Soldaderas Research Paper

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.

Norma Elia Cantu’s novel “Canícula: Imágenes de una Niñez Fronteriza” (“Canícula: Snapshots of a Girlhood en la Frontera”), which chronicles of the forthcoming of age of a chicana on the U.S.- Mexico border in the town of Laredo and Nuevo Laredo in the 1940s-60s. Norma Elia Cantú brings together narrative and the images from the family album to tell the story of her family. It blends authentic snapshots with recreated memoirs from 1880 to 1950 in the town between Monterrey, Mexico, and San Antonio, Texas. Narratives present ethnographic information concerning the nationally distributed mass media in the border region. Also they study controversial discourse that challenges the manner in which the border and its populations have been

In The Underdogs written by Mariano Azuela, we are introduced to a character that strongly symbolizes the fuel of the Mexican Revolution. Heroes like Demetrio Macias brought the Serrano’s hope of giving them what they felt they truly deserved. Although Demetrio Macias, the general (colonel) of a rebel army is hunting down the army of Pancho Villa, he seems to have the same ideals as the enemy. In addition to Demetrio Macias, we meet women like Camilla and War Paint who represent the different roles that women played during the Mexican Revolution.

By the time the Mexican Revolution began, women were ready to be recognized fully for their talents and abilities. While many women chose to stay behind the scenes and care for the soldiers on the sidelines, like Camila in The Underdogs, there were equally as many women who chose to actively participate in the revolution. Women such as War Paint chose to become fighters, while others followed less dangerous paths (although many were equally as radical). Despite the fact that Camila and War Paint are both accurate representations of the women who chose the same paths during the revolution, there are still many different roles that women played during this time that Azuela does not acknowledge.

Sor Juana established herself not only as a feminist voice in Colonial Mexico but also as one of the most influential writers of her time. Her writing continued to be controversial and, while she wasn’t silenced by the convent, the threatened patriarchy eventually took action. While it is believed that her “writing was an act of defiance” (Bergmann), she also “struggled against the ecclesial authorities that tried to silence her voice” (Gonzalez 102). Sor Juana was not only brave in her publication of her work and going outside of Mexican printing to do so (Kirk) but her work was also a direct commentary on the dominant patriarchy of the time. In response to a bishop who wrote under the disguise of “Sor Filotea,” Sor Juana attempted to defend a woman’s rights to education for the last time. However, she ultimately faced

In A Mexican Self-Portrait, written by many authors, this article focused on the different lifestyles of the poor and rich woman in Mexico. The representations of women in Mexico for both high and lower classes in Latin America were very different. For lower class they were considered “tortilleras’’, however, one of the most well known was referred to as “La China”. La China was one of the most notable types portrayed in the “Mexican Self Portrait”. She was considered to be an unnamed independent woman of the popular class.

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.

The Mexican Revolution brought multiple parties and movements out of the woodwork. In John Womack’s Zapata and the Mexican Revolution, a story of one state’s drive for agrarian reform and its people’s evolving mission was told, with Emiliano Zapata as a pivotal leader. The dynamics of the revolution, however, reach deeper than Womack’s account portrays. While Womack documents the revolutionary path of the Zapatistas from the southern state of Morelos, the story of Pancho Villa, an arguably parallel character fighting for states in the North against the repressive powers of General Victoriano Huerta, reads more as a subplot. The writings of Samuel Brunk, Ana Maria Alonso, and Mariano Azuela shed light on the less simplistic dynamics of

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

Mexico’s drugs wars as well as bloody drug cartels are echoed in a controversial folk music genre commonly known as narco corridos or simply as drug ballads. They tell the stories allied to shootouts, drug lords, betrayals including daring criminal operations. Narco corridos are not a new style in Mexican music, in fact, they have been around for years, and they are popular among the old and the young. This genre has evolved to be modern fugitive music that fuses the emotional responses of antique ballads with the tense gravel of mobster rap. From global idols to rural artists documenting their neighborhood current events in the regions subjugated by guerilla war, narco corridos provides the songwriters in their homes with unique but

The Underdogs by Mariano Azuela is arguably the most important novel of the Mexican Revolution because of how it profoundly captures the atmosphere and intricacies of the occasion. Although the immediate subject of the novel is Demetrio Macias - a peasant supporter of the Mexican Revolution -, one of its extensive themes is the ambivalence surrounding the revolution in reality as seen from a broader perspective. Although often poetically revered as a ‘beautiful’ revolution, scenes throughout the novel paint the lack of overall benevolence even among the protagonist revolutionaries during the tumultuous days of the revolution. This paper will analyze certain brash characteristics of the venerated revolution as represented by Azuela’s

Currently Sandra Cisneros resides in San Antonio in a purple house and she describes herself as “nobody’s mother” and “nobody’s wife.” Both Frida Kahlo’s and Cynthia Y. Hernandez’s works convey the idea of having one’s culture limit one’s freedom and individuality. Cisneros and Esperanza are both victims of this idea and realize that the only way to live one’s life freely is to defy the roles and limitations created by one’s culture.

Not only did these women find a place in society other than by the stove, they won the appreciation and respect of men and women around them. Two of the most extraordinary of these women were Dolores Jimenez y Muro, who was an important political writer, and Hermila Galindo, who was a political speaker and advocate for Carranza’s campaign and regime. Dolores Jimenez y Muro's importance is evident in how she was able to have her voice heard and listened to by high-ranking revolutionary officials. Hermila Galindo's prominence is shown by her distinguished political career and feminist movements.

“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

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