Every writer has the ability to make their writing remarkable, beautiful, and complex by using elements like genre, discourse, and code. Borderlands/ La Frontera: The New Mestiza is a semi-autobiographical work by Gloria Anzaldúa. She examines the relations of her lands, languages, and herself overall. She defines the borders she has around herself in the preface of the book: “The actual physical borderland that I’m dealing with in this book is the Texas-U.S. Southwest/Mexican border. The psychological borderlands, the sexual borderlands and the spiritual borderlands…the Borderlands are physically present wherever two or more cultures edge each other, where people of different races occupy the same territory, where under, lower, middle and upper classes touch, where the space between two individuals shrinks with intimacy” (Anzaldúa: Preface). The book is broken into two main sections. The semi-autobiographical section composed of seven smaller sections and the poetry section that is both in Spanish and English. The most important question is: if the elements of genre, discourse, and code can express another kind of content, how do they combine to complete the meaning of this book? Before answering the question, I will describe each element, what I found for each one, and then answer how these elements combine to complete the meaning of this book. A type of literary composition would be genre. The genres and literary forms for this book were put into the following categories: semi-autobiography, memoir, poetry (confessional versus conceptual), myths, subjective journalism, Mexican sayings (dichos), critical ethnography, historical narrative, personal narrative, and auto historia. This is a semi-autobiography and a memoir because... ... middle of paper ... ...f in a world that has people who are constantly judging who we are by the way we look. Works Cited Angela, Dari, and John. "Mesizo Cross Currents." Lecture. "Code-switching." Wikipedia. Wikimedia Foundation, 15 Mar. 2014. Web. 17 Mar. 2014. Fernández, Roberta. "Abriendo Caminos in the Brotherland: Chicana Writers Respond to the Ideology of Literary Nationalism." A Journal of Women Studies 14.2 (1994): 23-50. Web. . Hight, Heather, and Sarah Park. "Reading Autobiography." Lecture. Madison, D. Soyini. "Chapter 1: Introduction to Critical Ethnography: Theory and Method." Critical Ethnography: Method, Ethics, and Performance. Thousand Oaks, CA: Sage, 2005. N. pag. Print. Soedel, Amber, and Angela Varela. "Gloria Anzaldua." Lecture.
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.
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 ...
In Borderlands, the realities of what happens by the border instill the true terror that people face every day. They are unable to escape and trapped in a tragic situation. After reading my three classmates’ papers, I was able to learn a lot more about this piece than I originally encountered just on my own. I was able to read this piece in a completely new light and expand on ideas that I did not even think of.
Torres, Hector Avalos. 2007. Conversations with Contemporary Chicana and Chicano Writers. U.S.: University of New Mexico press, 315-324.
Delgadillo, Theresa. "Forms of Chicana Feminist Resistance: Hybrid Spirituality in Ana Castillo's So Far From God."Modern Fiction Studies. 44.4 (1998): 888-914. Delgadillo, Theresa. "Forms of Chicana Feminist Resistance: Hybrid Spirituality in Ana Castillo's So Far From God."Modern Fiction Studies. 44.4 (1998): 888-914. .
of the native tongue is lost , certain holidays may not be celebrated the same , and American born generations feel that they might have lost their identity , making it hard to fit in either cultures . Was is significant about this book is the fact it’s like telling a story to someone about something that happened when they were kid . Anyone can relate because we all have stories from when we were kids . Alvarez presents this method of writing by making it so that it doesn’t feel like it’s a story about Latin Americans , when
In T.C. Boyle’s The Tortilla Curtain, it should be easily noted that each wall comes with a much deeper, metaphorical meaning. The literal and figurative boundaries in the story appear as symbols for what keep the characters in their own “worlds.” These boundaries symbolize the fear of outside forces which each character struggles to keep away from what they cherish the most. Although the boundaries in the story can both be real and imagined, each one of them can allude back to the main issue of the Mexican-American border.
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 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).
Chicano men incorporated the church’s dominance over women into their life at home. Carmen M. del Río in her article “The Virgin of Guadalupe Revisited: Religion, Culture, Sexuality in the Works of Chicana/Latina Writers” details the entanglement of religion and culture,
Green, Keith, and Jill Lebihan. Critical Theory & Practice: A Coursebook. New York: Routledge, 1996.
Schensul, Stephen L.; Schensul, Jean J. & LeCompte, Margaret D. (1999). Essential ethnographic methods: observations, interviews, and questionnaires (Book 2 in Ethnographer's Toolkit). Walnut Creek, CA: AltaMira Press.
Bass, Randall. "Borders as Barriers: Otherness and Difference." Bordertexts: Cultural Readings for Contemporary Writers. Boston: Houghton Mifflin, 1999. 205-210.
Critical Research is also referred to as the transformative paradigm. Critical paradigms are used in qualitative research methods that include interviews and group discussions; these are techniques that allow for collaboration that can be carefully deployed in a way that avoid discrimination (Mackenzie & Knipe, 2006). Critical research analysis and interpretation seeks categories, patterns and themes to result in the data collection. The results are useful to identify ethical integrity and social injustices.
There are over seven billion people on earth and every single one looks different. No matter how much people say that being different is unique, they are wrong. Society has set a beauty standard, with the help of the media and celebrities, that makes people question their looks. This standard is just a definition of what society considers being “beautiful.” This idea is one that mostly everyone knows about and can relate to. No one on this planet is exactly the same, but people still feel the need to meet this standard. Everyone has two sides to them; there is the one that says “you are perfect just the way you are”, while the other side puts you down and you tell yourself “I have to change, I have to fit in.” There is always going to be that side that cares and the one that doesn’t.