A Mexican Self Portrait Summary

But the soldaderas’ stories, and more prominently, their images, have survived and become an iconic component of Mexican history. When I was researching this project, I found that it was much easier to find photographs of soldaderas than information about them or records of their lives. Several historians have pointed out that the prominence of soldaderas in photography has lead to the truth about how important women were in the revolution, and Horacio Legras has suggested that these photographs have allowed women to become the “rightful subject of history” that they had previously been left out of (6). Elena Poniatowska, in Las Soldaderas, states that, “if not for the photography of Agustin Casasola and Jorge Guerra, and countless rolls of celluloid by Salvador Toscano, we would know nothing about the soldaderas because history has not treated them kindly-in fact, it has denigrated them” (27). Denigrated through verbal written history, the soldadera has ironically become the focal point of Mexican Revolution

In several cultures, women are seen as archetypes more than men. The proposition of women are instantly idealized and glorified and instantaneously ignore the true complexity of a woman. Countless of these superficial images can be seen across various cultures where the societies within these cultures define what it means to be a female and what type of behavior is and isn’t acceptable within those parameters. The persistent restatement of these stories throughout these generations reinforces the gender system. Women who step out of the norm in these societies are then held punishable for their actions. Alicia Gaspar de Alba pinpoints the three archetypal roles that are given to the women in the Mexican and Chicana cultures. These are,

Common stereotypes about women in the Mexican-American culture include that women are uneducated, good housewives, and very fertile. Many parents still believe it’s the woman’s job to stay home and be the homemaker. The concept of gender, which is socially constructed, is reinforced since birth. (Sociology Lecture 08/24/2015) Ana was caught in the middle of gender politics. Her mother oppressed her daughter so she can become a grandmother. The film “Real Women Have Curves” deals with gender stereotypes and struggles of poor women living in East LA. Carmen was trying to have Ana chained to the notion of women being inferior to men. Carmen believed men to be superior, whereas Ana thought differently. However Ana strived to liberate herself from traditional cultural norms by pursuing her college education. Her mother’s negative influence only caused Ana to rebel.

You can see how Maria’s El Salvador is empty of people, full only of romantic ideas. Jose Luis’s image of El Salvador, in contrast, totally invokes manufactured weapons; violence. Maria’s “self-projection elides Jose Luis’s difference” and illustrates “how easy it is for the North American characters, including the big-hearted María, to consume a sensationalized, romanticized, or demonized version of the Salvadoran or Chicana in their midst” (Lomas 2006, 361). Marta Caminero-Santangelo writes: “The main thrust of the narrative of Mother Tongue ... continually ... destabilize[s] the grounds for ... a fantasy of connectedness by emphasizing the ways in which [Maria’s] experience as a Mexican American and José Luis’s experiences as a Salvadoran have created fundamentally different subjects” (Caminero-Santangelo 2001, 198). Similarly, Dalia Kandiyoti points out how Maria’s interactions with José Luis present her false assumptions concerning the supposed “seamlessness of the Latino-Latin American connection” (Kandiyoti 2004, 422). So the continual misinterpretations of José Luis and who he really is and has been through on Maria’s part really show how very far away her experiences as a middle-class, U.S.-born Chicana are from those of her Salvadoran lover. This tension and resistance continues throughout their relationship.

Clo grew up in a time when the gender roles for Mexican women were more traditional and her father really only expected her to get married and not much else. Her father actually arranged for her to be married to a wealthy man that was her father’s age. All Clo wanted to do was go to art school in Paris but her father ignored her pleas. On the day of the wedding, Clo came down the stairs naked and embarrassed her father so much so that he sent her away to the art school in Paris with money to help keep her away.

During the Mexican Revolution, Mexico as a nation torn in many directions, people gave up simple farming lives to take up arms against causes that many of them did not fully understand. Gender roles during the period in Mexico were exceptionally degrading towards women. Having little more rights than slaves and treated as trophies or property more than human beings, women role in society was nothing near that of a man’s. In The Underdogs, Mariano Anzuela highlights the issue of gender roles by continuously illustrating the punitive role of women and their mistreatment. Augmenting Anzuelas work with citations from Oscar Lewis and Stephanie Smith will paint a picture of the degrading gender roles for women during the Mexican Revolution. Highlighted points brought up by Azuela are how men speak with and treat women, women’s place in society, and general disregard for women’s feelings.

In this article, “The Myth of the Latin Woman” Cofer has talked about many incidents from her life where she was talked about, from a young girl the adult life. Ortiz Cofer is so ardent about this topic of stereotyping Latin women because she was a native women of the Puerto Rico area who really grew up in the United States. There is how she witnessed firsthand how hurtful stereotyping could be. In “The Myth of the Latin Woman”, She has repeated use of Spanish words in the essay to shows her audience how proud she is of the Latin heritage. she continuously uses other words, such as Puerto Rican, and Latina to stress the names she heard growing up. Because she has been brought up to love her Latin culture, she was often stereotyped here in the United States. As you can see, this is why she became so involved with trying to bring people so much awareness to the

“Mixed cultural signals have perpetuated certain stereotypes…”(Page 372, paragraph 2, line 1). The Myth of the Latian Woman: I Just Met a Girl Named Maria, by Judith Ortiz Cofer is about how Judith Ortiz Cofer was discriminated because she is a Latina Woman. She describes about several people treating her differently than others, through song, through looks, and through sexual thoughts and actions towards her. Even after all the discriminating actions persisted upon her, she still pursues on to help others learn that Latinas are not always like the movies say they are or should be like. Judith Ortiz Cofer does this by writing poetry and novels. “My personal goal in my public life is try to replace the old pervasive stereotypes and myths about

While dealing with the hardships of being Mexican, a woman also had to face the burden of being a female. A social hierarchy was clearly in existence. While the men were inferior to the Spaniards and Anglos because they were

The story illustrates the overlapping influences of women’s status and roles in Mexican culture, and the social institutions of family, religion, economics, education, and politics. In addition, issues of physical and mental/emotional health, social deviance and crime, and social and personal identity are

Like Water for Chocolate by Laura Esquivel is a powerful novel that serves as a great introductory guide to the Latin-American culture. The novel consists of primarily female characters, the De La Garza family, where each one portrays a female stereotype, or perhaps their role in the society. The setting of the story takes place during arise of the Mexican Revolution in 1910, which helps to further distinguish the roles of the women and how they go about living their everyday life. Like Water for Chocolate can be looked at as a story about two women, a daughter and a mother, Tita and Elena De La Garza. Tita, our protagonist, struggles against her mothers’ tradition, to “serve” her until the day she dies, without having a life of her own.

The picture of pre-revolutionary Mexican women was of a woman who had to lived her life constantly in the male shadow. These women were consumed by family life, marriage, and the Catholic Church, and lived silently behind their dominant male counterparts (Soto 31-32). In 1884 (prior to the revolution) the government passed the Mexican Civil Code. It dramatically restricted women's rights at home and at work (Bush and Mumme 351). Soto states that the code "sustains an almost incredible inequality between the conditions of husband and wife, restricts in an exaggerated and arbitrary manner those rights due the woman, and…erases and nullifies her personality" (qtd. Bush and Mumme 351).

“Pedro is a Mexican macho” is a phrase that makes Pedro proud because he does not sees anything wrong on it. Respectfully, Pedro avoids talking with his coworkers’ wives; it is not right. In Pedro’s sight a woman who approaches to him without her husband only wants to flirt; it is a typical characteristic of Pedro. Pedro’s wife works and is responsible of their children. Allows what a rancher would not Pedro continues living among a Mexican community in a mobile

After many episodes of empathizing and coming to adore Alba, the audience gets a taste of fear and disbelief, which is only a fraction of what some women experience in real life when making the decision to come to America to help their family and the consequences they face both on the way and when they arrive. The Tortilla Curtain is a great example of the struggles Mexican women face after their journey to the states. América is the very young, pregnant wife of Cándido Rincón. Her husband assumes that she will stay out of trouble while he hunts for work, but it ends up that she is the one who gets a job, at least for a short time. Alongside Mary, an alcoholic white woman, she goes to work for Jim Shirley, illegally. América ends up cleaning buddha statues, but Shirley at first refuses to give her gloves to properly protect her hands from the solvents, then pays her less than he does for Mary, all because she is Mexican and has not yet mastered

Women of Latin American culture have incessantly ensued the potent gender roles that have become a social construction of their society over innumerable decades. The profound author of Insurgent Mexico, John Reed, imparts his experiences with the revolutionary leaders of the Mexican Revolution, like Pancho Villa, and was able to witness their culture and more specifically the roles these Mexican women were forced to render by their chauvinistic counterparts. This period of revolution, started to grant women new mantles usually reserved only for men, like participating in fighting for the success of the revolution; any preeminent changes would soon approach, but in the meantime Mexican society run by men enjoyed the regulated traditional