The central claim in “Movimientos de Rebeldia y Las Culturas que Traicionan” made by Gloria Anzaluda is culture is created by men and women have three options which are: to become a nun, housewife, or a prostitue. The next option is education and becoming self-sufficient. With doing this, it violates cultural norms, which results in the society get rid of the deviants. In this chapter, she discuss her life growing up in Rio Grande Valley with her family. She explains that she had to leave her family, culture, and life behind because she wanted to live the life she always wanted. Her culture could not accept who she really were, which was a lesbian. She needed to find herself according to Anzaluda. One of the points, Anzaluda made was culture …show more content…
In other words, men makes the rules while the females implement them. She gives an example where the mother and mothers-in-law tell their son that its okay to beat their wives if they disobey. Also, expecting their husband to help them with any of their daily duties as housewives. This is not necessary true for all cultures. In fact, Anzaluda contradicts herself with her statement on the Mexican and Chicano cultures. In her next chapter in Borderlands: La Frontera, Anzaluda explains the Chicano’s culture and how there was a goddesses that had strong feminine energy. All of their tribal leaders were female. Furthermore, Anzaluada explains that western and male dominant changed the perspective of the female goddess as evil and seductive to males (Anzaluda, 2012). Here are cultural where gender are neutral and everyone shares responsibilities. Many Central Americans fled the poverty and oppression in their countries to seek a more secure and better life in a new place. As one person settled in the new location and saved enough money, he or she would help family members to migrate. Because of the informal and extended family networks that are part of the Central American culture, natural support systems develop to assist new arrivals. In every ethnic or cultural group there are different individuals who are regarded as leaders by members of the group. Every leader has a place and a role in his or her community. Leaders can be categorized by type, by issue, by rank, by place, by age, and so on. In Chinese communities, the leader is typically the head of the family. If family refers to a grandfather, father, mother, sons and daughters, and grandchildren, then the leader is the grandfather. If family refers to the congregation of a church, the leader is the pastor. If family refers to a clan, the leader is the President of the clan's association. In African American
The conflict within the Garcia family took place during the cultural rupture and the point of political. Since their father had rebelled against Trujillo’s oppressive dictatorship, it impacted the Garcia sisters to become rebellious against their parents’ disciplines. The Garcia sisters learned new American habits. They went out to parties, had affairs and even tried drugs.
In “How to Tame a Wild Tongue,” Gloria Anzaldúa explains the implications of living under the influence of two cultures. She begins with a story of how she was punished by a teacher for correcting the pronunciation of her name. Anzaldúa gives the reader anecdotes about her life in a dual culture society, explaining the trials of accepting her heritage, fighting to find her place in Mexican or American society, and establishing herself as a proud Chicana.
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
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.
Rather, it criticizes this culture through its portrayal of women. The narrative is focused on a male and is told by a male, which reflects the male-centered society it is set in. However, when we compare how the narrator views these women to who they really are, the discrepancies act as a critique on the Dominican culture. Yunior, who represents the typical Dominican male, sees women as objects, conquests, when in fact their actions show their resistance to be categorized as such. Beli, whose childhood was filled with male domination by Trujillo and the family she worked for, attempts to gain power through sexuality, the avenue the culture pushes women toward. This backfires, creating a critique of the limited opportunities available for women. La Inca portrays a different side to this, working quietly but in ways that are not socially acceptable through self-employment. Society attempts to cage these women, but they continue to fight against it. Diaz, in an interview, quoted James Baldwin, stating, “Not everything that is faced can be changed, but nothing can be changed until it is faced" (Fassler). He exhibits the misogyny in the system but does not support it, rather critiques it through strong female characters. By drawing attention to the problem, the novel advocates for change. Diaz writes, at the end of part 1, “Nothing more exhilarating… than saving yourself by the simple act of waking”
n Chapter 3, “Entering Into the Serpent”, Anzaldua discuss about serpents and snakes and she was told they were dangerous growing up. Then, she goes in with a history of the goddesses of Mexican and Chicano cultures. According to Anzaluda, many of the Indian groups had goddesses that were respected feminine, the wild, the beast within women. She explains that most of the tribal leaders were females but, then the Aztec rulers changed things, though, by destroying documents, rewriting mythology, creating wars and defeat. The Aztecs changes the view of the strong female goddess and made them evil and subduing men. This chapter make realize ho man became the dominant gender when it comes to household or ruling a country. They are intimidate by
? . . . it made no difference if they studied medicine or had the right to vote, because they would not have the strength to do it, but she herself [Nivea] was not brave enough to be among the first to give up the fashion.? (6, Ch 1) The women in this society are dependant on the dominant male figure to handle political and economical duties. This point of view is intended to mimic the older generation of women ad present a foundation for the growth of an enlightened generation. Allende uses this excerpt to present a foundation of structure to the novel by beginning with the extremes of opinion, which are followed in the novel through different generations. Alba for example, become a very outspoken activist by trying to attend the student protests and follow Miguel on his demonstrations, a sharp contrast to the indifference or shallowness found in her great grandmother.
In Mexican families, men are generally “in charge”. In a traditional Mexican family, women take care of the children and maintain the household while the men go to work and put food on the table. This is similar to American culture because in an American family, if a parent stays home, it is usually the woman. In both Mexican and American families, women generally have the nurturing and caring job while men do work outside the house. Men usually get the jobs that take more body power. There are also many differences in gender role between these countries.
No one enjoys making decisions without the knowledge of a definitive outcome, but oftentimes, it is vital to one’s future to make that decision. This idea is explored in the poem, “Exile,” by Julia Alvarez, the story, “The Trip,” by Laila Lalami, and in the article, “Outlaw: My Life as an Undocumented Immigrant,” by Jose Antonio Vargas. In all three texts, the characters gamble their lives for a goal, which demonstrates the theme that, sometimes it is necessary to take risks to ensure a better quality of life.
Child rearing and family structure within the Hispanic culture is noticeably different than what is present in the mainstream Western culture of today. One apparent difference is in gender roles. There exists a vastly different expectation in Hispanic culture for males and females. The male is considered to be the independent breadwinner, and the head of the household. Accordingly, the female role is one of submission and provider of childcare. In contrast, it is more than acceptable in Western culture for a female to maintain a non-traditional role. Hispanic culture additionally differs from Western culture in the traditional makeup of the family. Within Hispanic culture the extended family plays a huge role
Often viewed in several different ways, the division of labor of the home is never easy to assign. Willingly taking on their assigned roles, numerous families abide by these assignments, still; other marriages want equality in this division of household chores. Countless of these tasks can be strenuous and demanding. The responsibilities that come with these daily routines can also be life threatening if not carefully performed. A few of the duties in the day-to-day trade of maintaining a household include tasks such as cooking, cleaning, and caring for children. Division of labor among races is also different. These cultures influence how family roles come about and transpire. First, traditional Mexican American women undertake the
Most Mexican families are extremely traditional, with the man as the head of the house hold, and the authority figure. Machismo (masculinity) in all latino countries is a huge problem, not only because women are being deprived of their freedom, but because men abuse their power. I asked five Mexican women how they felt about Machismo in Mexico. Two of the five women told me kind of the same thing; They believe that it is not a bad thing, but it depends on the man. The other three were very against it, and they ...
Kumaraswami (2007) identifies that the females presented are stereotypical in their nature; this is to say that they either exist in the domestic atmosphere or that they have lost their purity due to being forced into the revolution. Although Camila and Pintada are complete opposites, the similarity lays in the fact that they both fit different parts of society at that time: “En combinación, forman una síntesis de dos extremos irreconciliables que se le presentan a la mujer mexicana y entre los cuales tiene que escoger” (Clark, 1980). In this sense, the mexican women were in two different situations, those who wished to remain traditionalistic and those who sought self-advancement through the likes of previously considered male characteristics. One can see the traditional character through Camila, Azuela has ensured that initially Camila would fit the traditional role of the female, caring, weak, and doting to the men’s needs. Thus Camila seems to be a flat stereotypical character that is expected to appear in novels of this era if women were to appear at all. Nevertheless, the character of Camila becomes more dynamic as Los de Abajo develops, thus she becomes more of an indication as to how women involved in the revolution did not remain ‘sana y buena’. On the contrary, the almost paradoxical characteristics of Pintada seem to confuse Azuela. Pintada is an emasculated character but only in the sense of
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).
She is the one that refuses to oblige to societal orders. She is the “Shadow-Beast” (38) with “Chicana identity grounded in the Indian woman’s history of resistance” (43). Although alienated physically, Anzaldua is “immobilized” (43) mentally the more confined she becomes in a culture engulfed in pure oppression. She claims her “shadow-beast” as the depiction of her highly wanted independence as an individual human being, which eventually forces her to leave her family behind to find herself separately from the “intrinsic nature buried under the personality that had been imposed” (38) for people like Anzaldua for many years. Her push for rebellion sets a voice for the silenced anger and pure resistance against the ostracism of herself, her family, culture, and the white-washed society she has been born into. To be the only Chicana, lesbian, and rebellious woman in her family is considered sinful, as women, according to Anzaldua, in Mexico only have “three directions she could turn: to the church as a nun, to the streets as a prostitute, or to the home as a mother” (39). Noticing that women are culturally restricted to these roles, Anzaldua creates the opposite role for herself claiming to take the “fourth choice” by “entering the world by way of education and career and becoming self-autonomous persons,” (39), which she uses to her advantage to transform the prolonged oppression into her long awaited freedom to live as an openly queer woman