Being A Normal White American

These factors constitute what Kimmel defines as "the central themes of American manhood at the turn of the century that masculinity was increasingly an act, a form of public display; that men felt themselves on display at virtually all times; and that the intensity of the need for such display was increasing" (Furumota).

…offers up particular notions of agency in which white working class and middle class men are allowed to see themselves as oppressed and lacking because their masculinity has been compromised by and subordinated to those social and economic spheres and needs that constitute the realm of the feminine.

As I sit here and think about what it is to be Black in America. I realize how there are so many factors that affect African American people daily. One of the most damaging forces tearing at young black people in America today is the popular culture's image of what an "authentic" black person is supposed to look like and how that person is supposed to act. People assume all black males where raised in a single parent home. People assume that if you are a black male, that you sale drugs or you are really great in some type of sport. If you are a black female, they assume you will have kids by different men, referred to as “baby daddy” or they may not even know who the fathers of their children are. This same society expects African

The chief character of the story is Clemencia. Clementia is a US born Mexican-American woman. As opined by Clemencia herself, she is “vindictive and cruel, and…capable of anything” (Cisneros 68). At the same time Clemencia is a victim of racial bias. Involved in an unhappy marriage, her mother exhorted, “Never marry a Mexican” (Cisneros 68) and at the end of the affair with her beloved Drew, he confesses he could “never marry a Mexican” (80). Thus, Clemencia is a perpetrator of racial bias towards men of a Hispanic descent, “I never saw them. My mother did this to me” (69), while being a victim of racial bias herself. Although middle-class, she flees the comforts of a middle class life to live in a lower-class Latino neighborhood and sells her art among the upper-class. Hence, she also feels like she is, “Amphibious…a person who doesn’t belong to any class” (71). Clemencia is also a betrayer of women. Feeling betrayed and abandoned by her mother for marrying an Anglo man and betrayed by her ex-lover for ending the affair, Clemencia seeks gratification through her affairs with married men. The overall theme of Never Marry a Mexican is overcoming racial stigmas and finding the beauty in humanity.

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

attention is that it is a struggle to be an Asian in America due to the fact that Asians

Throughout the book, it is evident that predominantly only the observations and perspectives of Anglo-American males were presented rather than the ones belonging to native Latinos men which, arguably, can be problematic as the audience is only exposed to what Americans have to say on Mexican- American culture adaptation. This exclusion of the native voice can especially be seen at the section regarding targeting women as the crucial point in infiltrating the Mexican home with Americanized ideals. According to Sanchez, during 1915, there was a clear mindset that thought the “housekeeper creates the atmosphere” in the family and should “the female adopt American values, the rest of her family would follow” (Sanchez 99). Home teachers were told to teach women songs in English about the duty of women such as “…like to wash, to sew, to cook”. Yet, after six years, women stilled lacked behind men in English skills which, were seen as the a crucial part of Americanization. Unsurprisingly, the lack of success in the Americanization of women was perceived to be the “patriarchal nature of the Mexican Family”(Sanchez 101). Disappointingly, Sanchez did not include the Mexican female voice into this section, which could have provided more insights on how the women themselves felt about the Americanization programs and how they perceived the roles they played within their family, as he felt that professors such as Emory Bogardus (Sanchez 101) from University of Southern California has a more right to talk about Mexicano family structure than the Mexicans

Authors in “We Don’t Sleep around Like White Girl’s Do” are looking at the relationship between Filipino immigrant parents and their daughters. It shows how gender socialization occurs. The author in this research uses epigraphs, or statements, by a Filipina immigrant mother and her second-generation Filipina daughter, stating things like “we don’t date like white girls date” and “I don’t like them to grow up that way, like the American girls.” These suggest that the Filipina daughter is taught to believe that White women are sexually unethical. It shows that their required “morality” and the sexuality of women, are crucial to the shaping of social differences. Furthermore, it claims that gender is a key to immigrant identity, and a way for immigrants to claim cultural authority over the dominant Americans.

Kimmel’s Bros Before Hos: The Guy Code investigates the complicated social environment in which young males are anticipated to prepare for manhood based upon considerable sociological inquiries conducted from Kimmel himself. His main argument institutes what was formerly a comparatively definite and direct transition for males to experience boyhood to manhood has become much more perplexing and sophisticated. In his revealing chapter, Bros Before Hos: The Guy Code, Michael S. Kimmel examines and determines the adversities young men endure through daily, from the standards society place upon them in deeming what a man is. These principles dictate how masculinity is sown into a man from the anxiety of being ostracized as well as being perceived a feeble individual instead of naturally behaving in this manner. In addition, through Kimmel’s analysis on both the causes and the effects of this extended state of adolescence, they can be particularly influential to male connotations for connections between family members, fellow adults and peers, and personal achievements.

Manliness & Civilization: A Cultural History of Gender and Race in the United States is an intensive analysis of how assumptions about race, gender, and the perfection of civilization shaped thought and behavior in the US between 1890 and 1915. For its author, Gail Bederman, despite race and gender are two different categories, society have connected them so that they should be understood together. Both categories are connected in relevant to civilization as the social perfection idealized by Darwinism had designated white men as the most superior. During the particular period where this book is focused, male dominance has been prevalent long before this period. This book will investigate this turn of the century connection between manhood and race; and argue that as white middle-class men

Throughout the play there are underlying theme that suggest different ideas. The themes I will discuss is how Mexican American men are portrayed in relation

"Implicitly, these films warn white women to embrace the socially constructed passive Asian beauty as the feminine ideal if they want to attract and keep a man" (Espiritu). What Hollywood may have failed to portray about these Asian women is that they are prostitutes merely trying to support their families by offering sexual services to men whom they see rich. Because they come from poor families and lack education, some Asian women earn their living by these means, and preferring to sleep with a man due to his skin color has nothing to do with it. Their financial situation takes precedence over the act which they are partaking in.

Sandra Cisneros’ short story, “Never Marry a Mexican”, indirectly underlines her perspective, her interpretation, judgement, and critical evaluation of her subject, the work and its title. This perspective is evident in her use of literary devices, diction, and language structure in her narrative. The purpose of the use of these elements in the way that she does is ultimately linked to understanding her viewpoint on the subject. The author’s perspective is embedded in the meaning of the story and its theme. Her interpretations are valid, and justified in detail throughout the story to add color and vibrancy to her characters. Her judgment is lightly touched upon but only clearly and directly given at the end of the story, to allow the

Summary The documentary film entitled “Reel Bad Arabs: How Hollywood Vilifies a People” [1] which was directed by Sut Jhally, is an extension of a book written by Jack Shaheen and has the same title as the film. It was Shaheen who narrated the movie. This film relates to the issue of Arabs’ image in the old obscure movies and today’s biggest hits in the cinema.

Femininity: a set of values usually associated with a woman, womanhood, young girls, and girlhood within society. Values constructed and rooted from the white supremacist ideology as to what constitutes a "beautiful" and "feminine" woman. These racialized standards of beauty created by the white patriarchy and exercised throughout society invoke a cultural discourse of racially coded degrees of femininity and beauty. The white patriarchal discourse represents the white woman and Eurocentric traits as the model woman or the pinnacle of feminine beauty. Although I am not disputing the value of the white woman, it is very apparent that in the hierarchy of femininity the white woman and Eurocentric traits are deemed more valuable than that of a