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Essay writing childhood memories
Treatment of women in literature
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The following will discuss the presentation of female characters in Gregory Nava’s El norte and Sandra Cisneros’ The House on Mango Street. The film ‘El Norte’ tells the story of a brother and sister ,Enrique and Rosa, who flee from their home of Guatemala in search of a better life due to government killings and kidnappings after an attempted formation of a workers union by their father. The film gives an indication of the difficulties Spanish speakers had in their own countries and their survival in America. The House on Mango Street , a novel consisting of a series of vignettes tells the story of Esperanza, a young Latina girl, after her family moved to Mango Street, a poor Spanish barrio in Chicago. The story is told through the eyes …show more content…
This is evident in both The House on Mango Street and El Norte. In the third vignette of The house on Mango street ‘Boys and Girls’ the readers is immediately informed that the division between men and women when referring to herself and her sister Nenny , and her brothers, “They’ve got plenty to say to me and Nenny inside the house. But outside they can’t be seen talking to girls.”. This male dominance begins at a very young …show more content…
There are numerous examples of women being presented as victims due to the mistreatment of men. Rafaela is treated as an precious object rather than a human , when her husband goes out she “gets locked indoors as her husband is afraid she will run away since she is too beautiful”, she wishes for a different life and escaping “Rafaela leans out the window and leans on her elbow and dreams her hair is like Rapunzel’s”. The mistreatment of women also seen in in the vignette ‘No Speak English’ , Marmacita is brought from Mexico to live in Chicago ,even though she does not speak English , she sits by the window, listens to Spanish radio, and wishes to go home , however her husband has stated this is not going to happen ,and due to his ‘ownership’ of her , she has to stay with him. When Esperanza begins to spend time with Sally , she beings to hang around with more boys than she would have before. It is not only grown men that see women as an object , it is the young males as well, Esperanza is sexually assaulted against her will as twelve years old. “What he did. Where he touched me, I didn’t want it Sally“. The little reaction to this is worrying. Another disturbing aspect of the mistreatment of women and their vulnerability in the novel is that of Sally. Sally is slightly older than Esperanza. She is the
She was not a master of style, plot development or characterization, but the intensity of feeling and aspiration are evident in her narratives that overrides her imperfections. Sandra Cisneros’ The House on Mango Street, written in 1984, and Anzia Yezierska’s Bread Givers, published in 1925, are both aimed at adolescent and adult audiences that deal with deeply disturbing themes about serious social conditions and their effects on children as adults. Both books are told in the first person; both narrators are young girls living in destitute neighborhoods; and both young girls witness the harsh realities of life for those who are poor, abused, and hopeless. Although the narrators face these overwhelming obstacles, they manage to survive their tough environments with their wits and strength remaining intact. Esperanza, a Chicano with three sisters and one brother, has had a dream of having her own things since she was ten years old.
Junot Diaz’s novel The Brief Wondrous Life of Oscar Wao is focused on the hyper-masculine culture of the Dominican, and many argue that his portrayal of the slew of women in the novel is misogynistic because they are often silenced by the plot and kept out of the narration (Matsui). However, Diaz crafts strong women, and it is society that views them as objects. The novel recognizes the masculine lens of the culture while still examining the lives of resilient women. In this way, the novel showcases a feminist stance and critiques the misogynist culture it is set in by showcasing the strength and depth of these women that help to shape the narrative while acknowledging that it is the limits society places on them because of their sexuality
Throughout The House on Mango Street Esperanza learns to resist the gender norms that are deeply imbedded in her community. The majority of the other female characters in the novel have internalized the male viewpoint and they believe that it is their husbands or fathers responsibility to care for them and make any crucial decisions for them. However, despite the influence of other female characters that are “immasculated”, according to Judith Fetterley, Esperanza’s experiences lead her to become a “resisting reader” in Fettereley’s terminology because she does not want to become like the women that she observes, stuck under a man’s authority. She desires to leave Mango Street and have a “home of her own” so that she will never be forced to depend on a man (Cisneros 108). During the course of the novel Esperanza eventually realizes that it is also her duty to go back to Mango Street “For the ones that cannot out”, or the women who do not challenge the norms (110). Esperanza eventually turns to her writing as a way to escape from her situation without having to marry a man that she would be forced to rely on like some of her friends do.
“Someday, I will have a best friend all my own. One I can tell my secrets to. One who will understand my jokes without me having to explain them” (9). These are the longing words spoken by Esperanza. In the novel The House on Mango Street, Esperanza is young girl experiencing adolescence not only longing for a place to fit in but also wanting to be beautiful. This becomes complicated as Esperanza becomes more sexually aware. Throughout the novel, Cisneros argues the importance of beauty and how Esperanza deals with beauty as a part of her identity. When Esperanza meets Sally a new friend, Esperanza’s whole world is turned upside down. Esperanza’s views on beauty change from a positive outlook to a negative one by watching how beauty has damaged Sally’s life.
Over time, the image of men has changed. This is due mostly to the relaxation of rigid stereotypical roles of the two genders. In different pieces of literature, however, men have been presented as the traditional dominate figure, the provider and rule maker or non-traditional figure that is almost useless and unimportant unless needed for sexual intercourse. This dramatic difference can either perpetuate the already existing stereotype or challenge it. Regardless of the differences, both seem to put men into a negative connotation.
Latin American women in media are usually assigned the typical stereotypes. The stereotypes that are commonly associated with Latinas are thugs, gangbangers, laborers, servants, or seductress. In this novel we observe the experiences that many Latin American women have to endure due to the male-dominated society. The House on Mango Street is about a young Mexican-American girl, Esperanza, who dreams of a better life. Esperanza's family moves to a new house on Mango Street, but it doesn't meet the expectation of Esperanza's "dream house." The house is located in a crowded Latino neighborhood that consists of the lower income families. This book gives insight to the living conditions that many poor Latin-Americans live in.
“Home is where the heart is.” In The House on Mango Street, Sandra Cisneros develops this famous statement to depict what a “home” really represents. What is a home? Is it a house with four walls and a roof, the neighborhood of kids while growing up, or a unique Cleaver household where everything is perfect and no problems arise? According to Cisneros, we all have our own home with which we identify; however, we cannot always go back to the environment we once considered our dwelling place. The home, which is characterized by who we are, and determined by how we view ourselves, is what makes every individual unique. A home is a personality, a depiction of who we are inside and how we grow through our life experiences. In her personal, Cisneros depicts Esperanza Cordero’s coming-of-age through a series of vignettes about her family, neighborhood, and personalized dreams. Although the novel does not follow a traditional chronological pattern, a story emerges, nevertheless, of Esperanza’s search to discover the meaning of her life and her personal identity. The novel begins when the Cordero family moves into a new house, the first they have ever owned, on Mango Street in the Latino section of Chicago. Esperanza is disappointed by the “small and red” house “with tight steps in front and bricks crumbling in places” (5). It is not at all the dream-house her parents had always talked about, nor is it the house on a hill that Esperanza vows to one day own for herself. Despite its location in a rough neighborhood and difficult lifestyle, Mango Street is the place with which she identifies at this time in her life.
Sandra Cisneros reveals her feminist views through her novel The House on Mango Street. She does this by forcing the reader to see the protagonist as an alienated artist and by creating many strong and intelligent female characters who serve as the protagonist's inspiration.
Sandra Cisneros' strong cultural values greatly influence The House on Mango Street. Esperanza's life is the medium that Cisneros uses to bring the Latin community to her audience. The novel deals with the Catholic Church and its position in the Latin community. The deep family connection within the barrio also plays an important role in the novel. Esperanza's struggle to become a part of the world outside of Mango Street represents the desire many Chicanos have to grow beyond their neighborhoods.
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.
Society set a standard many years ago that in a relationship, the woman depends on the man. In The House on Mango Street, woman tend to trust and not have power in relationships. Sandra Cisneros develops the theme that women are inferior to men. This is based on men’s view on power and women accepting their role through the motif of gender roles throughout the novella The House on Mango Street.
The pervasiveness of passive heroines in popular versions of fairytales and folklore has long afforded feminist critics a rich hunting ground to criticize the roles forced on women by patriarchal societies. In The House on Mango Street, Sandra Cisneros uses allusions to female heroines in children’s tales in many of the novel’s vignettes to create a portrait of expected feminine roles within a Latino patriarchal community and recasts the tales to “reveal the true-to-life consequences for women who are socialized to live their lives waiting for the happy ending” (Spencer 278). The women of Mango Street are shown to conform to the traditional roles espoused by quintessential fairy and folk tale heroines. However, their lives, as described through the voice of young Esperanza, are far from magical. Instead The House on Mango Street is suggestive of a social reality in which the women’s lives are constrained by gender roles and social mores. This research paper will endeavour to demonstrate how Esperanza’s coming-of-age transition to an empowered Chicana can only be achieved by rejectin...
In the novel, The House on Mango Street, Sandra Cisneros tells the story of a young girl, named Esperanza Cordero, who wants to live in a pretty house, similar to the ones she sees on television, to ultimately achieve the American Dream. Cisneros incorporates many themes and motifs throughout the vignettes to show the reality of Mexican immigrants, like Esperanza, as well as, Esperanza’s search for her identity. Since the novel is written mostly in first person, I felt greatly immersed into the story and felt as if Esperanza was directly telling her story to me. With the immersive feeling of the vignettes, that evoked a greatly vicarious experience for me, the conclusion provided a brief closure that was just enough to provide an appropriate
In the novel, The House on Mango Street, Sandra Cisneros describes the obstacles that Latino women face in a society that treats them as second class citizens. A society that is dominated by men, and a society that values women for their physical description and not for their noetic proficiencies. In her Novel Cisneros opens the reader to the obstacles that Latino women must face everyday in order to be treated fairly.
To begin, in The House On Mango Street, Cisneros describes how her grandmother is affected by gender roles. On page 11, the text states, “...my great grandfather threw a sack over her head and carried her off. Just like that, as if she were a fancy chandelier...She looked out the window her whole life, the way so many women sit their sadness on an elbow.”. This text reveals how gender roles impact one character’s life detrimentally. The grandfather of main character Esperanza regards Esperanza’s grandmother as an item, and thus leads a sad life, as most women do.