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Mexican culture
Research paper on feminist theory
Introduction to feminist theory
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The objective of my essay will be to render a comparative analysis of the similarities and differences in the way Rosario Sanmiguel and Elena Poniatowska use their characters to address the roles that have been relegated to women within the Mexican culture. I will mainly focus on the short stories of “Under the Bridge” by Sanmiguel and the novel “Here's to you, Jesusa!” from Elena Poniatowska. While both authors use fictitious characters to discuss the roles of the Mexican women within the Mexican society, they both do it in a different manner. Poniatowska novel is based on an earlier time and she addresses the roles of women and their struggles during the Mexican revolution. Her depiction of women is mostly done through the experiences of Jesusa Palancartes in a time where the Mexican ideology saw women as a men’s property. Sanmiguel however, focuses on the women from the Mexican border, she also details in many ways how women have overcome the disadvantages of being women and gives a vivid description of the day-to-day lives of women from …show more content…
Through the character of China and Morra in “A Very Long Silence” Sanmiguel depict the entitlement men felt over women and paints a vivid description of how men have continued to suppress women by using their physical strength as an advantage over women. There is a part where Sanmiguel describes the way Morra was overpower by Varella a man who had provided protection for her while she worked at the Coco-Drilo bar. This protection appeared to have given Varella ownership over Morra who forces her to renounce to her true love, by physically refraining her from leaving. He uses his stronger physic to block her way than “slap her in the face [leaving] her unconscious” (p.14). Like Jesusa, Morra also succumb to the abuse and “resign to her fate” (p.14) allowing a man to take over their
Colonial Latin American society in the Seventeenth Century was undergoing a tremendous amount of changes. Society was transforming from a conquering phase into a colonizing phase. New institutions were forming and new people and ideas flooded into the new lands freshly claimed for the Spanish Empire. Two remarkable women, radically different from each other, who lived during this period of change are a lenses through which many of the new institutions and changes can be viewed. Sor Juana and Catalina de Erauso are exceptional women who in no way represent the norm but through their extraordinary tales and by discovering what makes them so extraordinary we can deduce what was the norm and how society functioned during this era of Colonial Latin America.
The two short stories, “Never Marry a Mexican” by Sandra Cisneros and “Maria de Covina” by Dagoberto Gilb, read were attention-grabbing to say the least. There were several similarities within the two, such as their plot, theme, and actions of the main character. While there are all of those similarities, there are plenty of differences as well. Some examples of these differences include setting, literary elements, and thoughts of the main character.
Oftentimes, societal problems span across space and time. This is certainly evident in Julia Alvarez’s How the García Girls Lost Their Accents a novel in which women are treated peripherally in two starkly different societies. Contextually, both the Dominican Republic and the United States are very dissimilar countries in terms of culture, economic development, and governmental structure. These factors contribute to the manner in which each society treats women. The García girls’ movement between countries helps display these societal distinctions. Ultimately, women are marginalized in both Dominican and American societies. In the Dominican Republic, women are treated as inferior and have limited freedoms whereas in the United States, immigrant
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.
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 Women of Colonial Latin America serves as a highly digestible and useful synthesis of the diverse life experiences of women in colonial Latin America while situating those experiences in a global context. Throughout, Socolow mediates the issue between the incoherence of independent facts and the ambiguity of over-generalization by illustrating both the restrictions to female behavior and the wide array of behavior within those restrictions. Readers of varied backgrounds will come away with a much deeper understanding of the challenges and opportunities that defined the lives of the diverse women of the New World ruled by Portugal and
In Estela Portillo Trambley’s play Sor Juana the main character Sor Juana Ines de la Cruz was considered to be one of the earliest feminists. Sor Juana’s eternal struggles to study and unshakable craving for knowledge and wisdom, from whatever source it may be, support this attribute. In my opinion however, there are also significant elements of the play that suggest that Sor Juana would not be considered a true feminist. Of these reasons, there are three major ones that I will analyze. The first reason is that Sor Juana gave up her struggle for the acquirement of knowledge from books and settled for reading from religiously accepted writing, essentially giving up what she had been originally fighting for and abandoning her previous ideals. Secondly, Sor Juana only fought for herself and what she wanted to pursue. She did not fight for other women or in other political, economic, or social spheres. Finally, the play fails to identify how Sor Juana set any kind of precedent or example by accomplishing anything that women before her had never accomplished. In the remainder of this essay I will analyze how Trambley’s representation of Sor Juana is that of a woman concerned only with her own desires and also a woman that gave up her struggle for personal
Demetria Martínez’s Mother Tongue is divided into five sections and an epilogue. The first three parts of the text present Mary/ María’s, the narrator, recollection of the time when she was nineteen and met José Luis, a refuge from El Salvador, for the first time. The forth and fifth parts, chronologically, go back to her tragic experience when she was seven years old and then her trip to El Salvador with her son, the fruit of her romance with José Luis, twenty years after she met José Luis. And finally the epilogue consists a letter from José Luis to Mary/ María after her trip to El Salvador. The essay traces the development of Mother Tongue’s principal protagonists, María/ Mary. With a close reading of the text, I argue how the forth chapter, namely the domestic abuse scene, functions as a pivotal point in the Mother Tongue as it helps her to define herself.
Intertwined in allusions to women of Mexican history and folklore, making it clear that women across the centuries have suffered the same alienation and victimization, Cisneros presents a woman who struggles to prevail over romantic notions of domestic bliss by leaving her husband. In the story Woman Hollering Creek, Sandra Cisneros discusses the issues of living life as a married woman through a character named Cleófilas; a character who is married to a man who abuses her physically and mentally. Cisneros reveals the way the culture puts a difference between a male and a female, men above women. In Woman Hollering Creek, we see a young Mexican woman, who suddenly moves across the border and gets married. The protagonist, Cleófilas’ character is based on a family of a six brothers and a dad and without a mom, and the story reveals around her inner feelings and secrets.
Her vulnerability begins, after Emilano passes as Jesusa joins the Mexican Revolution. At fifteen, she forcibly marries Pedro Aguilar, a young abusive cavalry officer. Pedro's limitations, wherein his resentfulness and bitterness push Jesusa to detest him. Jesusa, has contempt, not shame for abused women, as she believes her rage during the abuse kept her sane as a Las Solderias. Unfortunately, Jesusa becomes burdened by civilization wherein women are invisible. In Jesusa's world, destitution and cruelty are dominated by Jesusa's justice and hope. Jesusa portrays an individual women's life throughout and afterwards of the Mexican Revolution. Jesusa, presents a feministic account through oppression of Mexican societal genderization in early twentieth century Mexico. Furthermore, the Mirabal sisters manage to overcome the psychological disturbances Trujillo places within his
Elena Poniatowska escrita durante una epoca de cambio en Mexico. Antes de sus obras las mujeres mexicanas eran sometidos, docil, y pasivo. En la tiempo de sus obras las mujeres estaba tratando salir de los estereotipos de antes. Esta problema social tomo un afecto en Elena. Aunque ella no viene de un movimiento literatura directamente, ella escrita con el concepto de compremetido. En su narrative El Recado ella crea un mujer estereotipical que no puede controlar sus emociones. La titula es eso porque ella viene a ver su amante, pero el no esta, asi ella escribe las cosas que sentia. La perspectiva es de un personaje y ella nunca interacta con otros personajes. En facto la unica descripcion de un personaje otro de la protagonista es de su amante Martin. Habla de otros personajes, pero solamente de sus acciones. Porque ellas es la unica perspectiva que tenemos es sencillo a sentar compasion para una protagonista de quien nombre no aun sabemos. Ella da la descripcion de toda que vea, y mas importante todo que se sienta. Tambien tropos y figuras retoricas dan un tono significante al poema. Estos sentimientos de la portagonista y el tono emocional de la narrativa transporta una tema de una mujer estereotipical y debil quien quiere ser reconocido.
... middle of paper ... ... Sandra Cisneros took a risk and got remarkably far with her passion for mixing the cultures and the identities of women. Her voice is what emphasizes the article to show how the goal is to redistribute the language and culture, not criticizing the “New World”.
The contrast between the Mexican world versus the Anglo world has led Anzaldua to a new form of self and consciousness in which she calls the “New Mestiza” (one that recognizes and understands her duality of race). Anzaldua lives in a constant place of duality where she is on the opposite end of a border that is home to those that are considered “the queer, the troublesome, the mongrel and the mulato” (25). It is the inevitable and grueling clash of two very distinct cultures that produces the fear of the “unknown”; ultimately resulting in alienation and social hierarchy. Anzaldua, as an undocumented woman, is at the bottom of the hierarchy. Not only is she a woman that is openly queer, she is also carrying the burden of being “undocumented”. Women of the borderlands are forced to carry two degrading labels: their gender that makes them seem nothing more than a body and their “legal” status in this world. Many of these women only have two options due to their lack of English speaking abilities: either leave their homeland – or submit themselves to the constant objectification and oppression. According to Anzaldua, Mestizo culture was created by men because many of its traditions encourage women to become “subservient to males” (39). Although Coatlicue is a powerful Aztec figure, in a male-dominated society, she was still seen
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.
...Halevi-Wise, Yael (1997). Story-telling in Laura Esquivel's Como Agua Para Chocolate. The Other Mirror: Women’s Narrative in Mexico, 1980-1995. Ed. Kristine Ibsen. Westport, CT: Greenwood Press, 1997. 123-131.