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An Examination of the Villain in Los Vendidos While female villains do not appear nearly as often as their male counterparts, when they do they are especially powerful. This is due, in part, to the fact that the role of villain goes against the nurturing, soft image of the female gender. After all, villains are evil; they are to be feared. However, the villain is an essential part of any story and serves many purposes. Villains personify what is wrong, or broken, in a society. Villains usually choose to take the easier path to get what they want, regardless of any moral implications, and in doing so they show an audience the difference between right and wrong. The best villains are sympathetic characters, which makes an audience question their …show more content…
In his play, “Los Vendidos”, Luis Valdez deliberately casts the secretary, Miss Jiminez, in the role of villain, and not the Honest Sancho. He does this to show Mexican-Americans the danger in becoming acculturated to the Anglo-American society, while giving them a character with which they can empathize.
Although the play is entitled “Los Vendidos”, (The Sellouts), which many could argue is a reference to the male characters posing as machines in order to swindle people like the secretary out of money, Miss Jimenez is the one true sellout of Valdez’s dramatic work. She fits into the role of the villain by participating in the dehumanization of her fellow Mexican-Americans. The very setting of the play, a shop in which Mexicans are being displayed for the purpose of being sold, serves to equate an
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In “Visions of the Other Mexico: Chicanos and Undocumented Workers in Mexican Cinema, 1954-1982,” David Maciel claims that, “For most Mexicans, Chicanos consciously and willingly denied their Mexican heritage and the Spanish language; it was also believed that Chicanos had a condescending attitude toward Mexico and Mexicanos,” (Maciel 72). Miss Jiminez must feel tremendous external pressure to assimilate into the American culture, especially considering she works for the Governor’s office. In an effort to fit in she decides to take what she sees as the easier path and simply reject her native culture. Instead of standing up for herself, and other Mexican-Americans by being proud of her ethnicity, she has succumbed to that pressure. In this sense, using a female character in the role of the villain works to gain sympathy from the audience in a way that would not happen with a male character. Miss Jiminez is a young female, working in a subservient role in which she has no real authority. One cannot help but take that into account when looking at her motivations for rejecting her own ethnic
Literary villains are all around us. For instance, Voldemort from Harry Potter and Darth Vader from Star Wars. What makes a villain? They will go through anyone or damage anything to reach their goal. No matter how small or how tall they are, anyone can be a villain.
Women are seen as failure and can’t strive without men in the Mexican-American community. In this novel you can see a cultural approach which examines a particular aspect of a culture and a gender studies approach which examines how literature either perpetuates or challenges gender stereotypes. Over and over, Esperanza battled with how people perceived her and how she wished to be perceived. In the beginning of the book, Esperanza speaks of all the times her family has moved from one place to another. “Before that we lived on Loomis on the third floor, and before that we lived on Keeler.
Los Vendidos means the sell-outs. All the characters in the play sold-out at some point during the play. The characters sold out both their races and their way of life. I would say that the person who sold out the most was the Mexican-American because he sold-out both his Mexican, his American heritage and way of life. He wanted to be perfect, so when he found that the Americans and the Mexicans had their flaws he sold them out. He now has to search for a new and perfect race to identify with.
"Los Vendidos," directed by Luis Valdez, is a remarkable play that looks into the historical struggles, stereotypes and challenges of Mexican Americans in a unique fashion. Rather than tell the history of Mexican Americans through documentaries and actual footage, the play conveys its message about the true history of Mexican Americans in the United States through both subtle and blatant techniques.
The Anglos in the corrido, meanwhile, are not one-dimensional villains but “complex figures who contain positive as well as negative qualities” (Mendoza 146). These distinctive traits of a corrido – setting, conflict, and characterization, among others – ... ... middle of paper ... ... l. “Ge-or-ge,’ she called in an exaggerated Gringo accent. He looked back.
The fundamental conflict that led to their arrest and unfair trial was a clash between Mexican-Americans and the dominant White American culture. Acting as a host, El Pachuco is the spirit of the ideal, defiant Pachuco and serves as Henry’s Reyna’s alter ego throughout the play, intermingling past Mexican culture with the current Zoot Suit culture. El Pachuco serves as a corrective to illustrate the heavy biases that the court and media displayed throughout the 1940s against Chicano people. Through his constant interjections during the courtroom scene, and his final confrontation with the reporter at the conclusion of the play, he points out the injustices that Mexican-Americans had to endure. El Pachuco highlights each point in which the court discriminates or treats the Zoot Suiters unfairly.
The stories of Sandra Cisnero center on the ideas that Mexican-American women have a hard time dividing themselves between two separate worlds, countries and cultures. Traditionally, Mexican and Chicano women are quiet, obedient and not sexual. American women are outgoing, do their best to be different from traditional standards and have freedom in their sex lives. In the stories “Woman Hollering Creek” and “Never Marry a Mexican,” this separation is explored in the mode of strong, female characters. The analysis shows that the struggle for a Mexican-American woman is real in modern times, but can be overcome with a strong female identity – as a woman undefined by her ethnic background.
Ruiz, Vicki L. From out of the Shadows: Mexican Women in Twentieth-century America. New York:
In the film, Tina (the Latina) plays the love interest of the main character Mookie. Together, they had a child in which he does not care for often which leaves her very angry. However, when Mookie arrives in her home, he immediately tells her to take her clothes off, and after one protest she complies. In media, the stereotype for the Latina is that she is sexy, fierce, and loud - this movie did not portray the Latina any differently. Perhaps it was out of context for this type of movie, but in general I wish there was more representation of Latinas in different roles. Growing up, I have never seen a Latina in the fields of academia, medicine, business or anything except for housekeeping, which can be discouraging to a girl’s self-esteem. The Latina women I have been exposed to were all known for their looks or assets and not their personal talents. For instance, Sofia Vergara often plays the ‘spicy’ Latina and most people acknowledge her for her beauty and not her acting. While this may not be entirely negative, it still only portrays a slim view of what Latinas are and what they do or stand for. While the issue on the surface may be that Latinas are hypersexualized, the deeper implications are that placing a label to define Latinas under one category limits their abilities and fails to acknowledge the variations of all the different Latina
The cinematic display of the American Barbie doll as having blonde hair, blue eyes, and idolize as a priced item of femininity as compared to the Latina doll in which Eva says “in America, a girl can be crowned as a princess for her beauty and her grace” whereas “a Aztec princess is chosen by her blood” implicitly contrast the cultural differences in terms of their color and value. As she adoringly stares at these dolls, Eva’s father bought her a pair of boxing gloves, instead. Her father taught her to fight for whomever said that “they are not equal in their beauty and their blessing”, which indicate a harsh and brutal environment within their community. One day when Eva is peacefully waiting for her father to walk her to the bus stop, she witnesses her teenage neighbor, Roberto, shoot at his own front yard. Without any specific reasons behind the scene where her father was arrested at his own home as the police burst into his living room, it appears to be misleading toward the fact that he was arrested because he commit a crime when Eva says that all he was trying to do was “fight for our own”, in other word, defend their own people. Eva’s counterstories explicitly display a cultural aspect of the Hispanic community, which implicitly trying to defy the unrighteousness of retaliation and resistant against the white. Yet,
Vendida, naturally, is translated to a feminine noun to sell. Whereas, culturally among Chicanos, the term, rather, metonymy, “Vendida”, refers to one whom sells out their culture for the Anglo-American culture. Not only can this term be used in a feminine pronoun, but masculine as well. Cherrie Moraga writes exclusively in first person and using feminine pronouns of a “Vendida” to capture insight of a woman who is racially mixed with Mexican and Anglo and comes across male dominated superiority that causes women of color to be oppressed. As well as using third person historical accounts to outline such oppression that are still seen today. Using feminist criticism, Moraga depicts encounters in which machismo is the center of oppression of
Cruella DeVil and Edward Hyde are both considered villains because of the things they do. Cruella de Vil
As a journalist in 1920 for the New York Herald Tribune, Sophie Treadwell was assigned to go to Mexico to follow the situation after the Mexican Revolution. (Mexican Revolution 1910-1917) She covered many important aspects of the Mexican Revolution during this time, including relations between the U.S. and Mexico. She was even permitted an interview with Pancho Villa in August 1921 at his headquarters. This interview and other events that she experienced in Mexico are presumably what led her to write the play Gringo. In Gringo Treadwell tries to depict the stereotypical and prejudicial attitudes that Mexicans and Americans have about each other. There is a demonstration of how Mexican women are looked at in the Mexican culture and how they see themselves. The play also corresponds to similar events that occurred during the Mexican Revolution.
The Latino women and girls in the novel are extremely concerned about their appearances, because they feel that if they aren't attractive then they won't be noticed by men, and they are raised to believe that they need a man to fulfil their life, and that they need a husband to support them, and if they don't look attractive then they are not going to be noticed, and if they are not noticed, then they think they won't end up getting married. A good example of this is Marin. When Marin talks about a real job Marin says that the best place to work is downtown, not because of the work that is there, but because "you always get to look beautiful and were nice clothes." She also tells the girls that the only thing that matters is if your skirts are short, and your eyes are pretty, so that you are noticed by guys.
If it is a female heroine then she will be really attractive, big breasted, and quite feminine. The evil villain is normally ugly, and greedy. The hero and villain have gunfights and chases (featuring a variety of vehicles). One of the females is a seductress, who works for the villain, she has to be attractive. The other female plays the heroes love interest; she also needs to be attractive.