Analysis Of The Poem ' La Malinche '

Josie Mendez-Negrete’s novel, Las Hijas de Juan: Daughters Betrayed, is a very disturbing tale about brutal domestic abuse and incest.  Negrete’s novel is an autobiography regarding experiences of incest in a working-class Mexican American family.  It is Josie Mendez-Negrete’s story of how she, her siblings, and her mother survived years of violence and sexual abuse at the hands of her father.  “Las Hijas de Juan" is told chronologically, from the time Mendez-Negrete was a child until she was a young adult trying, along with the rest of her family, to come to terms with her father 's brutal legacy. It is a upsetting story of abuse and shame compounded by cultural and linguistic isolation and a system of patriarchy that devalues the

More often than not, analyses of John Rollin Ridge’s Joaquín Murieta interpret the novel as a demonstration of male bravery, and regard the female characters as counterparts that exist to remind the violent men of their humanity. However, an analysis that only considers women for their roles as sentimental beings is one that fails to detect their true significance in the work. Instead, it is essential to recognize that the female characters of the novel diverge from traditional, confining expectations of womanhood, and embody traits of masculinity as a response to their social situations.

For Perez, Chicana/o history is not resolvable and must continually be debated and comprehended as multiple and unstable. Perez, like other Chicana theorists, initiates an added dimension that recognizes that woman’s voices and their stories have become subordinated to a colonist racial mentality and to a male consciousness. Perez argues that the quintessential historical accounts. Women become appendages to men’s history, the interstitial ‘and’ tacked on as an afterthought’ (12). Nevertheless, Perez also suggests that even though some stories have not been told, does not define their existences, asserting, “Chicana, Mexican, India, Mestiza actions, words spoken and unspoken, survive and persist whether they are acknowledged or not” (7). The task of locating the voices of the Chicana are often discharged or lowered by the dominant groups.

This highlights that Chicanas prefer Chicanos more than they prefer each other; they perpetuate gender hierarchy by constantly placing males above females. Chicanas fear the criticism they will endure if they defy gender boundaries. Joan Riviere addresses this phenomenon in her essay “Womanliness as a Masquerade. Her essay explores the discomfort that woman feel when they act outside of the boundaries established by a male dominated society. In one example, she describes a

“Beautiful and Cruel” marks the beginning of Esperanza’s “own quiet war” against machismo (Hispanic culture powered by men). She refuses to neither tame herself nor wait for a husband, and this rebellion is reflected in her leaving the “table like a man, without putting back the chair or picking up the plate (Cisneros 89).” Cisneros gives Esperanza a self-empowered voice and a desire for personal possessions, thing that she can call her own: Esperanza’s “power is her own (Cisneros 89).” Cisneros discusses two important themes: maintaining one’s own power and challenging the cultural and social expectations one is supposed to fulfill. Esperanza’s mission to create her own identity is manifest by her decision to not “lay (her) neck on the threshold waiting for the ball and chain (Cisneros 88).” Cisneros’ rough language and violent images of self-bondage reveal the contempt with which Esperanza views many of her peers whose only goal is to become a wife. To learn how to guard her power

In “Lieutenant Nun: Memoir of a Transvestite in the New World” by Catalina de Erauso, a female-born transvestite conquers the Spanish World on her journey to disguise herself as a man and inflicts violence both on and off the battlefield. Catalina discovers her hidden role in society as she compares herself to her brothers advantage in life, as they are granted money and freedom in living their own lives. Erauso decides to take action of this act of inequality by forming a rebellion, as she pledges to threaten the social order.The gender roles allotted to both men and women in the Spanish world represent the significance of societal expectations in order to identify the importance of gender in determining one’s position in the social order in the Spanish World.

Patricia talks about going to a Christian Endeavours Friday nights, and having a pretty normal school life (minus symptoms of her DID; blurry memory, confusions of learning subject or meeting people.) She was a Brownie and participate in the Girls Brigade, similar things that normal girls did growing up then and now (Nobles,2006,43-44). She had friends and played with kids in her neighborhood she was sometimes a ‘normal’ girl. Another thing that rubbed me the wrong way was the part about the vacation to Jersey (Nobles, 2011, 47), the girls knew that their father wasn’t going, but when they get to the station Kim finds out she isn’t going either. I found myself saying the questions she was saying to her self, “why was she not going, what had she done?” Some one that Patricia expresses her love for her is her ‘friend’ Lillian in Chapter 8 who she attended Warlingham, she shares how much she appreciated her later for her patience. Kim was constantly questioning her about school, why she was there, why she couldn’t go home, why her dad brought her back after being sent home for just a few hours (Nobles,2011,132). Her mother had a huge drinking problem and while Patricia also though she had one, I think she was just simply trying to just justify why she was blacking out. She was always asking her self “why don’t I remember anything, why am I always feeling like time is just flying by”. Her mother heavily drank through her entire childhood and into her adult hood it was a big

Edited by several scholars such as Gabriella F. Arredondo, Aída Hurtado, Norma Klahn, Olga Nájera-Ramírez, and Patricia Zanella, this book in particular highlights the development of Chicana identities in the twentieth century by showing “how Chicana feminist writings move discourse beyond binaries and toward intersectionality and hybridity” (Arredondo e.al. 2). What is interesting is how the feminist scholars in this book used different epistemologies and methods in capturing the experiences of the Chicanas which include oral histories, poetry, theatrical performance, painting, dance, music and social science survey. Some of the contributors also combine “analytical tools and cross disciplinary boundaries” (5). The approaches used are very unique as they enables to unravel the Chicana experiences thoroughly and disrupt “the notion of Chicana identity as monolithic and homogeneous” (6). Also, the format of the book which presents articles and then the responses by another activist or scholars offers a very distinct way of presenting critical and provocative analysis. Such format allows the editors to “reaffirm the tensions and creativity of individual and group consciousness that underlie Chicana feminism and scholarship” (Salas 122). From this edited volume, I choose three articles along with their responses. Those articles are Cartohistografía: Continente de una voz/Cartohistography: One Voice’s Continent by Elba Rosario Sánchez (response: Translating Herstory: A Reading

With this came a patriarchal movement with the anthem “Yo soy Chicano” and an ideology of “Chicano = Machismo”. Women within the Chicano movement were afforded one of three roles: mothers, nuns or whores. They were not allowed self determination. This stemmed from the idea that men were the ones that were rising against oppression, when in fact women “broke their shackles and stabbed the spirit of injustice when confronted in the fields by a shotgun, when bloodied on the streets”, when constructed under the violence of “Anglo/chauvinism or Chicano machismo.” The transition from Chicano to Chicana was in protest of previous marginalization and a step towards representation and manifestation. (I Throw Punches, Chabram,

In most history books, Pancho Villa is depicted as a often cruel but always fearless and cunning leader who courageously fought the dictatorial behavior of Porfirian Diaz in the Mexican Revolution. And some of this is certainly true. The great majority of reports and undocumented stories of Pancho Villa's epic struggles against injustice are all about males, but authors Anna Macias and Elena Poniatowska record the fact that women were a big part of the Mexican Revolution and that Villa was a viciously bloodthirsty scoundrel when it came to women and young girls. In order to set the record straight, Macias and Poniatowska present the writings of three women who ably report involvement of women in these moments in history; for example: a) there were women fighting on the side of Villa and his revolutionary band of warriors; and b) "hundreds of thousands" of women "of every class, were among the victims and casualties" of the conflict.

One struggle many individuals experience is speaking with conviction. Especially in today's day and age where people are possessed by their phone and would more likely send out a tweet then have a conversation with a loved one. The Poem “Totally like whatever, you know?” written by Taylor Mali addresses his concern that people no longer speak with meaning in discussions and conversations. He uses humor, sarcasm, as well as XXXXX to get his point across that people of this generation greatly lack confidence when they communicate. Throughout the poem he uses the word “like” in systematic places to strengthen his point. These places strengthen his argument because they sound natural and unnoticeable when listening to the poem but when reading

Macaria’s Daughter, by Americo Paredes, is a murderous tale of male dominance and female virtue where there is a sacrifice between an altar of the Virgin of Guadalupe and the marriage bed of two distinct cultures. This story is set in south Texas and surprises the reader with the murder of a beautiful young woman named Marcela. She is found in the bedroom, lying on the floor in a pool of blood, 30 to 40 knife stabs decorate her breasts, while the local men gaze indifferently on her lifeless body. Her husband, Tony, who is at the scene, hands over the knife to the local authorities, the Texan police, who are dressed in tall, spiffy Stetson hats.

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

Yet Moraga writing style is very difficult to comprehend at first, due to the barrier that she create by using Spanish and English. Moraga’s choice of words force the reader’s flow to be caught off guard and roots it to focus on every details. She blends both languages together that challenge the reader to understand the multiple categories of her. As she write her struggles to define herself in relation to others, (mainly in the Chicana/o community), she also makes it a challenge for the readers to fully access her trials at first read. In the article “Cherríe Moraga’s Loving in the War Years: lo que nunca pasó por sus labios: Auto-ethnography of the “New Mestiza,” Cloud states that “the placement of her own personal experiences within the context of her community enables Moraga to capture successfully the struggle of an entire people for individual and collective autonomy” (86). Clouds argue that Moraga purposely writes for an “all in one” perspective that can be very challenging for reader to understand. She admits that, “Loving in the War Years first part speaks to the confusion and personal struggle that characterized its author’s formative years, no more so than in its poetic parts. Much of the inner turmoil that pervades Moraga’s self-portrayal revolves around the collision course that is the confluence of her two ethnic identities: Chicana and American” (91). With this reason, the only way that Moraga could have directly and explicitly share her

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