From a Long Line of Vendidas

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 story “Woman Hollering Creek" by Sandra Cisneros describes the lives of Mexicans in a Chicago neighborhood. She depicts the life that women endure as Latino wives through her portrayal of the protagonist, Cleofilas. For Cisneros being a Mexican-American has given her a chance to see life from two different cultures. In addition, Cisneros has written the story from a woman’s perspective, illustrating the types of conflicts many women face as Latino wives. This unique paradigm allows the reader to examine the events and characters using a feminist critical perspective.

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.

In “The Myth of the Latin Woman: I Just Met a Girl Named Maria,” the incidents on the bus, in the hotel, and at the poetry involved prejudice and stereotypical misconceptions of Puerto Rican women. While Cofer was on a bus trip to Oxford University, a man “broke into an Irish tenor’s rendition of “Maria” from West Side Story” (Cofer 103). This implies that Latinas dealt with people who automatically assume that a Latina’s name is “Maria” or “Evita” based on a fictional movie. While at a hotel with a colleague, a middle-aged man called Cofer an “Evita” and he “began shout-sing a ditty to the tune of “La Bamba”---except the lyrics were about a girl named Maria” (Cofer 107). Then Cofer realized that “[she] was just an Evita or a Maria: merely a character in his cartoon-populated universe” (107). The men that sung stereotypical songs viewed Cofer as a sexual object and referred to her as an image displayed by the media.

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.

In the modern world, gender stereotypes affect men and women in different ways. A kind man can be perceived as violent for simply being a man, and in contrast, a woman can be seen as an object to chase or prey upon simply for being a woman. When these roles overlap, the innocent members of both parties feel uncomfortable and ashamed for things out of their control. Judith Ortiz Cofer’s essay entitled The Myth of the Latin Woman: I Just Met a Girl Named Maria is more effective in its explanation of perceived gender roles and stereotypes, compared to the Brent Staples essay Just Walk on By: Black Men in Public Space.

Stereotypes are dangerous weapons in our society. “The Myth of the Latin Woman: I Just Met a Girl Named Maria” is a short essay in which the award winning poet and professor of English, Judith Ortiz Cofer, wishes to inform and persuade the audience that labels and stereotypes can be humiliating and hurtful. The author targets the general public, anyone that doesn’t understand that putting someone in a box because of a stereotype is wrong. Cofer starts out the essay by telling the reader a story with a drunk man who re-enacted “Maria” from the West Side Story, and how angry that made her feel. She continues by explaining how she grew up in the United States being a Puerto Rican girl trying to fit in, but always being labeled as an island girl. Cofer carries on by explaining why Latin people get dressed and act a certain way. Then she recalls some more stereotypical incidents.

The idea of mestiza consciousness is an acknowledgement of both the genetic and cultural mixing that come from falling between the cracks of two cultures. Gloria Anzaldua uses the idea of mestiza consciousness to describe the constant shifting between two or more cultures that Chicana women experience. She describes the issues that arise within various communities due to an “us vs. them” mentality, and argues that mestiza consciousness can also act as a tool to heal these wounds, and to reshape one’s identity by merging various identities.

Yet, Chicanos chose to ignore the fact that they were putting race before gender as males still continued to tell their female counterparts “the gabacho is oppressing us!” (Zamora). Nowhere in Zamora’s poem does she point out the males giving a nod to making the decision to place the fight for their equal citizenship before that of a woman. Nowhere does it mention the further oppression of women by not only Anglos but also their own race. The men wonder why their wives are spouting their “’women’s lib trip’” and because of this arrogant blindness that women begin to fester a resentment towards their counterparts. They are writing the movement’s “thesis” or in other words they are doing most of the work and still they have no fruit to show for their labor. Why is it that they are claiming to be a Chicanos if they are getting

Young Chicana women typical expectations are to follow the parents’ rules. In the films “Mosquita Y Mari” and “Real Women have curves”, the young Chicana women resist these gender cultural norms. The resistance of these gender norms is not a challenge to others but away to voice the opinion that I am my own person and not somebody else.

“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

What is ironic is that although the Spanish felt that Mexico’s population had to be converted because they were uncivilized and inferior, "mestizaje, the product of racial interbreeding with Indian, black, and mixed-blood women," took place. As a result, Mexicans share a rich mestizo cultural heritage of Spanish, Indian, and African origins. By raping the uncivilized Other, the Spaniards were in turn making themselves uncivilized. Those women represented nothing more but the medium through which the Spanish could vent their sexual desires. This was a major problem that Mexican women had to encounter.

“How to Tame a Wild Tongue” is published in Borderlands/La Frontera: The New MEstiza (1987), by Gloria Anzaldua and “the book talks about how she is concerned with many kinds of borders--between nations, cultures, classes, genders, and languages.” Anzaldua gives many examples of how she felt when being classified as a Chicana. Her thesis in this is that she is “arguing for the ways in which identity is intertwined with the way we speak and for

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

In chapter two of Martinez’s Phenomenology of Chicana Experience and Identity: Communication and Transformation in Praxis, Martinez uses her third identifying ethnic mode of consciousness, the knowing - unknown to investigate her father’s mostly hidden heritage. She uses the knowing - unknown mode of consciousness to attempt a rediscovery of her hidden Chicana identity. However, Martinez’s investigation of her father’s mostly hidden heritage creates an indirect silence about her mother’s heritage. In chapter three, Martinez’s exploration of her Chicana lesbian identity rests primarily in the Chicana history and she disregards the Anglo’s history of lesbian identity. Because of this, it may be argued that Martinez has a stronger connection to her father’s cultural roots over her mother’s Native American, mostly white heritage in attempting to rediscover her Chicana racial and sexual identity.