In Gloria Anzaldua’s Borderlands/La Frontera, she uses her own personal experiences growing up and living near the border that separates the United States and Mexico. Anzaldua makes us reexamine the purpose of a border and the negative effects that come with it. Since she lives close to the border, she cannot completely identity herself as an American nor would she be able to call herself Mexican. As a Chicana, she did not know where she belonged in society. The two cultures she lived under put her
Jennifer Glaser touches on many topics in her analysis “Picturing the Transnational in Palomar: Gilbert Hernandez and the Comics of the Borderlands,” such as, sex, love, sexism, gender, violence, and much more. While these areas are all explored in some way throughout Hernandez’s stories, Glaser ties them all in by discussing how a small Central American town named Palomar views itself versus how outsiders, such as Americans view it. Glaser further explains how the stories Hernandez tells are used
genre, discourse, and code. Borderlands/ La Frontera: The New Mestiza is a semi-autobiographical work by Gloria Anzaldúa. She examines the relations of her lands, languages, and herself overall. She defines the borders she has around herself in the preface of the book: “The actual physical borderland that I’m dealing with in this book is the Texas-U.S. Southwest/Mexican border. The psychological borderlands, the sexual borderlands and the spiritual borderlands…the Borderlands are physically present wherever
I attended both days of the Borderlands: A Critical Graduate Symposium. On the first day, I attended Session 1 (B) Cultural Navigation of Identity. I was able to hear from Pauline Batista who spoke about raceless land of caicaras and quilomobolas; challenging notions of institutional paradigm of preservation and the UNESCO contributions to the emergence of wretched cinema through tale of the unwritten. Next, Jihan Asher’s presented her research titled, Navigating Bipolarity: The Generative Space
While reading Paulo Freire’s Pedagogy of the Oppressed and Gloria Anzaldua’s two articles from Borderlands and This Bridge We Call Home many concepts were discussed that caught my attention. Freire and Anzaldua offer great, shocking revelations that focus on change in the oppressed and the oppressors, as well as bringing to attention the false sense of altruism, the seven stages of conocimiento and moving away from cultural assimilation to enculturation. Throughout the readings there were also an
words that I can do it well. A lack of belief in my creative self is a lack of belief in my total self and vice versa- I cannot separate my writing from any part of my life. It is all one" (95). Thirty years ago (1987),Gloria Anzaldúa published "Borderlands/La Frontera: The New Mestiza" . The editor notes the revolutionary and controversial aspect of the book, first because of its context and second because of the historical moment in the USA: the socio-political environment that Hispanic, queers and
Anzaldua were considered different, belonged to the other and because of this were considered lesser that others and non-human (Anzaldua 40). Gloria Anzaldua faced much oppression. She experienced a sense of banishment in the Borderland. Oppression within the Borderland was the requirement of women to be submissive as according to Chicano culture. Men were believed to be the "good" gender and were seen as the ones with power, had unobstructed roles and the freedom of decision. Women were looked
cannot occur otherwise. In this way, The Mabinogion’s stories The Dream of Maxen and The Dream of Rhonabwy, and Ovid’s “Iphis and Ianthe” are used to illustrate how dreams can be used as a borderland for different situations between the mortal realm and the other. Occasionally a dream will act as a borderland by gifting or plaguing the dreamer with knowledge of a truth they should not be able to know. In The Dream of Maxen, the emperor dreams of a land leading to a maiden that steals his heart through
am not just an American, I am a Mexican-American. Living in the Rio Grande Valley, I am part of this “third country” that Anzaldua calls the borderland (Anzaldua Borderlands 1987, 3). In this third country where the “third world grates against the first and bleeds”, the spilt blood creates a new country; an uneasy fusion of both cultures (Anzaldua Borderlands 1987, 3). In my case I was born to a father from Mexico and a mother from America, I am part of the third culture, the Mexican-American. I am
in the United States. Gloria Anzaldúa does this in a valuable way through her idea of the borderland. The Muslim American and Arab American experience, as described in Moustafa Bayoumi’s How Does It Feel to Be a Problem?: Being Young and Arab in America, parallels that of the Chicano borderland experience as described by Gloria Anzaldúa in The New Mestiza, showing that Anzaldúa’s framework of the borderland is a useful for considering the experience of minority groups in the United States even when