La influencia de “La Llorona”
La leyenda de la Llorona es un mito que ha desarrollado de México dese los 1500’s y ha sido cuento por muchas generaciones desde México a centro y sur América hasta estados en Los Estados Unidos como Arizona, California, Nuevo México y Texas. El cuento de la Llorona tiene varias versiones a su leyenda pero siguen con el mismo tema. Una de las versiones es que la Llorona era una India Azteca que ahogo a sus hijos en un lago y que desde entonces ha llorado por lamentar de haberlos ahogados. Otra versión dice que la Llorona se llamaba María (versión de Joe Hayes) y que era la mujer más bonita del mundo que buscaba el mejor galán del mundo. Pasó los años y se casó con el hombre y luego el esposo empezó y luego el esposo empezó a hablar con otra mujer; por causa de celos, María ahogo sus dos hijos. Dependiendo de la región de México, Estados Unidos y sur América es capaz que la versión de la Llorona es igual o no. Mi enfoque sobre la llorona va ser como el cuento ha cambiado durante los años, si el cuento sigue existiendo en México o no, que otras obras han sido influenciadas por el cuento y quien es el personaje de la Llorona y si fue persona real.
Es posible que el cuento de la Llorona origino desde el tiempo de los conquistadores en 1550 y que desde entonces ha sido una importancia para la cultura Hispánica. Aunque el cuento se ha desarrollado de generación a generación en México y los Estados Unidos, nadie sabe en verdad en que siglo fue creado o en qué lugar origino el mito. El cuento de la llorona que muchos conocen es sobre el espíritu de una mama que ahogo sus hijos en un rio, y por haber lamentado lo que ha hecho el espíritu de la mama pasa sobre ríos y lagos en la noche en busca de...
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...ducirán sus versiones de la Llorona. Se dio a conocer la versión de Joe Hayes, que realizo la leyenda en un libro de niños a como el la escucho de niño y también se dio a conocer la versión de Alcina Lubitch Domecq que es mucho más diferente que la de Joe Hayes pero con el mismo tema. Una de las obras que puede ser comparado a la leyenda es la del “Boogeyman” (Hombre del saco) como los dos tienen que ver en asustar la juventud al igual la Llorona es conocida como la “Boogeywoman” en cuentos populares de México. No habrá sobre la Llorona existiendo o si alguna vez existió, pero si habrá la posibilidad de que su personaje habría tenido mucho con ver con la Azteca Malinche. O es posible que hubiera sido influenciada por otra indígena. Lo bueno sobre leyendas como la Llorona es que uno puede tener la creatividad de creer si es de verdad o solo una leyenda común.
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.
As a young child, Rodriguez finds comfort and safety in his noisy home full of Spanish sounds. Spanish, is his family's' intimate language that comforts Rodriguez by surrounding him in a web built by the family love and security which is conveyed using the Spanish language. "I recognize you as someone close, like no one outside. You belong with us, in the family, Ricardo.? When the nuns came to the Rodriquez?s house one Saturday morning, the nuns informed the parents that it would be best if they spoke English. Torn with a new since of confusion, his home is turned upside down. His sacred family language, now banished from the home, transforms his web into isolation from his parents. "There was a new silence in the home.? Rodriguez is resentful that it is quiet at the dinner table, or that he can't communicate with his parents about his day as clearly as before. He is heartbroken when he overhears his mother and father speaking Spanish together but suddenly stop when they see Rodriguez. Thi...
Batlla argues that an “imaginary Mexico” exists, a minority culture within Mexico that represents Western, colonial interests. In opposition to this imaginary Mexico is the México profundo, or “deep” Mexico. México profundo underlies the imaginary Mexico and has its core in Mesoamerican culture, which reaches back into history for centuries upon centuries. According to Batalla, the relationship between these two cultures is fraught and, at times, violent, as “the imaginary Mexico tries to subordinate the rest of the population to its plans”. He argues a position different from that of the course’s themes, which emphasize the joining and mixing of Mesoamerican and colonial culture. According to Batalla, “[n]o room has been allowed for a convergence of civilizations through a slow fusion that gives rise to a new civilizational plan, different from the two original ones of arising from
Figueredo, Maria L. "The Legend of La Llorona: Excavating and (Re) Interpreting the Archetype of the Creative/Fertile Feminine Force", Latin American Narratives and Cultural Identity, 2004 Peter Lang Publishing, Inc., New York. pp232-243.
Mexican civilization is very much affected due its contact. with France, New Orleans of the USA.”Design, style and gastronomy are expressions that show the vibe of Yucatan, sentiment relevance more than its personal kingdom.”(4).
Texas Indians were very unique in their culture and way of life. The Texas Indians had a unique social order; physical appearance, acquired subsistence in many different ways, and had many unique cultural practice. As a result, many historians study the native Indians in Texas with awe and amazement. With a deep and interesting analysis of the Texas Indians, historians can understand the people; and their way of life. Based on the text, “La Relacion” which was written by Alvar Nunez de Vaca, an analysis of said subject can be conducted.
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.
Mexicans, as constructed by Menchaca, are a predominantly mestizo population whose mixed ancestry she traces to early Latin American civilizations. In 200 BC the largest city in the Americas, Teotihuacán, was founded. Teotihuacán would one day be the site of Mexico City, and by 650 AD there were between 120,000 and 250,000 inhabitants. (2) Groups that inhabited the region fro...
"El Corrido Mexicano." El Corrido Mexicano La Cucaracha Comments. N.p., n.d. Web. 16 Nov. 2013
Through the voice of Palo Alto, a mesquite tree, Elena Zamora O’Shea relates the story of one Spanish-Mexican family’s history, spanning over two hundred years, in South Texas, the area encompassing between the Nueces and the Rio Grande. As the narration of the Garcia’s family history progresses through the different generations, becoming more Mexican-American, or Tejano, peoples and things indigenous gradually grow faint. In her account of South Texas history, Elena devalues the importance and impact of Indians, placing a greater precedence on the Spanish settlers.
“Se habla Espanol” wrote by Tanya Maria Barrientos. She is growing up in Texas, but she was born in Guatemala. That causes she cannot speak Spanish like Latina. In the article, she talked about what the feeling as a Lantana without the ability to speak Spanish so well. Her parents give her a few of knowledge about speaking Spanish. Because, she grew up in a special era, which Mexican Americans were considered dangerous radical. Nowadays, this theory is politically incorrect. The author wants to find some people that like her, does not fit in Spanish culture and help them, giving them a big mental supporting. I’m from China, growing and living in different places, which have different language and culture habit.
El Recado es un cuento de la esperanza y amor. La protagonista viene a visita Martin, pero el no esta en su casa. Entonces ella esperas en peldano, y esperanza que el aparece pronto. Esperanza es una palabra muy importante en el cuento. La palabra es usado directamente tres veces en la obra 26, 31, y 39. Tambien en el principio de el cuento todo es de un afecto sensual. Mientras ella esta en el peldano vea el jardin de Martin. Da caracteristicas humanos (personificacion) a los flores en el jardin ( 6-7), estos caracteristicas como honesto y graves probablamente tambien de su amante. Luego ella hace una comparacion directa entre el y el jardin “Todo el jardin es solido, es como tu, tiene una reciedumbre que inspira confianza.” Este oracion no solamente tiene un simil, pero tambien ayuda en mostrando la comparacion a un mujer de un hombre. El hombre es personificado con palabras de fuerza, mientras todo el cuento muestra una mujer debil.
How to tame a wild tongue is an essay by Gloria Anzaldua. This essay focuses on the different types of Spanish people spoke, and in this case, Anzaldua focuses on losing an accent to adjust to the environment she was living in. The issue that was applied in this essay was that the Spanish she spoke wasn’t exactly considered “Spanish”. The essay was divided into different sections as where the author tries to let people know, her Spanish speaking language should be considered valid just like every other Spanish speaking language out there.
Clemencia's father originates from Mexico, so her own father views US Mexicans to be not on par with the Mexicans who originate from Mexico. In her father’s opinion Mexican girls “who didn't know enough to set a separate plate for each course at a dinner, nor how ...
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