Identity is the essential core of who we are as individuals, the conscious experience of the self-inside.
(Kaufman cited in Anzaldúa, 1987, p.84)
The objective of this essay will be to interpret the contradictions of identity produced in the movie Fresa y Chocolate and The Borderlands. When personal identity, is stifled and shaped by nationalistic discourse. By examining the polarised dichotomies of self-identity, juxtaposed against the internalised and dominant hegemonic discourse of imposed National and cultural identity. The paper will endeavour to expose how, the holding and wielded of power creates conflict and revolt between ones individual identity, when set against a dominant and oppressive structure. The paper will first examine the portrayal, in Fresa y Chocolate, of how the desire to express one’s own individuality and personal identity clashes with the widely accepted, but yet orchestrated and imposed, post-revolutionary Cuban national identity. By investigating, how the prescribed discourse from an autocratic Cuban regime, creates an emotional battleground for the expression of the individual. When pitched against the dogma surrounding what it means to be a good and contributing member of a socialist collective. The paper will reveal how, the intertwining personal journeys of Diego and David, creates a world of forced discovery and a transformed realisation of identity for both. Next, the paper will examine how internalised self-identity needs to be a dynamic and fluid battleground. Dominated by a pragmatic desire for survival. How this need for acceptance and existence manifests in a complex web of control and subjugation. Resulting in, what Anzaldua describes in The Borderlands as, creating a world of multiple forc...
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I want the freedom to carve and chisel my own face, to staunch the bleeding with ashes, to fashion my own gods out of my entrails. And if going home is denied me, then I will have to stand and claim my space, making a new culture – una cultural Mestiza – with my own lumber, my own bricks and mortar and my own feminist architecture.
(Anzaldua 1989, p.44)
Works Cited
Anzaldúa, G. (1987) Borderlands/La Frontera: The New Mestiza, San Francisco: Aunt Lute Press.
Birringer, J. (1996) ‘Homosexuality and the Nation: An interview with Jorge Perugorria’, The Drama Review, 40(1), 61-76.
Gutiérrez Alea, T. (1993) Fresa y chocolate [film], Cuba: ICAIC.
Wilkinson, S. (1999) ‘Homosexuality and the Repression of Intellectuals in “Fresa y chocolate” and “Mascaras”’, Bulletin of Latin American Research, 18(1), 17-33, available: Jstor database [accessed 17 Oct 2012].
The strict guidelines for women’s behavior in twentieth century Puerto Rico determined how they both acted outwardly as well as how they perceived themselves intrinsically. Within Julia de Burgos’ poem “A Julia de Burgos” and Rosario Ferré’s When Women Love Men, there is a somewhat psychological study of the dichotomy between a woman’s true identity and expected behavior. By creatively challenging the expectations placed before women, allowing for identities influenced by what was perceived to be the “other” side, and employing mirror like voices, both authors stress the importance in the ability to mold a true concept of self.
Fernández, Roberta. "Abriendo Caminos in the Brotherland: Chicana Writers Respond to the Ideology of Literary Nationalism." A Journal of Women Studies 14.2 (1994): 23-50. Web. .
True identity is something people must create for themselves by making choices that are significant and that require a courageous commitment in the face of challenges. Identity means having ideas and values that one lives by” (Merton). Concurring with Merton, a person is not given their identity at birth or while developing as an embryo, rather it is something that you create for yourselves over the course of life through decisions and actions made by the individual. Identity is something that one may not be fully aware of or discover until the last breath. Identity can be influenced through associations with others, and environmental factors.
Identity is a group of characteristics, data or information that belongs exactly to one person or a group of people and that make it possible to establish differences between them. The consciousness that people have about themselves is part of their identity as well as what makes them unique. According to psychologists, identity is a consistent definition of one’s self as a unique individual, in terms of role, attitudes, beliefs and aspirations. Identity tries to define who people are, what they are, where they go or what they want to be or to do. Identity could depend on self-knowledge, self-esteem, or the ability of individuals to achieve their goals. Through self-analysis people can define who they are and who the people around them are. The most interesting point about identity is that some people know what they want and who they are, while it takes forever for others to figure out the factors mentioned before. Many of the individuals analyzed in this essay are confused about the different possible roles or positions they can adopt, and that’s exactly the reason they look for some professional help.
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.
...tyle that alludes to the multitude of constantly changing and sometimes even contradictory elements in each characters journey to racially and sexually define themselves. Audre, Miguel and Leticia hold multiple racial and sexual identities in a fluid constant that change depending on their location and social context. Instead of serving as a bridge for their families, these characters break free of their place of origin and connect the multiple elements that inform their realities in order to adapt them to their present. Race and sexuality are inextricably linked. To believe in one true sexual or racial identity allows for a feeling of safety, as the aim is then find a definable, core sense of self; however, these three texts illustrate that a singular form of identity is insufficient at defining the complexity of human racial and sexual experiences.
Montoya, Margret E. "Masks and Identify," and "Masks and Resistance," in The Latino/a Condition: A Critical Reader New York: New York University Press, 1998.
Everyone struggles with identity at one point in their life. It will eventually happen to everyone. Identity is how people see one another, it is one of the most important things about someone. Identity goes hand in hand with experience. One’s experiences can impact one’s identity.
There is many different ways which the concept of identity has been defined and studied by social scientists. Some of these scientists include, Coatsworth, Shwartz, Srivastava, and Furstenburg. The actual dictionary definition of “identity” is, the fact of being who or what a person or thing is. An individuals’ personality characterstics also relate to their sense of identity. These types of characterisitcs are known as, the “Big Five'”. This is a term used to describe the five broad traits of humans.
At the opening of the book Borderlands, La Frontera, Gloria Anzaldua conceptualizes the borderlands as being a burden and a cause of her pain and hopelessness. Anzaldua expresses her feelings towards the boarder using physical traits, but also using non-material descriptions. Anzaldua then goes on to talk about the experiences of oppression and, violence and discrimination of those queer folks of color and how her metaphors used in this book help understand better the meaning of such experiences. She also examines how the queer bodies are marked as locations for all kinds of violence through the power of gender binaries. In the first chapter of her book, Anzaldua explores many aspects of the borderline, and she portrays strong feelings about this matter.
Gloria Anzaldúa writes of a Utopic frame of mind, the borderlands created in and lived in by the new mestiza. She describes the preexisting natures of the Anglos, Mexicanos, and Chicanos as seen around the southwest U.S. / Mexican border, indicative of the nations at large. She also probes the borders of language, sexuality, psychology and spirituality. Anzaldúa presents this information in various identifiable ways including the autobiography, historical/informative essay, and poetry. What is unique to Anzaldúa is her ability to weave a ‘perfect’ kind of compromised state of mind that melds together the preexisting cultures while simultaneously formulating a fusion of genres that stretches previously constructed borders, proving both problematic and a step in the right extremely ideal direction.
What is identity? Identity is an unbound formation which is created by racial construction and gender construction within an individual’s society even though it is often seen as a controlled piece of oneself. In Dr. Beverly Daniel Tatum’s piece, “The Complexity of Identity: ‘Who Am I?’, Tatum asserts that identity is formed by “individual characteristics, family dynamics, historical factors, and social and political contexts” (Tatum 105). Tatum’s piece, “The Complexity of Identity: ‘Who Am I?’” creates a better understanding of how major obstacles such as racism and sexism shape our self identity.
The eternal endeavor of obtaining a realistic sense of selfhood is depicted for all struggling women of color in Gloria Anzaldua’s “Borderlands/La Frontera” (1987). Anzaldua illustrates the oppressing realities of her world – one that sets limitations for the minority. Albeit the obvious restraints against the white majority (the physical borderland between the U.S. and Mexico), there is a constant and overwhelming emotional battle against the psychological “borderlands” instilled in Anzaldua as she desperately seeks recognition as an openly queer Mestiza woman. With being a Mestiza comes a lot of cultural stereotypes that more than often try to define ones’ role in the world – especially if you are those whom have privilege above the “others”.
Identity. What is identity? One will say that it is the distinct personality of an individual. Others will say that identity is the behavior of a person in response to their surrounding environment. At certain points of time, some people search for their identity in order to understand their existence in life. In regards, identity is shaped into an individual through the social trials of life that involve family and peers, the religious beliefs by the practice of certain faiths, and cultural awareness through family history and traditions. These are what shape the identity of an individual.
Webster's dictionary describes identity as sameness of essential character, individuality, or the fact of being the same person as one claims to be. So your identity can include your name, your age, your job title, or simply characteristics of your body. These things are facts, facts you don't care to share with the world. Just as the word suggests your identity is something by which you can be identified. These are things that describe a person in terms a stranger would understand. This area of identity is proof of who you are. However, your identity is also composed of what you are. They mark your role in society. Who you are and what you do make up your identity. This is essential in the human life span because people are always searching to find where they truly belong in the world.