the section “Entering Into the Serpent” from Anzaldúa’s This Bridge Called My Back, she responds to a problem of oppression women face in particular the sexual oppression. She makes a connection between women and snakes to further discussed the whore/virgin dichotomy. Then goes into how this dichotomy causes women to be stripped of their sexuality almost to an inhuman way. In this form, Anzaldúa lays out a criticism of society and its treatment towards women. The opening to this section is the lyrics to a popular song by Silvio Rodiguez called “Sueño Con Serpientes” which connects very well to the concept that snakes have a soft a frail side (Anzaldúa 2007, 47). Anzaldúa connects women to snakes by bringing up both Aztec mythology and even …show more content…
In the chapter the serpent, in Aztec culture, is linked to fertility, motherhood, and sexuality. This is strengthened when Anzaldúa goes in depth about the myth of Coatlaloeuh, and her four aspects and how Tonsntis, the good aspect of Coatlaloeuh, is the mother of Mexico (Anzaldúa 2007, 49). The association of women and snakes is not only found in Aztec mythology but also in Christianity. While the Aztec mythology there was good and bad within the association of serpents and females, Christianity gives a negative narrative of the association. The in the bible, it is the serpent who tricks Eve into the original sin making Eve and then convincing her to trick Adam into sinning as well. This depiction makes women into calculating and evil sinners. Although the Aztec …show more content…
The whore/virgin dichotomy is basically stereotyping women in to either being promiscuity or practice abstaining from having sex. Anzaldúa gives to a radical example of this dichotomy when she used the goddess Tonsntis, an aspect of Coatlalpeuh and the Virgin de Guadalupe for this concept. Anzaldúa presents Coatlalpeuh as sexuality, itself, and the Virgin de Guadalupe as a virginal being (Anzaldúa 2007, 49). This example in interesting that both of these characters were regarded as Tonsntis was the Aztec mother of Mexico and the Virgin de Guadalupe is presently “la Santa Patrona de los mexicanos” (Anzaldúa 2007, 51). While they both held the same title at one point there is no denying the current power of the Virgin de Guadalupe. This power may be largely due to the fact that she was desexualized and as Anzaldúa put it had “the serpent/sexuality, out of her” (2007, 49). In this context, her sexuality is part of her humanity. In the biblical story, she is the mother of Jesus and is pure in a very way. The loss of sexuality seems to be overshadowed by the power the Virgin of Guadalupe has to not only unit the country of Mexico, but also unit the Hispanic diaspora in the United States (Anzaldúa 2007,
A well-known Meso-American deity, Huitzilopochtli, is the Aztec god of war and human sacrifice. It is written that he had a constant battle with evil within himself and required human sacrifice for nourishment. It is believed that Huitzilopochtli’s mother, Coatlicue, an Aztec earth goddess, conceived him after she kept a ball of hummingbird feathers in her bosom that had fallen from the sky. Huitzilopochtli’s sister, Coyolxauhqui, plotted to kill her mother after discovering the shameful way she had become impregnated. When his mother was decapitated, Huitzilopochtli burst from the womb and killed his sister Coyolxauhqui ...
Doña Guadalupe is a woman of great strength and power, power and strength which she draws from her devout faith and her deep and loving compassion for her family, and power and strength which is passed down to her children. “‘Well, then, come in,’ she said, deciding that she could be handle this innocent-girl-stealing coyote inside. On going into the long tent, Salvador felt like he’d entered the web of a spider, the old woman was eyeing him so deliberately” (360). Doña Guadalupe is a very protective woman, which is extremely speculative when it comes to her children, this is especially true when it comes to boys, because she has not gone this far only for all of her hard work to be ruined by a no good boy. This shows how protective she is, she loves her family, and especially her kids so much that they themselves must pass her test before being able to pass on to her children. “The newborns were moving, squirming, reaching out for life. It was truly a sign from God” (58). Doña Guadalupe is also a very devout and faithful person. She sees God in everything and in everyone and by that fact, what she sees and who she sees is true, and she tries to be a model of clairvoyance for the family. “Doña Guadalupe put the baby’s little feet in a bowel of warm water, and the child clinging to his mother. He never cried, listening to her heartbeat, the same music that he’d heard from inside the womb” (57). Finally, Doña Guadalupe is very passionate which allows for a great model upon which her children follow. This further shows how she is clearly th...
The snake’s calm demeanor when they first meet, his confidence and power, and his gruesome death help evoke sympathy in the reader. The reader’s first impression of the snake is that “he held his ground in calm watchfulness.” His stance was tense, but not threatening, as “his head was not drawn back to strike.” He does not intend to attack without being provoked; he
Probably the two utmost, one dimensional characters in A Feast of Snakes are Hard Candy Sweet and Susan Gender. These two are present in the story solely to be viewed as sexual icons. In the essay “Crews’s Women,” by Patricia V. Beatty, Beatty examines that “they are empty and vacuous, like Barbie dolls run wild. The men in A Feast of Snakes do not really perceive them as threats, but only as convenient sexual objects” (119). Their ways of making love are aggressive and, in Hard Candy’s case, is compared to the roughness of playing football. Even within ...
Rather, it criticizes this culture through its portrayal of women. The narrative is focused on a male and is told by a male, which reflects the male-centered society it is set in. However, when we compare how the narrator views these women to who they really are, the discrepancies act as a critique on the Dominican culture. Yunior, who represents the typical Dominican male, sees women as objects, conquests, when in fact their actions show their resistance to be categorized as such. Beli, whose childhood was filled with male domination by Trujillo and the family she worked for, attempts to gain power through sexuality, the avenue the culture pushes women toward. This backfires, creating a critique of the limited opportunities available for women. La Inca portrays a different side to this, working quietly but in ways that are not socially acceptable through self-employment. Society attempts to cage these women, but they continue to fight against it. Diaz, in an interview, quoted James Baldwin, stating, “Not everything that is faced can be changed, but nothing can be changed until it is faced" (Fassler). He exhibits the misogyny in the system but does not support it, rather critiques it through strong female characters. By drawing attention to the problem, the novel advocates for change. Diaz writes, at the end of part 1, “Nothing more exhilarating… than saving yourself by the simple act of waking”
The perspective of another society is always subjective, especially when two completely different cultures interact for the first time. In Bernal Diaz del Castillo’s The History of the Conquest of New Spain, the first-hand account illustrates a barbaric and pagan society where sacrifices are pervasive in everyday life. However, David Carrasco’s essays titled “The Exaggeration of Human Sacrifice” and “Human Sacrifice / Debt Payments from the Aztec Point of View” shed a significant amount of insight into the religious roles that human sacrifice played in Aztec society, rather than the cruel and barbaric connotations which Daz heavily implied. Based on the readings of Bernal Diaz del Castillo, Carrasco’s essays offered an outside perspective into the ritualistic practices of human sacrifice and in doing so, introduced the concept of nextlaoalli as well as the commonality of the ritual human sacrifice in Aztec society.
The effect the reader perceives in the passage of Rattler is attained from the usage of the author¡¯s imagery. The author describes the pre-action of the battle between the man and the snake as a ¡°furious signal, quite sportingly warning [the man] that [he] had made an unprovoked attack, attempted to take [the snake¡¯s] life... ¡± The warning signal is portrayed in order to reveal the significance of both the man¡¯s and the snake¡¯s value of life. The author sets an image of how one of their lives must end in order to keep the world in peace. In addition, the author describes how ¡°there was blood in [snake¡¯s] mouth and poison dripping from his fangs; it was all a nasty sight, pitiful now that it was done.¡± This bloody image of snake¡¯s impending death shows the significance of the man¡¯s acceptance toward the snake. In a sense, the reader can interpret the man¡¯s sympathy toward the snake because of the possibility that he should have let him go instead of killing him.
The snake was not aware of the man’s intentions was cautious but not yet preparing for an attack. The rattlesnake “lay ridged” through its mistrust of the man did not feel threatened so his “body was undulant” not preparing for an attack. Because of its natural instincts the snake was wary of the man’s presence but did not feel provoked enough to set up a defense. The usual instincts would have been to give a strong attack but choose not to do so. Still attentive to the man’s possible actions, the snake presents him with a warning for both their sake. Therefore as the man raised his weapon the snake set up its rattling and “shook his fair but furious signal” warning the man he “made an unprovoked attack”. The snake had not planned on attacking the man so instead of reacting swiftly the snake had given the man a warning. By doing so the snake shows its value of life because he left the man chance in avoiding an outcome with death for either side. Consequently having misjudged the man’s intent it is left with little time to protect itself from an unexpected attack. With the man suddenly attacking the snake with a hoe it “struck passionately” until it “was soon dead”. As a result of not being able to assemble an attack the snake is left with it’s only chance of winning by striking hard but with ineffective moves. Thus readers feel sympathy for the snake because it had not called for an attack that would have taken either
The people of Mexico choose to acknowledge her instead of the Virgin Mary because she is of their own culture, thus making her a more appealing godly figure to praise. She came to the people of Mexico during a time that they needed a religion, and she was able to make them feel comfortable about everything she had to offer to them. She did this by giving them comfort through connecting with them through their own culture.
In the Central America, most notably the Yucatan Peninsula, are the Maya, a group of people whose polytheistic religion and advanced civilization once flourished (Houston, 43). The Maya reached their peak during the Classic Period from around CE 250 to the ninth century CE when the civilization fell and dispersed (Sharer, 1). Although much has been lost, the gods and goddesses and the religious practices of the Classic Maya give insight into their lives and reveal what was important to this society. The major Mayan gods and goddesses all have common characteristics and, according to “features which they share in large part with the gods of neighboring people of Middle America” (Thompson, 198). One of these characteristics is that Mayan gods and goddesses have “features which they share in large part with the gods of neighboring people of Middle America” (Thompson, 198).
Ménez, Andre’. The Subtle Beast: Snakes, from Myth to Medicine. New York, New York: CRC Press, 2003.
In the Homer's epic poem the Odyssey, there are many themes that serve to make a comment about the meanings of the story. The theme of women in the poem serves to make these comments but also establishes a point of view on women in the reader. From this point of view, a perspective is developed into the "best" and "worst" in women. Achievement of this is through the characterization of many women with single notable evil qualities. Similar to the biblical story of Adam and Eve, Eve like the many women in the Odyssey brings about pain and suffering for mankind. Contrary to the depicting of women as roots of evil, the reader sees the other traits of women that are most desirable. The roles of these women are achieved by their portrayal throughout the poem. This in return has a significant affect on how the poem and the message that is conveyed.
In Latin America, women are treated differently from men and children. They do lots of work for unexplainable reasons. Others for religious reasons and family orders and others because of the men involved. Women are like objects to men and have to obey their orders to either be rich or to live. Some have sex to get the men’s approval, others marry a rich man that they don’t even know very well, and become slaves. An important book called Chronicles of a Death Foretold is an example of how these women are treated. Purisima del Carmen, Angela Vicario's mother, has raised Angela and her sisters to be good wives. The girls do not marry until late in life, rarely socializing beyond the outsides of their own home. They spend their time sewing, weaving, washing and ironing. Other occupations include arranging flowers, cleaning up the house, and writing engagement letters to other men. They also keep the old traditions alive, such as helping the sick, comforting the dying, and covering the dead. While their mother believes they are perfect, men view them as too tied to their women's traditions. The men are afraid that the women would pay more attention to their job more than the men. Throughout the book, the women receive the respect they deserve from the men and others around them.
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
... Nature, including human beings, is `red in tooth and claw'; we are all `killers' in one way or another. Also, the fear which inhabits both human and snake (allowing us, generally, to avoid each other), and which acts as the catalyst for this poem, also precipitates retaliation. Instinct, it seems, won't be gainsaid by morality; as in war, our confrontation with Nature has its origins in some irrational `logic' of the soul. The intangibility of fear, as expressed in the imagery of the poem, is seen by the poet to spring from the same source as the snake, namely the earth - or, rather, what the earth symbolizes, our primitive past embedded in our subconsciouness. By revealing the kinship of feelings that permeates all Nature, Judith Wright universalises the experience of this poem.