Many Hispanic children are growing up in the United States interacting with other people from different ethnic backgrounds feeling as if one does not belong. One feels embarrassed of one’s culture, one’s family, and one’s language. Many Hispanic children are no longer speaking Spanish because they are ashamed of it. There are stories like Los Vadidos by Luis Valdez, Whites Without Money by Lloyd Van Brunt, and The Necklace by Guy De Maupassant that show great examples of characters that are ashamed of their culture and roots of where they come from. In Los Vendidos by Luis Valdez, a character that stood out to one was Miss Jimenez. She is like many Hispanics in today’s society that are ashamed of their Hispanic roots. In Whites Without Money …show more content…
People can express ideas, hypothesis, emotions, desires and all the other things that need expressing. Over time with Hispanics their language is being dimmed. In the story, Los Vendidos by Luis Valdez a character that stood out to one was Miss Jimenez. She expresses herself to Sancho as “My name is Miss JIM-enez. Don’t you speak English? What’s wrong with you?” (Valdez 257). Miss Jimenez is an example of many Hispanics being embarrassed of their language and roots. She felt embarrassed when Sancho pronounced her last name in Spanish as Jimenez instead of JIM-enez. Hispanics are no longer seeing the ability they have over others for speaking such a beautiful language. They are embarrassed of the language because many other races make it seem as if being Hispanic means one is not as important as others. They should feel embarrassed for not speaking their native language. Psychoanalytic theory is the theory of personality organization and the dynamics of personality development that guides psychopathology. Miss Jimenez had a psychological issue. In her mind speaking English makes one superior. She haves a Hispanic last name but she feels like she does not belong in the Hispanic culture. She became Americanized. She adopted the all American character traits and culture. She wants to be this all American person, not realizing that whites also have problems and they struggle as
In “Se Habla Español,” the author, Tanya, talks about her personal experience with dealing with language issues. Tanya was born in Guatemala and moved to the U.S when she was only three years old. Tanya’s mother did not want her to speak Spanish, because they believed that when they moved to the U.S speaking only English would help her blend in. For so long Tanya believed that speaking Spanish went hand in hand with being poor and speaking only English made her feel superior. After many years she has tried to learn Spanish but has found it quite difficult because although that is her native language it was like trying to learning a whole new language for her. In “Mother Tongue,” Amy’s explains how she has come to the realization that she speaks more than one “English,” meaning that the way she speaks in front of a crowd is different than the way she speaks with her mother. The way Amy speaks with her mother is still English although it is not proper. Amy expresses how she does not really like the phrase “broken English,” because if something is broken it needs to be fixed and she does not feel that her mother’s English needs to be
She explains how Mexican and Chicano literature, music, and film is alienated; their culture is considered shameful by Americans. They are forced to internalize their pride in their culture. This conflict creates an issue in a dual culture society. They can neither identify with North American culture or with the Mexican culture.
America is a presumptuous country; its citizens don’t feel like learning any other language, so they make everyone else learn English. White Americans are the average human being and act as the standard of living, acting, and nearly all aspects of life. In her essay “White Privilege: The Invisible Knapsack,” Peggy McIntosh talks about how being white has never been discussed as a race/culture before because that identity has been pushed on everyone else, and being white subsequently carries its own set of advantages. Gloria Anzaldua is a Chicana, a person of mixed identities. In an excerpt titled “How to Tame a Wild Tongue,” she discusses how the languages she speaks identify who she is in certain situations and how, throughout her life, she has been pushed to speak and act more “American” like.
"Los Vendidos," directed by Luis Valdez, is a remarkable play that looks into the historical struggles, stereotypes and challenges of Mexican Americans in a unique fashion. Rather than tell the history of Mexican Americans through documentaries and actual footage, the play conveys its message about the true history of Mexican Americans in the United States through both subtle and blatant techniques.
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.
Preceding her youth, in 1977, Anzaldua became a High School English teacher to Chicano students. She had requested to buy Chicano texts, but was rejected to do so. The principal of the school she worked for told her, in Anzaldua’s words: “He claimed that I was supposed to teach “American” and English literature.” She then taught the text at the risk of being fired. Anzaldua described, “Being Mexican is a state of soul – not on of mind.” All in all, the reprimanding she had to endure only made her stronger: “Until I can take pride in my language, I cannot take pride in myself.” It led to Anzaldua embracing her Mexican culture even more, contrary to shoving it aside. Anzaldua transformed her beliefs into something both cultures can applaud, and be honored
Although our society is slowly developing a more accepting attitude toward differences, several minority groups continue to suffer from cultural oppression. In her essay “How to Tame a Wild Tongue,” Gloria Anzaldúa explores the challenges encountered by these groups. She especially focuses on her people, the Chicanos, and describes the difficulties she faced because of her cultural background. She argues that for many years, the dominant American culture has silenced their language. By forcing them to speak English and attempting to get rid of their accents, the Americans have robbed the Chicanos of their identity. She also addresses the issue of low self-esteem that arises from this process of acculturation. Growing up in the United States,
Anzaldua grew up in the United States but spoke mostly Spanish, however, her essay discusses how the elements of language began to define her identity and culture. She was living in an English speaking environment, but was not White. She describes the difficulty of straddling the delicate changing language of Chicano Spanish. Chicano Spanish can even differ from state to state; these variations as well as and the whole Chicano language, is considered a lesser form of Spanish, which is where Anzaldua has a problem. The language a person speaks is a part...
In the story Jubilee by Kirstin Valdez Quade A young very bright Latin American woman, Andrea, struggles with feeling like she’s been accepted in today’s society despite all of her achievements. These feelings tend to peak and turn negative whenever she’s around the family of her father’s lifelong employer, the Lowells, and in particularly their daughter Parker. Although the Lowells, as a whole seem to love Andrea and her family, she finds that their success and good fortune directly correlates to her family’s second rate citizenship. This story reveals that obsession with being accepted as an equal can be an ever increasing stressor that can severely damage a child’s identity, social skills and ultimately lead to misplaced resentment and
The story written by Sandra Cisneros titled Never Marry a Mexican, pushes the reader to explore and test their moral boundaries almost to the brink of disintegration. The biggest example of this is when the narrator is scorned by her married lover. She pursues and seduces his teenage son for vengeance. “I sleep with this boy, their son. To make the boy love me the way I love his father” (187). She is not only carrying on with the son of her former lover, but the boy is a teenager, and her student. This breaks one of our biggest social norms, the violation of the teacher-student relationship. This alone makes it difficult if not impossible to sympathize with her. If we as readers are supposed to connect with
Like many Chicanos, she developed a strong sense of cultural belonging. This is primarily due to discrimination amongst neighboring Mexicans, whites, and anyone in between. Latinos and latinas would attack her, saying “...cultural traitor, you’re speaking the oppressor’s language, you’re ruining the Spanish language” (Anzaldua 412). It was this ethnic struggle that drove her to latch onto her cultural background so strongly. In the personal narrative “How to Tame a Wild Tongue” by Gloria Anzaldua, Anzaldua states “When other races have given up their tongue, we’ve kept ours. We know what it is to live under the hammer blow of the dominant norteamericano culture” (Anzaldua 419) when referring to the resilience of her native people. She states this in response to other cultural groups having abandoned their language, meanwhile they retained theirs. The Chicanos are aware of the harsh standards of North American society. By saying “When other races have given up their tongue, we’ve kept ours,” she means that even when other ethnicities have been pushed to eliminate their languages, her ethnicity stayed strong; they refused to cave in. Likewise, when Anzaldua states “We know what it is to live under the hammer blow of the dominant norteamericano culture,” she draws pride from her culture’s ability to fend off even the most suffocating adversities. In this way, Anzaldua conveys
In his play, “Los Vendidos”, Luis Valdez deliberately casts the secretary, Miss Jiminez, in the role of villain, and not the Honest Sancho. He does this to show Mexican-Americans the danger in becoming acculturated to the Anglo-American society, while giving them a character with which they can empathize.
Rodriguez would, for example, use words such as “unsettling” “cloistered” and “alienation,” to describe the beginning of his assimilation in the public English speaking world. While he would use “calm” “enchantingly” “consoling” and “intimacy” to describe Spanish. As Rodriguez is being pushed to assimilate and English is heard everywhere including his home he becomes “increasingly angry” only from being obliged from his parents and trying to participate in class he begins to feel a sense of belonging in public. Rodriguez’s diction was evident and continuous in his essay which abetted the audience to understand that the author wanted the audience to be addressed formally and be known that he wants to be taken seriously and able to connect to his background and why he made his
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
She realized the value of her language when she lost it and now treasures it. The kind of Spanish she speaks is neither English nor Spanish, but both. It is overflowing with culture from Medieval Spain, France, Germany, etc., just from the origins of the words. It is her pride and a representation of herself, fighting and living. In conclusion, in addition to Lera Boroditsky’s article proving that the structure of language affects how we think, the articles by Eric Liu, Amy Tan, and Gloria Anzaldua show how language is a foundation for a person’s culture, pride, and self.