Don 't Be Afraid Gringo

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,

The 1930s were a period of many changes in Spain, especially because Francisco Franco started ruling the country and the political problems that arose. Things slowly started changing for women because of the foundation of Mujeres Libres, a female anarchist organization that fought for female rights. Until then, the general view of women was that of Proudhon, which meant that women were to be seen as reproducers whose role was to contribute to the society by taking care of their household and their children . This was especially common in the rural areas of Spain, where women could even be forced into arranged marriages against their will and almost had no say in what happened to them. The main oppressor of La Casa de Bernarda Alba is actually Bernarda, the mother of

In the story "Woman Hollering Creek" Sandra Cisneros discusses the issues of living life as a married woman through a character named Cleofilas; a character who is married to a man who abuses her physically and mentally .Cisneros reveals the way the culture puts a difference between a male and a female, men above women. Cisneros has been famous about writing stories about the latino culture and how women are treated; she explain what they go through as a child, teen and when they are married; always dominated by men because of how the culture has been adapted. "Woman Hollering Creek" is one of the best examples. A character who grows up without a mother and who has no one to guid and give her advise about life.

Machismo is something seen in the domestic situations throughout Hispanic people. The violence, the subservience that is expected and the men believe the women are second and are second class citizens. There role is to be domestic housekeepers and to birth children. Alicia makes

Despite being outcasted by other feminist groups such as the mainstream Chicano movement, and the second wave feminist movement, they wanted to set themselves apart through the use of their own personal experiences with gender, race, ethnicity, sexuality, class structure, and so forth. This term relates to Mexican-American and Hispanic women who oppose the traditional “household wife” role. They challenged the fundamental ideologies women, and young women are taught at an early age, and breaks away from the idea that men have dominion over women. This can also be categorized as a movement that fights against stereotypes against women. This term is important in context to our reading’s because this movement paved way for Chicano women to make their voice heard in their community. Just like we familiarize ourselves with key men in the Chicano movement, women also wanted to describe their experiences, and social injustices they were challenged with because they were women on top of other

Based on Cisneros’ works of literature, gender roles in a Hispanic culture revolves around patriarchal rule. The repercussions of a patriarchal rule includes the limitations of female liberation and development. Cleofilas’ abusive situation exemplifies the limitations of her independence and development as she can not make her own decisions and has to solely depend on her husband. This situation is illustrated when Cleofilas explains that the towns are “built so that you have to depend on husbands... You can drive only if you’re rich enough to own and drive an own car. There is no place to go” (Cisneros 628). Cleofilas reveals that men are the dominant gender and have more authority, and that women are compelled to depend on them in her society. It is an exceptionally rare case that a woman can afford her own car, for the men usually control the finances in a household. Additionally, Cleofilas has nowhere to seek refuge from her husband. Although she yearns to return to her father’s home, she decides not to due to the social standards imposed on her. In her society, the act of returning home after marriage is socially unacceptable. She understands that her family will be viewed in a negative light if she were to return home, as seen when Cleofilas refers to her town as a “town of gossips” (627). Similar to other men in the society, Juan Pedro’s authority is shown through his abuse. Cleofilas recalls, “He slapped her once, and then again, and again; until the lip split and bled an orchid of blood” (626).

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.

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 the Woman Hollering Creek, Sandra Cisneros makes use of several short stories to expose the Mexican culture destined gender roles inequalities against women. From an utterly young age, most Mexican girls are endangered to take the household responsibilities as their core duty. Once they reach adolescence, they imperiled to think about marriage as the unrivaled way for them to leave their parent's support. I argue that the Mexican culture through the medium of tradition and media are assembling a society in which woman, from the moment they are born, bear a life of parental and marital submission.

In Chronicle of a Death Foretold, the way women have been represented and characterized gives us an idea of how the female gender are treated differently from the male gender as well as children in Latin America during the 1950s. The husbands were given all the authority, also known as machismo, whereas women weren’t allowed to take charge of anything, and were portrayed as weak and impotent.

For centuries, a great deal of ethnic groups have been disempowered and persecuted by others. However, one should realize that none are more intense than the oppression of women. In the novel, The House on Mango Street, by Sandra Cisneros, women living in the Mango Street neighborhood suffer from their restricted freedom. Three such women, Rafaela, Mamacita, and Sally, provide great examples. All try to escape from their dreadful environment. Most of them fail, but at first, Sally seems to succeed in escaping from her father. However, she ends up meeting a husband as equally bad as her father. Ultimately, the men who live with Rafaela, Mamacita, and Sally act as insuperable obstacles that limit the freedom in their women’s lives.

The call for feminism marks the beginning of an extensive journey with the quest to inspire women and to advocate women right in a male governed the world. Gloria Anzaldúa and Maxine Kingston both scrutinize feminism in the framework of “Borderland: La Frontera: The New Mestiza” and “The Women Warrior” encouraging women to occupy a strong position in the post-colonial male led civilization. The author both traces the journey of women struggle to achieve rewarding role within the structure shaped by men. The alliance of different voice from disregarded women gestures a strong theme that inspires Maxine Hong Kingston and Gloria Anzaldua to write enthusiastically within the feminist topic to dispute the patriarchal society.

In Mexico, men and women are equal in the eyes of the law. However, the man is head of the family. Mexicans use two types of cultural representations to separate the male and female gender roles. The male role is defined by machismo, which is described as violence, power, aggressiveness, and assertive behaviors in sexual situations. For the female role, Mexicans use the Virgin of Guadalupe as an icon. This virgin represents the suffering and sacrifice that women have to make daily for their families. She also represents the submissive, but virtuous woman that Mexican women strive to be. While some still follows these gender roles, the cultural is transforming with urbanization and the roles are shifting (“Mexico”, n.d.)