Por generaciones y generaciones habido conflicto sobre el papel que tienen las mujeres en la sociedad. Desde el principio del tiempo la sociedad y los medios de comunicación han retratado a las mujeres como personas pasivas. En la sociedad actual no han cambiado mucho las cosas, todavía hay muchas personas que piensan que el lugar de la mujer es en el hogar. Esto puede verse en la cultura azteca y en la cultura moderna de hoy en día.
La sociedad azteca estaba avanzada y paseaban tres fortalezas ya que su estructura de complementariedad de género, una especialización exitosa de mano de obra, así como una alta eficiencia en socialización que permitió la cultura azteca a retransmitir a sí mismo. Las relaciones de género en la cultura azteca se basaron en una estructura de complementariedad de género. La sociedad azteca era dividido por el género sin embargo las mujeres eran el corazón de las casas las que cuidaban a las familias y también la mujer estaba para tener a hijos, mientras que los hombres andaban trabajando afuera de la caza, pescando, o luchando en las guerras.
Desde el momento en que la mujer nacía en la sociedad azteca la partera le decía a la niña que su deber era en el hogar como el corazón a un cuerpo. En la cultura de los aztecas las niñas crecían en la casa viendo y aprendiendo de sus madres los trabajos domésticas de una mujer. Estas tareas incluían los tejiendos, hilando algodón, moler maíz y cómo utilizar el telar. La parte más importante de la vida de una mujer era su casa. Las mujeres eran responsables de mantener limpio el hogar. En la sociedad azteca, cuando la chica llegaba a la edad para el matrimonio como a los veinte años las familias se unían para escoger el marido y empezar hacer los a...
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... como individuos que debían quedarse en casa. Estando en la casa iban a cuidar de su casa, tener a hijos y asegúrese de que el esposo estaba bien atendido. En las culturas ambas tenían la necesidad que las mujeres empezarán a trabajar para sostener sus casas. La mujer azteca comenzó a trabajar en los mercados como vendedoras o como oficiales en el mercado solucionando los problemas. Las mujeres en los Estados Unidos obtuvieron el derecho a votar y empezaron a recibir educación universitaria. Esto era para que las mujeres pudieran sostener una carrera y trabajar. Hoy en día las mujeres se están independiendo se para no tener que espera que un hombre les de lo que necesitan. Las mujeres todavía tienen un largo camino para recorrer, aunque están trabajando los empleos no los miran igual que un hombre y se nota en la forma de pago. La mujer gana menos que un hombre.
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...
1) The Aztecs, like most societies, had a type of class structure. There were two main classes. The first was the class of the nobles or the pilli. The second class were the commoners or the macehaulli. There were also many subsets to these groups that held different responsibilities in societal life. Nobility was thought to be mostly hereditary. The nobles were educated from a young age to be leaders in Aztec society. However, the commoners had a variety of occupational choices. They were the farmers, merchants, and could even be athletes. Art, social events, and religion were all a huge part of Aztec culture. The Aztecs had a game known as Ullamaliztli and the athletes that played in these games were a kind of celebrity in Aztec culture. One interesting thing about their culture was the mandatory education. Once the women and the men were properly educated it would be time to marry. Marriages in Aztec culture were arranged and were also very closely intertwined with religion. There are many fascinating things about the Aztec culture, but perhaps the most important to them was their religion.
The conflict within the Garcia family took place during the cultural rupture and the point of political. Since their father had rebelled against Trujillo’s oppressive dictatorship, it impacted the Garcia sisters to become rebellious against their parents’ disciplines. The Garcia sisters learned new American habits. They went out to parties, had affairs and even tried drugs.
As the child, it is characterized to be confined, and the mother as a warrior, in the poem it emphasizes how significant fighting and prisoning enemies were in Aztec society. During that time giving birth was very...
El texto se puedo relacionar con el poema “Hombre pequeñito” porque compara el papel de una mujer con un canario encarcelado en una jaula. Al principio el canario quiere volar y saltar de la jaula; la mujer es el canario. Luego en la línea donde dice “digo pequeñito porque no me entiendes”, el hombre no entiende a la mujer porque ella quiere volar y no quiere estar enjaulada. Al final la mujer nomas ama el hombre durante media hora y nada más. El poema no tiene una rima específica, pero usa la anáfora de “hombre pequeñito” al principio de los versos. El poema también es una metáfora de la relación entre una mujer y un hombre, pero el hombre no sabe cómo tratarla. Este poema es muy feminista porque el hombre se llama pequeñito y se ve como un tonto, que nunca entenderá a la mujer. La autora Storni básicamente se burla del hombre.
This novel is a story of a Chicano family. Sofi, her husband Domingo together with their four daughters – Esperanza, Fe, Caridad, and Loca live in the little town of Tome, New Mexico. The story focuses on the struggles of Sofi, the death of her daughters and the problems of their town. Sofi endures all the hardships and problems that come her way. Her marriage is deteriorating; her daughters are dying one by one. But, she endures it all and comes out stronger and more enlightened than ever. Sofi is a woman that never gives up no matter how poorly life treats her. The author- Ana Castillo mixes religion, super natural occurrences, sex, laughter and heartbreak in this novel. The novel is tragic, with no happy ending but at the same time funny and inspiring. It is full of the victory of the human spirit. The names of Sofi’s first three daughters denote the three major Christian ideals (Hope, Faith and Charity).
The Aztec Empire was the most powerful Mesoamerican kingdom of all time. They dominated the valley of Mexico in the fifteenth and sixteenth centuries. The Aztecs were an advanced and successful civilization that built beautiful, sophisticated cities, temples, and pyramids. They also created a culture full of creativity with mythological and religious traditions. Aztecs lead a structured and evocative life that let their society to become a very superior civilization. The Aztec’s communication skills were very well developed for their time; through religious beliefs, government involvement, and family life they lived a full and productive life. Until in 1519 when the Spanish conquistadors arrived in Mexico, and defeated the Aztecs.
Bennholdt-Thomsen, et al.Juchit∫n, la ciudad de las mujeres. Oaxaca, Mexico: Instituto Oaxaqueúo de las Culturas.Ê 1997.
One of the most fundamental institution of colonial Mexico was the family. According to Mark A. Burkholder and Lyman L. Johnson, “‘family’ in this context meant not only the biological family, but also the larger set of family relations created by marriages and by forging alliances through the selection of godparents…”. The nucleus of the family was the father who exerted a great deal of power over other members of the family. Both, men and women were control by their fathers but, man were given certain liberties that were not presented to women. For instance, Susan Socolow mention that “daughters had to be controlled, and the...
It seemed like the author made many jumps from the evidence that they supplied and the conclusion. Throughout this essay, the author mainly focuses on how the authorities view the Pachucas, like how authorities thought they were involved with gangs, that they dangerous and violent, that they committed many crimes. And how the authorities reacted to this, how they sent these young women to juvenile detention centers and blamed the families for the girls being this way. The author does not focus on how the Pachucas effect their community. While the author briefly touches on how the families felt about the Pachucas and how the parents would react when their daughters would first start acting and dressing in this way, the author does not address how the Mexican American community went from the feelings of shame, dishonor and disapproval of the Pachuca fashion, attitudes, and actions to just accepting this part of the new Mexican American women. It seems that the author made too many leaps without actually showing the thought process behind it or providing enough evidence of this in the
La autora Puertoriqueña Rosario Ferré sin duda pertence a ese grupo the escritores que critícan la sociedad en la que les tocó vivír en sus creaciónes literárias. Ferré nació en Ponce, Puerto Rico la ciudad mas grande y poderosa del sur de la isla. Su familia es una de las mas importante economicamente y politicamente poderosa. Su padre fue gobernador de la isla durante los años del 1968 al 1972. Como todas las mujeres en esa época se casó y comenzó una familia, destinada a una vida como dama elegante y ociosa. Pero se dió cuenta que su vida pertenecía a la literatura. Ella rompió un taboo y molde cultural, que convertía a las mujeres de clase media alta, en muñecas. Esa generación de mujeres exigiendo cambios en la sociedad se encontraban en el medio de la revolución femenina. Cualquier mujer que quisiera cambiar su vida o trabajar era considerada extraña o loca. Esta opreción se convirtió en su inspiración. Ferré nos comunica a travez de esta novela, la realidad de la mujer puertoriqueña a mediados de siglo. En La Bella Durmiente, Rosario Ferré muestra la mujer como sujeto y objeto. Esta obra es un manisfiesto de los derechos de la mujer y del inconformismo femenino que eventualmente lleva a la mujer a rechazar la realidad. Analizare y demonstrare por medio de este ensayo, los papeles que le toca jugar (a la mujer) en esta sociedad, la corrupcion moral y social que le rodea y su reacción ante todo esto resultando en un trágico final.
Federico García Lorca’s poem “La casada infiel” depicts the story of a gypsy who makes love to a married woman on the shore of a river. When looking deeper into the poem, Lorca appears to provide a critical observation on the values of the conservative society at the time in which he lived. The woman, at her most basic reading, is treated as an object, elaborating on the sexist values in society at the time. Lorca addresses issues of sexism as well as issues of sexuality within society mainly through the poem’s sexist narrative voice, objectification of the female character and overriding sense of a lack of desire throughout the poem. His achievement to do so will be analysed throughout this commentary with particular attention to Lorca’s use of poetic techniques such as diction, personification and imagery.
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.
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.
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