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More handpicked essays just for you.
Conflict theory and gender
Gender conflict in society
Gender conflict in society
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“Wounds of the Spirit” by Traci West, “The Other Side of Paradise” by Stacyann Chin, and “Loving in the War Years” by Cherríe Moraga, all deal with feminist issues in a chaotic environment. Taking three unique routes, these books portray the female experience of sexuality and feminism in different cultural environments. They also illuminate that different cultures have similar struggles and concludes in strong feminism. “Wounds of the Spirit” takes a new perspective on a burdensome issue; sexual violence against African American women. While most books either provide information or point blame toward individuals, Traci West takes an alternative route and uses actual interviews of women who have overcome different types of sexual violence. The …show more content…
West goes into detail about overcoming sexual violence through psychological, sociological and theological tactics by using the stories of real women to better comprehend women who have been victimized and to create immunity from sexually violent behaviors. While the focus of her book is toward African American women she connects this to all women with her broad terms, making it even more relatable to women of a different cultural background. The four parts of this book come together to create more than a moving story, but also a method of prevention of further violence in, not only African American women but, all …show more content…
The book does not contain the same poetic elements the first half does; it instead uses a more professional business like route. Defining the culture of her society through a political and oratorical manner, the second half of the book creates profound evidence for her identity confusion that results in her feminism. The book takes two elements of life and culture and creates one world from both. It gives both a personal first hand perspective of feminism, as well as a second hand look at feminism through the Chicano/a movement. While all three books deal with feminism, they each have their own tactics of dealing with the unequal treatment of women. By using real interviews from women who have suffered, to an autobiography of an author who has dealt with the issues herself, these books deal with sexual abuse and feminism at their finest. Each book has its own maneuver to create a helpful and knowledgeable perspective to overcoming issues that are directed to
Maria Elena de Valdes writes her review based upon the novel The House on Mango Street by Sandra Cisneros analyzing the identity of the main character, Esperanza, and how the text relates to Mexican-American individuals. Valdes’ review evaluates The House on Mango Street with a feminist view on to show the struggles of a young chicana girl coming of age and how she chooses to establish her own identity.
The story “Woman Hollering Creek" by Sandra Cisneros describes the lives of Mexicans in a Chicago neighborhood. She depicts the life that women endure as Latino wives through her portrayal of the protagonist, Cleofilas. For Cisneros being a Mexican-American has given her a chance to see life from two different cultures. In addition, Cisneros has written the story from a woman’s perspective, illustrating the types of conflicts many women face as Latino wives. This unique paradigm allows the reader to examine the events and characters using a feminist critical perspective.
A careful examination of the sexual violence against african-american women in this piece reveals imbalances in the perceptions about gender, and sexuality shed that ultimately make the shift for equality and independence across race and class lines possible during this time period.
Using both English and Spanish or Spanglish the author Gloria Anzaldua explores the physical, cultural, spiritual, sexual and psychological meaning of borderlands in her book Borderlands/La Frontera: A New Mestiza. As a Chicana lesbian feminist, Anzaldua grew up in an atmosphere of oppression and confusion. Anzaldua illustrates the meaning of being a “mestiza”. In order to define this, she examines herself, her homeland and language. Anzaldúa discusses the complexity of several themes having to do with borderlands, mestizaje, cultural identity, women in the traditional Mexican family, sexual orientation, la facultad and the Coatlicue state. Through these themes, she is able to give her readers a new way of discovering themselves. Anzaldua alerts us to a new understanding of the self and the world around us by using her personal experiences.
The publication of The Round House by Louise Erdrich serves as a literary feat and national victory for sexual assault survivors and activists through the author 's realistic depiction and exploration into the brutal effects that domestic violence has on a victim, family, and community. In The Round House, Geraldine 's traumatic assault during the summer of 1988 is not to be treated as an isolated incident, but a common occurrence that has affected millions of Americans and evolved into a national domestic violence crisis. The lasting emotional, mental, and relational effect of sexual assault and trauma are critical matters that are rarely explicated in modern literature, much
In “I am Joaquin”, women are represented minimal, unspecific, and stereotypical. The term coined by Gonzales was not inclusive to women. A lack of women’s acknowledgment engagement with the Chicano Movement is present in Gonzales poem. In these lines “I shed the tears of anguish as I see my children disappear” Gonzales gives the impression of stereotypical women (I am Joaquin) . An image of a mother stereotype is depicted instead of an image of women contributing and involved in the movement through activism and organizations. Women such as Dolores Huerta played a vital role in the evolvement of the Chicano Movement however, the Chicano Social Identity is not inclusive to women because women are defined by men. Dolores Huerta was an important farmworker organizer within the farmworker struggles.
Chicana artists are historically underrepresented and their art work is always viewed lesser to the Chicano artists due to hegemony. However, many Chicana artists depict the reality of the Chicana experience and criticize and question the heterosexist Chicano narrative. Moreover, Professor Gaspar de Alba defines and distinguishes the difference between politics of identity and identity of politics. She emphasizes how politics of identity is the way the individual defines themselves. She then raised a very interesting question on who identifies as "Feminist" and unsurprisingly mostly women raised their hand and men did not. She then explains that many people misinterpret the meaning of feminism. It is stereotyped to be a "hating men" movement, when that is not the case. Gaspar de Alba goes into depth explaining how a man can also identify as a feminist if he has shares the same beliefs as feminists. Similar, to being a queer ally any individual may be a feminist ally. It is not surprising to me that many people misinterpret the feminism movement because historically feminism was centered on the upper-middle class white
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).
She lived as a Chicana women in a society of oppression and confusion. I feel like the overall theme of the story could be, Who am I? She’s questioning herself throughout the whole thing, trying to figure out how to be and who she is going to be. “It is a part of me that refuses to take orders from outside authorities”(38). She also shows her awareness of disobeying authority. All the standards that were placed upon Chicanas and women were coming from a need to control and disguised to ‘protect.’ Men were keeping women in a defined role. No one asked questions or went up against authority. You can look at these stories in numerous ways. She states that they are never alone with men, not even the ones in her family. “The culture gave us mixed messages...Which was it to be- strong, or submissive, rebellious of conforming?”(40). They are first a mother, father, or sibling, and lastly they were to think of themselves. Selfishness was condemned. They have very strict rules about how they were supposed to act. You couldn’t act like you were better than anyone else, you didn’t want people to get envious and do acts of ‘witchcraft’ on you. I see this as the men being threatened by the women. Men always have been. They must obey and not speak out because they know that if the women are free to say what they want in this time then all hell will break loose. It makes it hard to
In Vu Tran’s Dragonfish, Chandler’s The Big Sleep, and Lethem’s Motherless Brooklyn are novels with three drastically different narratives. However, apart from letters written by Suzy in Dragonfish, all three are written from the perspective of a male character. The reader rarely hears the voice of a woman, and they only learn about them through the thoughts and depictions of the male narrator. After reading all three novels and comparing them, it is evident women within these stories are treated similarly. Many experience abuse, or are relevant because of their sexual relationships with the male character. Thus, through sexualized relationships and abusive situations, women in Dragonfish, The Big Sleep, and Motherless Brooklyn are used to
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
In “Woman Hollering Creek”, Sandra Cisneros demonstrates, like in many of her stories the oppression women are faced with. Sandra Cisneros, a Mexican American woman who tells short stories often describing Hispanic culture, began writing at the age of ten. She manipulates two languages, creating new expressions in English by literally translating Spanish phrases. Cisneros’s characters seem to have a naive humorous quality. Her characters are usually affected by how femininity and female sexuality are defined within the Hispanic patriarchal value system and how they struggle to redefine themselves. She is a significant voice in feminist literature.
Sommers, C. H. (1994). Who Stole Feminism? How Women Betrayed Women. New York: Simon and Schuster.
Writing in the 20th century was great deal harder for a Chicano then it was for a typical American at this time. Although that did not stop this author, Sandra Cisneros. One of her famous novels, Woman Hollering Creek was a prime example of how a combined culture: Mexican-Americans, could show their pride and identity in this century. In conjunction, gave the opportunity for women to speak their voice and forever change the culture of Latino/a markets. Not only did it express identity/gender roles of women and relationships, but using these relationships to combine the cultures of Mexican and American into a hybrid breed. This novel, should have been a view-point for the future to show that there is more to life than just gender and race. Concluding this, the articles that helps define this is “The Latino/a Canon and the Emergence of Post-Sixties Literature” and “What is called Heaven”.
Most feminist critics today stress the fact that while all women are female, they are much more than that. Each woman’s goals and problems make them who they are by creating a unique identity. The understanding of woman not as a single group has led modern feminist critics to advocate personal and autobiographical criticism. It has also fostered contemporary gender criticism.