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Wanting to achieve a sense of fullness is arguably a goal that many, if not everyone, has. To live a life with meaning and transcendence is to live a life worth living; it is to have something that makes you see the beauty in the world and it is to have daily motivation. The Latinx community is a community that embodies this desire of having a meaningful life, and it is mostly evident in the community’s working class. As anthropological studies arise, scholars have also noticed this strong desire. However, they say that working class Latinxs ' longing of fullness stems off form the oppression and “trauma” that they have undergone. In other words, that desire is simply an outlet to escape from tension caused by unprecedented shifts in the lives …show more content…
In his chapter “The Devil Dances,” Limón (1994) argues that the devil is a metaphor for Latinos and Latinas. For Latinos, the devil symbolizes a threat and for Latinas the devil is a sexualized charge sight of admiration and delight. By examining a rumor of the devil appearing at a local dance in Texas, Limón shows a critical reaction to an increasing saturation from an intensifying culture of postmodernity. The struggle for cultural survival and authenticity, especially for women who are always on the lowest rung of the socioeconomic ladder, is the necessity for engaging with those devils. It is through this lowest rung that causes tension and trauma. The devil is a symbol of threat, fear, and domination. This symbol is derived uncousinly, according to Limón, and is used as a coping …show more content…
In his essay "Selena’s Good Buy: Texas Mexicans, History, and Selena Meet Transnational Capitalism,” Coronado (2001) argues that Selena embodies displaced desires that need to be situated in their historical content. By looking at how Texans and marketers reacted to Selena’s death, Coronado was able to show us how Selena’s death can be looked at form a psychoanalytic lens. The working class’ obsession with Selena can be seen as a fetish of sorts. A fetish is caused by trauma and can be applied socially to a irritable social construct. In other words, Selena could be a social fetish; the Latinx working class abruptly lost someone who was representing them in mainstream media, leading to the trauma. In this theory, Selena is no longer seen as a person who contributed hugely to the rise of colored people in mainstream media, but as
In the novel Chulito author Charles Rice-Gonzalez creates a familiar world seen through the eyes of a young, gay Latino from New York to strip the reconstructed masculinity that is inherent to the urban Latin communities' sense of machismo and expose the realities of outdated views on gender roles and sexual orientation, and the internal power struggle against the machismo aspects that entrap its members in a cycle of poverty and violence. The majority of young Latinos growing up in impoverished areas of urban society think machismo is necessary for survival and acceptance within the community. Rice-Gonzalez reveals this to be an oversimplification by the members of the community of the social dynamics that are at work behind the scenes and,
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.
Hernandez, Tanya Katerí, “The Buena Vista Social Club: The Racial Politics of Nostalgia.” Latino/A Popular Culture. Ed. Michelle Habell-Pallán, Mary Romero. New York: New York University Press, 2002. 61-72. Print.
As showed in the film, Latino American often misrepresented and underrepresented both in front of and under the camera. American Hispanic often portrayed as lazy, unintelligent, greasy and criminal. Hispanic women often pictured comfortable sexuality as prostitution in film production; while Hispanic actors limit to criminal characters such as drug dealers, gangster, and provide the power for the white American. Audiences have less interaction with Latino in their real world might be easily framed by media images regarding the race and ethnicity. The lack of Hispanic history and culture understanding allows these media portrayals to change and form unfavorable behavior and attitude against Latino communities.
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 increase and changing demography in the United State today, with the disparities in the health status of people from different cultural backgrounds has been a challenge for health care professionals to consider cultural diversity as a priority. It is impossible for nurses and other healthcare professionals to learn and understand theses diversity in culture, but using other approaches like an interpreter is very helpful for both nurses and patients. In this paper of a culturally appropriate care planning, I will be discussing on the Hispanic American culture because, I had come across a lot of them in my career as a nurse. The Hispanic are very diverse in terms of communication and communities and include countries like Mexico, Cuba, Puerto Rico, South and Central America, and some of them speak and write English very well, some speaks but can’t write while some can’t communicate in English at all but Spanish.
Using both English and Spanish or Spanglish the author Gloria Anzaldua explores the physical, cultural, spiritual, sexual and psychological meaning of borderlands in her book Borderlands/La Frontera: A New Mestiza. As a Chicana lesbian feminist, Anzaldua grew up in an atmosphere of oppression and confusion. Anzaldua illustrates the meaning of being a “mestiza”. In order to define this, she examines herself, her homeland and language. Anzaldúa discusses the complexity of several themes having to do with borderlands, mestizaje, cultural identity, women in the traditional Mexican family, sexual orientation, la facultad and the Coatlicue state. Through these themes, she is able to give her readers a new way of discovering themselves. Anzaldua alerts us to a new understanding of the self and the world around us by using her personal experiences.
Cultural value orientations are the, “basic and core beliefs of a culture; that have to deal with one’s relationship with one another and the world” (McCarty & Hattwick, 1992). All cultures may encounter challenges with the media and society of how their beliefs and values are represented. There are several factors that resemble how cultural values influence a culture, more specifically the Hispanic culture in Yuma, AZ. Some of those factors are, the expression of their individual and collective identity through communication, cultures identity expressed though the mass media channels, examples of the value orientations that influence the groups communications behaviors, and one of the major events that challenged Hispanics identities.
As a traditional, collectivistic cultural group, the Latino population is believed to adhere deeply to the value of familismo. (Arditti, 2006; Calzada, 2014). Familism is an emphasis on the importance of the family unit over values of autonomy and individualism”. (Santistaben, 2012). Family is considered to be the top priority in the Latino culture. Comparatively, at times, this isn’t true of our busy, work devoted western culture. In western culture we think of our family in a nuclear sense made up of a: mom, dad, and siblings. Conversely, Hispanic culture focuses on the whole extended family including aunts, uncles, grandparent, and cousins. Their culture believes having close connections with the entire extended family benefits the development of their children. The entire family helps the child by giving them differing levels of social and emotional support. (American Home Resolutions,
Cofer uses the rhetoric appeal of ethos to establish her authority to make the argument that Latina stereotypes are just myths. Growing ...
Sandra Cisneros’ novel, The House on Mango Street, examines various key issues within established social systems. As a bildungsroman story, not only is there much growth and development experienced by the character, but from the reader as well. This is because the novel challenges false preset notions that one may have of the main character’s culture. In tearing down custom barriers and voicing out painful truths, there is a deeper understanding of Latina culture in the United States of America. Sandra Cisneros empowers the women who are living in a patriarchal society and her main character, reinforced by her name, Esperanza, gives women just that, hope.
Sandra Cisneros’s short story “Never Marry a Mexican” deals heavily with the concept of myth in literature, more specifically the myth La Malinche, which focuses on women, and how their lives are spun in the shadows on men (Fitts). Myths help power some of the beliefs of entire cultures or civilizations. She gives the reader the mind of a Mexican-American woman who seems traitorous to her friends, family and people she is close to. This causes destruction in her path in the form of love, power, heartbreak, hatred, and an intent to do harm to another, which are themes of myth in literature. The unreliable narrator of this story was created in this story with the purpose to show her confusion and what coming from two completely different cultures can do to a person, and what kind of confusion it can bring.
Writing in the 20th century was great deal harder for a Chicano then it was for a typical American at this time. Although that did not stop this author, Sandra Cisneros. One of her famous novels, Woman Hollering Creek was a prime example of how a combined culture: Mexican-Americans, could show their pride and identity in this century. In conjunction, gave the opportunity for women to speak their voice and forever change the culture of Latino/a markets. Not only did it express identity/gender roles of women and relationships, but using these relationships to combine the cultures of Mexican and American into a hybrid breed. This novel, should have been a view-point for the future to show that there is more to life than just gender and race. Concluding this, the articles that helps define this is “The Latino/a Canon and the Emergence of Post-Sixties Literature” and “What is called Heaven”.
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.