Throughout the reading, Anzaldúa constantly switched between the Spanish and English language. I believe the switching or languages has a decoding effect on people. The author wants her audience to be more engaged. If the reader doesn’t understand the language, they are more likely to either research or use the surrounding text to understand what Anzaldúa is talking
“Por primera vez en mi vida, comence a guachar como se portaban los batos, como eran las rucas, como pensaba la mayoria de la raza aca en los barrios.” “For the first time in my life, I began to see how the guys behaved, how the women were, how the majority of the people in the barrios thought.” When he put sources, he would put them exactly how the person stated it in Spanish; then he would rewrite an English version in case the reader couldn’t understand the Spanish version. Otherwise it would have been a very hard book to read and comprehend. Being able to speak the Spanish language gives him the identity and credibility of a Chicano.
Rhetorical Analysis on Anzaldua’s How to Tame a Wild Tongue The passage How to Tame a Wild Tongue is a very defensive and straightforward argumentative essay which defends her language and the people who speak it against the discrimination that the author herself has experienced first hand (Ethos). From this text we can infer that the author is most likely from hispanic descent as she is speaking spanish a lot of the time throughout the text. This text mainly speaks about the discrimination many Mexican-Americans suffer because they are spanish speaking.
For this book review, I am going to be talking about David Montejano’s book entitled Quixote’s Soldiers, A local history of the Chicano Movement, 1966-1981. The author’s purpose is very well explained and it is not hard to understand. The author clearly tries to explain different ideologies, individuals and organizations located in one of the Southwest’s major cities, San Antonio, Texas, during the late 1960s and early 190s. All these varieties mentioned above made possible that a movement was created called Chicano Movement, a group that David Montejano provides a deeply understanding and description of the movement during the reading of the book. Since, the city was governed by a tough Anglosocial elite that was firmly convinced in the way
Gloria Anzaldúa, in the essay “How to Tame a Wild Tongue” (1987), claims her experiences as a Chicano taught her that her culture was not looked at highly in comparison to the English language. Anzaldúa argues her view about her Chicano language by giving examples of both cultures Chicano Mexican and American cultures. Anzaldúa’s purpose is to inform her audience on how it is to grow up in a Chicano speaking family. Anzaldúa writes in a frustrating tone throughout the story of her life experiences. Thesis: Anzaldúa use of her personal experiences, and Music, Film and Literature are relevant sufficient and
Rodriguez would speak English in school because to him it was a “public language”, while Spanish was a “private language” (72). Rodriguez
Anzaldúa was a Mexican American who was a well-known writer and had a major impact on the fields of queer, feminist, and cultural theory. Her most famous work is Borderlands/La Frontera: The New Mestiza which includes poems, essays, and short stories. Anzaldúa was no stranger to the use of literary theories in her writing, which is evident in her short story “How to Tame a Wild Tongue.” Here, the author uses a combination of feminist, reader-response, and psychoanalytic theory to show the struggle of being oneself when they’re Mexican-American. Through the use of feminist theory, she explains how a female is labeled as an “habladora” when she tries to voice out her opinion about something; reader-response theory provides the reader with an understanding of the struggles of self-identity, which they are able to relate to, especially Mexican-Americans; and lastly, psychoanalytic theory illuminates on her childhood experiences, which could explain why Anzaldúa believes in what she does, such as the idea that Anglo people have tried to tame her tongue—in other words, her language.
He shows this through his many experiences with bilingual court and education. At the end of his essay, Espada concludes with a basic summary of what he has learned. Espada claims “The repression of Spanish is part of a larger attempt to silence Latinos, and, like the crazy uncle at the family dinner table yelling about independence or socialism, we must refuse to be silenced.” Through the summary the reader understands despite English being the prevalent language the in the U.S. today the Spanish culture is still being preserved through bilingualism. On the other hand Rodriguez argues that in order to gain a public identity, one must be willing to sacrifice some part of their own cultural identity.
Cofer addresses the cultural barriers and challenges that Latinos experience through emotional appeal, anecdotal imagery, parallelism and the use of effective periodic sentences. In her article, Cofer assesses the difficult cultural hurdles of Latin Americans with emotional appeal. She provides insight on her cultural barriers by first conveying the way she had to dress and her struggle, as it shows in this piece of text, “That morning I had organized… which to base my decision” (Cofer 5). This poignancy works to stress an agonizing feeling of uncertainty and restraint towards the author.
By doing this they make not only themselves uncomfortable speaking Spanish but get others to think that they aren’t the ideal Chicano/a. That’s why Anzaldua tells herself, “I will no longer be made to feel ashamed of existing. I will have my voice: Indian, Spanish, white. I will have my serpent’s tongue—my woman’s voice, my sexual voice, my poet’s voice. I will overcome the tradition of silence.
A tongue is one of the most important body parts, if that’s what we shall call it, that a human being has. If it was not for the tongue, it would be a very quiet world. Gloria Anzaldúa, born in 1942, near the large Rio Grande Valley of South Texas, was bound to make a difference in lives before she ever knew it. When Gloria turned eleven she started to work in the fields as a migrant worker and then started on her family’s land after the passing of her father. In Gloria Anzaldúa’s the short story, How to Tame a Wild Tongue, she describes her upbringing and growing up in a dual culture society split in two.
The mix of Spanish and English words throughout the
The fixation with language is very much present in the literary productions by usanas and caribeñas del Gran Caribe. For them, crossing language(s) in their texts is a way to perform a transformation of the world around them. Usanacaribeñas write mostly in English because this is the language in which they received instruction. English is the language in which they got their intellectual ideas (Eduardo Machado in del Rio 19) and for most of them there is an intimate connection between “acquiring the [English] language and developing as writers” (19). Eduardo del Rio proposes in the introduction of his Conversations with Cuban-American Writers –which include interviews with Cristina García and Achy Obejas among the selected twelve—that …for
When distant relatives from my mother’s side of the family come to visit, the use of Spanish that corresponds to their respective region is attempted to be used. While the different variations of Spanish exist in my family already, the specificity of the situation can determine how well a member of my family communicates with another. If the distant relatives venture from an area that speaks in slang, my family does its best to fit in their vernacular. It would be the same if the relatives came from an area that spoke proper Spanish. The use of the language can vary amongst the different communities my family participate in, shifting the use is to show respect to one’s region by producing the familiarity.
Iglesias code switches to Spanish in order to set the context of the song in immigrant bilingual Latino communities and for song adaptation purposes since translation will affect the rhythm. Also, he code switches in order to show the symbolic value of Spanish language as part of his identity and to declare solidarity with the bilingual and non-bilingual populations who listen to the song in Spanish speaking societies. 5) The singer code switches from Spanish to English three times in this
