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Child labor in factories hardships
Child labor industrial
Child labor industrial
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In this essay, I will explore how the Mexican women are exploited in the global industrial economy. I’ll take a look at how Dora the explorer is an English-Spanish youngster who solves problems with the tools in her backpack and with the help of other characters that largely exploited by the toy industry. The global market is not only for the source of making the companies money but also responsible for the unfair treatment of women in general. There have been a burst of these maquiladoras(factories) popping up all over in less industrialized countries because it’s cheaper to mass produce these toys/products at a fraction of the price after NAFTA was signed in 1992. In many instances inequality is visible in these young women’s lives from when they begin to work as teenagers in what appears to be a booming industry of the maquiladoras(factories). It also gives an excellent view of the inequality that the women face who work in the maquiladoras (factories) in Mexico. Producing toys in these countries bring its share of problems too, such as recalls in toys containing lead paint.
Lois Leveen begins her article by giving an excellent description of whom and what Dora the Explorer and the other characters do to help her solve problems. It is a made for television kids program but behind the scenes will focus on giving an insight into the global industrial exploitation of the toy market and women. Since Dora was created she is adored by many children, Leveen states “Ultimately, Dora is the product of a global television market and serves the transnational capital interest of Viacom, which own Nickelodeon, and Mattel, whose subsidiary Fisher-Price makes Dora toys that are sold worldwide. As the Campaign for a Commercial-Free C...
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... in the maquiladoras of Mexico that in order to help these women who work in these conditions we must look closely at the impact and turmoil that has been created by the Global Industry and NAFTA.
Works Cited
Dominguez Edme, Icaza Rosalba, Quintero Cirila, Lopwz Silvia and Stenman Asa (2010)
‘Women Workers in the Mawuiladoras and the Debate on Global Labor Standards’,
Feminist Economics, 16:4, 185-209.
Iglesias Prieto, Norma. 1997. Beautiful flowers of the maquiladora: Life histories of women
workers in Tijuana. Austin: University of Texas. (75).
Leveen Lois, 2008. Factory Girl: Dora the Explorer and the Dirty Secrets of the Global
Industrial Economy. Bitch Magazine. **http://bitchmagazine.org/article/factorygirl
Wilson, Tamar Diana. 2002. Forms of Male Domination and Female Subordination:
Homeworkers versus Maquiladora Workers in Mexico. 56-72.
History has repeated itself time and time again with exploitation of cheap labor from the slaves of ancient Egypt to American slavery to pseudo-slavery of Mexican workers. They are cheap to the mass of American companies most of the time because they can pay them under the table and not pay adsorbent amount of payroll taxes on the workers, but the workers mostly get paid less for the same or even more work than a person of legal citizenship would get paid. In a sense this is a form of slavery or a least labor practices of that of indenture servants which the country hasn’t advocated since the last 18th century. With this cheap labor many companies such as construction collation will primarily seek out Mexicans; the Mexican men tend to not complain of labor practices as a sign of machismo. The dehumanization only begins at this process of labor, but also Latinas, or Mexican women, are routinely discriminated against. This narrative as some might call the “hot” Latina paints a phony picture of what Mexican women birth patterns are in the U.S. According the Chavez there exits “the assumption of an innate, or genetic, basis for the Latina’s “hot” characteristics is part of common , especially the “it’s in their blood”
Symbolism is the key to understanding Sandra Cisneros’ novel, “The House on Mango Street”. By unraveling the symbolism, the reader truly exposes the role of not only Latina women but women of any background. Esperanza, a girl from a Mexican background living in Chicago, writes down what she witnesses while growing up. As a result of her sheltered upbringing, Esperanza hardly comprehends the actions that take place around her, but what she did understand she wrote in her journal. Cisneros used this technique of the point of view of a child, to her advantage by giving the readers enough information of what is taking place on Mango Street so that they can gather the pieces of the puzzle a get the big picture.
The Women of Colonial Latin America serves as a highly digestible and useful synthesis of the diverse life experiences of women in colonial Latin America while situating those experiences in a global context. Throughout, Socolow mediates the issue between the incoherence of independent facts and the ambiguity of over-generalization by illustrating both the restrictions to female behavior and the wide array of behavior within those restrictions. Readers of varied backgrounds will come away with a much deeper understanding of the challenges and opportunities that defined the lives of the diverse women of the New World ruled by Portugal and
Nevertheless, Cisneros’s experience with two cultures has given her a chance to see how Latino women are treated and perceived. Therefore, she uses her writing to give women a voice and to speak out against the unfairness. As a result, Cisneros’ story “Woman Hollering Creek” demonstrates a distinction between the life women dream of and the life they often have in reality.
The role of strong female roles in literature is both frightening to some and enlightening to others. Although times have changed, Sandra Cisneros’ stories about Mexican-American women provide a cultural division within itself that reflects in a recent time. The cultural themes in Cisneros’s stories highlight the struggle of women who identify with Mexican-American heritage and the struggle in terms of living up to Mexican culture – as a separate ethnic body. The women in Sandra Cisneros’ stories are struggling with living up to identities assigned to them, while trying to create their own as women without an ethnic landscape. In Sandra Cisneros’ stories “Woman Hollering Creek: and “Never Marry a Mexican” the role of female identities that are conflicted are highlighted, in that they have to straddle two worlds at once as Mexican-American women.
Inside Toyland, written by Christine L. Williams, is a look into toy stores and the race, class, and gender issues. Williams worked about six weeks at two toy stores, Diamond Toys and Toy Warehouse, long enough to be able to detect patterns in store operations and the interactions between the workers and the costumers. She wanted to attempt to describe and analyze the rules that govern giant toy stores. Her main goal was to understand how shopping was socially organized and how it might be transformed to enhance the lives of workers. During the twentieth century, toy stores became bigger and helped suburbanization and deregulation. Specialty toy stores existed but sold mainly to adults, not to children. Men used to be the workers at toy stores until it changed and became feminized, racially mixed, part time, and temporary. As box stores came and conquered the land, toy stores started catering to children and offering larger selections at low prices. The box stores became powerful in the flip-flop of the power going from manufacturers to the retailers. Now, the retail giants determine what they will sell and at what price they will sell it.
Cofer, Judith Ortiz. "The Myth of the Latina Woman." Bullock, Richard, Maureen Daly Goggin and Francine Weinburg. The Norton Field Guide to Writing. Ed. Marilyn Moller. 3rd. New York: W.W. Norton and Company, 2013. 806-812. Print.
¬¬The women in Mexico and the United States were both faced with enormous obstacles to overcome. In spite of the difficulties they faced, women from both countries sought to better themselves in the midst of the chaos. They strove to gain control of their lives and demanded a voice within their country.
Orenstein is a journalist and wrote this book about raising her daughter in a media and self-absorbed culture. She talks about everything from the recently marketed Disney princess culture to other Disney trends for older kids. Examples she mentions would be Disney
Having discussed the Mexican Revolution in brief, it is appropriate to turn to the first actor in the revolutionary drama: the Mexican worker. The process of rapid economic development under Porfirio Diaz beginning in the 1890s had created the country’s first significant industrial working class. Alicia Hernandez Chavez notes that railroad workers, for example, numbered in the tens of thousands by 1910, whereas they had not existed before the creation and expansion of the industry (MBH 173). The arrival of the streetcar, now found in a number of major Mexican cities, created another skilled working-class occupation that did not exist before. In the two decades before the outbreak of the revolution, a modern textile sector also emerged. It reached six hundred and six thousand workers, many concentrated in large factories producing cloth for domestic consumption (MBH 173). Mining, a boom-and-bust industry that dated from the colonial period, recovered and expanded considerably thanks to the railroads. In 1910, miners numbered almost a hundred thousand in Mexico (MBH 173). They lived in mining camps and towns found largely in the Mexican north. More generally, various mass consumer goods were increasingly shifting to small-scale factory production, including items like soap, candles, beer, furniture, soft drinks, cigarettes, meat, and baked goods.
As much as men are working, so are women, but ultimately they do not face the same obstacles. For example, “Even if one subscribes to a solely economic theory of oppression, how can one ignore that over half of the world's workers are female who suffer discrimination not only in the workplace, but also at home and in all the areas sex-related abuse” (Moraga 98). This gives readers a point of view in which women are marginalized in the work place, at home, and other areas alike. Here Moraga gives historical accounts of Chicana feminists and how they used their experiences to give speeches and create theories that would be of relevance. More so, Moraga states how the U.S. passes new bills that secretly oppress the poor and people of color, which their community falls under, and more specifically, women. For instance, “The form their misogyny takes is the dissolution of government-assisted abortions for the poor, bills to limit teenage girls’ right to birth control ... These backward political moves hurt all women, but most especially the poor and "colored." (Moraga 101). This creates women to feel powerless when it comes to control one’s body and leads them to be oppressed politically. This places the government to act as a protagonist, and the style of writing Moraga places them in, shines more light to the bad they can do, especially to women of color. Moraga uses the words, “backward moves”
Peggy Orenstein has been very popular around the literary world, writing books, and publishing for many popular magazines such as O: The Oprah Magazine, Vogue, Elle, Glamour, New York Times and many more. She mainly focuses on today’s society issues such as topics that affect women and girls. Orenstein’s article originally published in the New York Times in 2006, “What’s Wrong with Cinderella?” is the article I chose from the book, The Conscious Reader (page.64-74). Disliking the princess industry, and the impact they have to young girls and forcing gender roles, Peggy Orenstein writes this article as a feminist mother who has concerns about what it will do to her three year old daughter.
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
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.
...Halevi-Wise, Yael (1997). Story-telling in Laura Esquivel's Como Agua Para Chocolate. The Other Mirror: Women’s Narrative in Mexico, 1980-1995. Ed. Kristine Ibsen. Westport, CT: Greenwood Press, 1997. 123-131.