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Women's role in contemporary society
Women's role in contemporary society
Gender roles in latin america
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CON EL DERECHO AL VOTO LA MUJER LOGRO UN DESARROLLO POLÍTICO Y SOCIAL EN COLOMBIA.
INTODUCCION
La mujer es considerada parte fundamental en el núcleo familiar, quien está a cargo de las labores domesticas y el cuidado de los niños mostrando una desigualdad de género social existente y latente en la actualidad, llevando a un abismo incontrolable de situaciones que atentan contra la dignidad de la mujer, pero aun así se han llevado a cabo diferentes hechos que han permitido demostrar que no son el sexo débil y que al contrario de los pensamientos que se tienen si han logrado avances significativos que generan cambios a nivel social y que si bien es cierto los pasos son pequeños pero firmes en cuanto a desarrollo político y social.
LA MUJER COMO SUJETO POLITICO Y SOCIAL
En Colombia como en otros países la mujer ha permanecido en una lucha incansable por sus derechos y la equidad de género, a través de movimientos sociales se ha caracterizado por grandes acontecimientos, en primera instancia la mujer era vista como un objeto sexual en cuanto a la reproducción de hijos, el rol era enfocado a la familia, ya que la mujer era la encargaba de la crianza de sus hijos, los servicios domésticos y en atención prioritaria a la vida conyugal. Esta concepción se mantuvo desde finales del siglo XIX y hasta inicios del siglo XX, es en esta época donde la mujer comenzó a cuestionarse sobre su rol en la sociedad, por tal motivo la valentía de algunas mujeres y la decisión de pocas permitió la participación y el desarrollo de la mujer, que en otros países ya era un hecho; es entonces cuando la mujer obtiene el derecho a la identidad, a la educación, al trabajo, a la igualdad social y al voto.
La lucha de las mujeres en el mundo s...
... middle of paper ...
... más fortalecida y conocedora que su lucha aún no termina y que aún queda camino por recorrer para lograr más avances.
En la actualidad la mujer ha cambiado drásticamente siendo participe de logros, pero con lo cual aún no puede dejar de lado el hecho de ser el centro de la familia, pues su condición de ser progenitora no la llevara a un segundo plano, si bien es cierto es más autónoma en sus decisiones, en actuaciones, en derechos, pero aún vive grandes problemáticas que son causadas aun por situaciones enmarcadas en contra de la mujer donde se atenta no solo a la integridad física sino así mismo a la vida misma de la mujer, siendo objeto de fuertes rechazos y aunque se hable de equidad este no es un proceso en el que se tenga mucho en cuenta a la mujer, aún queda muchas cosas por lograr, en las que día a día se logra ganar batallas siempre en pro de la mujer.
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...
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.
The main character in “Woman Hollering Creek” is Cleόfilas Enriqueta DeLeόn Hernández, a woman who leaves her home in Mexico to marry a man, Juan Pedro Martinez Sánchez, in Texas. Flowing behind Cleόfilas’ new house in Texas, is a stream named Woman Hollering. Cleόfilas imagines her marriage to be filled with joy and love. To Cleόfilas’ surprise, Juan Pedro is a vile husband that is both physically and verbally abusive. Cisneros brings attention to a recurrent issue within the Chicana community. According to The University of Texas Health Science Center at San Antonio, “The majority of abused women, (75%) of Mexican-American women reported spousal abuse”
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.
Family is one of the most important institutions in society. Family influences different aspects of a person’s life, such as their religion, values, morals and behavior. Unfortunately, problems may arise when an individual’s belief system or behavior does not coincide with that of family standards. Consequently, individuals may be forced to repress their emotions or avoid acting in ways that that are not acceptable to the family. In the novel The Rain God, written by Arturo Islas, we are presented with a story about a matriarchal family that deals with various conflicts. One major internal conflict is repression. Throughout the novel the characters act in strange ways and many of the family members have internal “monsters” that represent the past that they are repressing. In his article, “The Historical Imagination in Arturo Islas’s The Rain God and Migrant Souls”, Antonio C. Marquez’s implicitly asserts a true idea that The Rain God is a story about repression. Marquez’s idea can be supported from an analysis of secondary sources and a reading of the primary text.
“Poverty and exploitation of women in Latin America can never be alleviated because they are rooted in machismo,” meaning that because of the way society was run in Latin American, women can’t advance from the ancient state of mind that they belong in the private sphere and should stay there, because only men are good enough to be out in the public sphere. The reason why society was run in this manner, was because of the machismo feeling engraved in the minds of men and, in some cases, women in society. Alicia, Carolina, and Nancy don’t really have any other choice, than try to survive on their own by doing acts that are not “approved” by the society they live in. Even now, because of their actions, we could even disagree with the way they decided to approach their situation, because even now a day, we could think that selling one’s body or being involved in “off the book”
Craske, N. (1999). Women and Political Identity in Latin America. In Women and Politics in Latin America (First ed., pp. 9-25). N.p.: Rutgers University Press.
When Mexicans and Puerto Ricans moved to Chicago in the late 1900s, they encountered many issues without any help. Cases of domestic violence and lack of education and jobs emerged in the Latino community. Latino immigrants populated the Pilsen neighborhood and didn't have many services or resources available for them when they needed assistance. After no signs of improvement were apparent, 15 women stood up and decided to make a change of their own. Mujeres Latinas En Accion formed to help Latina women and their families by providing services, fighting for the better of Latinas and giving help to those who need it.
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.
Instituto Andaluz de la Mujer (2003): El análisis de la publicidad. Orientaciones para una lectura crítica. Junta de Andalucía, Sevillla
Latin American society places a great deal of importance on the family as a support network; it is not uncommon for several generations to reside in the same house. This emphasis is called familismo, and the mother in the family is usually the most important figure. She “is seen as the primary nurturer and caregiver in the family…[and] plays a critical role in preservation of the family as a unit, as well as in...
She is the one that refuses to oblige to societal orders. She is the “Shadow-Beast” (38) with “Chicana identity grounded in the Indian woman’s history of resistance” (43). Although alienated physically, Anzaldua is “immobilized” (43) mentally the more confined she becomes in a culture engulfed in pure oppression. She claims her “shadow-beast” as the depiction of her highly wanted independence as an individual human being, which eventually forces her to leave her family behind to find herself separately from the “intrinsic nature buried under the personality that had been imposed” (38) for people like Anzaldua for many years. Her push for rebellion sets a voice for the silenced anger and pure resistance against the ostracism of herself, her family, culture, and the white-washed society she has been born into. To be the only Chicana, lesbian, and rebellious woman in her family is considered sinful, as women, according to Anzaldua, in Mexico only have “three directions she could turn: to the church as a nun, to the streets as a prostitute, or to the home as a mother” (39). Noticing that women are culturally restricted to these roles, Anzaldua creates the opposite role for herself claiming to take the “fourth choice” by “entering the world by way of education and career and becoming self-autonomous persons,” (39), which she uses to her advantage to transform the prolonged oppression into her long awaited freedom to live as an openly queer woman
Isasi-Diaz, Ada Maria. "Defining our Proyecto Historico: Mujerista Strategies for Liberation." Journal of Feminist Studies in Religion 9 (1993): 17-28.
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.
The hierarchy of gender played out in the new Spanish colonial regime where female dependency upon men was created and manipulated. The Spanish introduced ‘gender beliefs that proclaimed women’s infantility; only men could reach true adulthood and enter public life, freely sign contracts, and hold public office . Women, especially those in the newly created lower class, became dependent on men due to the new legal system put in place which made it so that they could not be full citizens. Men were able to realize full ‘citizenship’ along with the ability to leave the ayllus. This newly performed hierarchy was completely contradictory to the old gender parallelism of Andean society in which each gender had independent spheres and rights to