her by noting only her body and her refusal to use it. This objectification is clearly sexist, but it is a reflection of the narrative voice, Yunior, not of Lola. Yunior will casually refer to a woman as “a bitch” (Diaz 183), which is clearly demeaning, but it is a man’s view and does not reflect on the substance of the women. It shows readers the culture he was raised in, not an actual portrayal of the women, illustrating a misogynist society but not a misogynistic novel. In the Dominican Republic, gender-based violence is the fourth leading cause of death, hinting at the overall problems caused by the hyper-sexualized nature of the country. Sociologist Denise Paiewonsky
The role of strong female roles in literature is both frightening to some and enlightening to others. Although times have changed, Sandra Cisneros’ stories about Mexican-American women provide a cultural division within itself that reflects in a recent time. The cultural themes in Cisneros’s stories highlight the struggle of women who identify with Mexican-American heritage and the struggle in terms of living up to Mexican culture – as a separate ethnic body. The women in Sandra Cisneros’ stories are struggling with living up to identities assigned to them, while trying to create their own as women without an ethnic landscape. In Sandra Cisneros’ stories “Woman Hollering Creek: and “Never Marry a Mexican” the role of female identities that are conflicted are highlighted, in that they have to straddle two worlds at once as Mexican-American women.
Chick critiqued Judith Ortiz Cofer’s Silent Dancing by advising that it is a collection of fourteen essays and poems. It talks about Cofer’s adolescence and how she did not achieve the expectations for her to become a traditional Puerto Rican woman (AEW 381). Initially, Mamá is portrayed as an authority figure because she keeps her family in control just by the use of storytelling. With Chick’s point of view, I cannot disagree since it is accurate. Cofer, also disagrees with becoming the traditional Puerto Rican woman from receiving an education and going on her own path to becoming a writer. It is interesting how some of the characters are perceived, although they are considered as fiction since their identities are hidden. Cofer achieves her storytelling by being half fiction and auto-biography since it is written by herself. She reevaluates how women should be known as, but specifically the means of the life of a Puerto Rican
Judith Ortiz Cofer, a professor of english and creative writing, tackles gender roles as well as cultural stereotypes in “ The Myth of the Latin Woman” and challenges them by attempting to replace the stereotypes with the realities. In “The Myth of the Latin Woman” Cofer discusses her life in America as a Puerto Rican woman. She also shares her stories of when she was stereotyped and how gender roles play a role in how Latinos are viewed. Stereotypes will follow you around because of your appearance and how the media portrays Latinas.
Cofer uses the rhetoric appeal of ethos to establish her authority to make the argument that Latina stereotypes are just myths. Growing ...
Stereotypes strongly influence how people interact, communicate, and establish relationships with others around them (Fries-Britt and Griffin 2007). In mainstream America, black women are often stereotypically portrayed as sex workers, welfare queens, blue-collar service workers, video vixens, and entertainers (Collins 2004). Within these stereotypical depictions, black women are viewed as loud, angry, ghetto, hypersexual, and sometimes violent (Chavous et al. 2004; Childs 2005; Collins 2004; Nguyen & Anthony 2014; Wilkins 2012). In contrast, positive stereotypes of black women showcase them as strong, independent, resilient, loyal to their families and romantic partners, and responsible for sustaining the African American family. These images promote constructive illustrations of black women even though popularized images negatively portray black women (Chavous et al. 2004; Settles 2006; Wilkins 2012). These stereotypes of black women describe positive characteristics that many black women tend to ascribe to and attain. I argue that even though these stereotypes may yield positive behaviors from black women, they are still considered stereotypes because the majority will utilize these stereotypes to negatively categorize black women. In the words of Pat Hill Collins (2004: 263), “African American women’s race and gender classification disadvantages them”. Thus, these
Heilbroner, Robert L. “Don’t Let Stereotypes Warp Your Judgments.” Emerging Voices: Readings in the American Experience. Ed. Sara M. Blake and Janet Madden Orlando: Holt, Rinehart, and Winston, 1993. 436-442.
In the Book women are looked upon as objects by men whether they are boyfriends, friends fathers or husbands. The girls in the novel grow up with the mentality that looks and appearance are the most important things to a woman. Cisneros also shows how Latino women are expected to be loyal to their husbands, and that a husband should have complete control of the relationship. Yet on the other hand, Cisneros describes the character Esperanza as being different. Even though she is born and raised in the same culture as the women around her, she is not happy with it, and knows that someday she will break free from its ties, because she is mentally strong and has a talent for telling stories. She comes back through her stories by showing the women that they can be independent and live their own lives. In a way this is Cinceros' way of coming back and giving back to the women in her community.
Bergmann, Emilie. "Abjection and Ambiguity: Lesbian Desire in Bemberg's "Yo, la peor de todas." Hispanisms and Homosexualities. Ed. Sylvia Molloy and Robert McKee Irwin. Durham: Duke UP, 1998.
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).
Suaréz, Lucia M. “Julia Alvarez And The Anxiety Of Latina Representation.” Meridians: Feminism, Race, Transnationalism 5.1 (2004): 117-145. SocINDEX with Full Text. Web. 25 Mar.2014.