The final analysis theme for comparing the the transcultural aspect of both of Fences and Zoot Suit. The cultures are blending to themselves. That is a transcultural experience for the author such as the audiences. The transcultural styles are expressed by Luis Valdez and August Wilson on Fences and Zoot Suit. However, that is not the main dominant theme, but Troy Maxson is character, that reminded the culture dscrimination has taken place for humankind in America.
Situated near the U.S.-Mexico border during the early twentieth century is the fictional setting of Fort Jones, the outskirts of which is where Americo Paredes’ short story “Macaria’s Daughter” takes place. Emblematic of the disappropriation of Mexican land, as well as the increased marginalization of the Mexican people, the overbearing presence of Fort Jones reveals the struggle for preservation that characterizes the Mexican-American community of the story. “Macaria’s Daughter” is the tragic account of what happens in a small community when the upholding of Mexican values and institutions, and opposition to Anglo-American culture, become more important than a young woman’s life. In this essay, I will argue that “Macaria’s Daughter” is a text
“Oranges,” “The Seventieth Year,” and “Avocado Lake,” showcase Soto’s ability to move a reader using an emotional story without the use of rhyme or rhythm. Through Soto’s poetry, he indicates the traits that define Mexican-American community
The reservation and the Indians there did not adapt the ideas of outside, like reading. By comparing it to a fence, the narrator shows that the Indians remained separate, even though they were all part of the same country, or paragraph, so to
For example, the squatter Hughes has a “sickly smile,” and Clarence maintains that once San Diego “‘is rid of the squatters, [Don Mariano] will recuperate’” (Ruiz de Burton 217, 138). The squatters' threat to the Don and his family acts like a creeping, insidious virus that erodes their wealth and status. And since economic health is tantamount to whiteness, as the Alamares fall prey to the corrupt legal system that enables the squatters, they slowly lose their status as whites and the hegemons of California society. As Szeghi suggests, however, the Californios’ coopting of American Indian body identity does not come without consequence as she ultimately uses illness to reassert whiteness, further silencing Native voices.
In the novel, the image of a barn is one that is used repeatedly to introduce new concepts in Estrella’s life, symbolizing her discovery of a new sense of self and voice. The barn may also be a symbol of the collective experiences of a generation of Hispanic migrant workers, portraying their hardships and collective journey as well as Estrella’s personal development. More than a decrepit building, the barn represents a space where Estrella can complete her transformation and empowerment. The structure is described as a "cathedral," a place of religious contemplation (Viramontes 9). Estrella continues to use the building as a place for reflection.
When the two girls go to enter Cathy’s house, the steps leading to the door are slanted and badly made. Cathy provides the excuse that they were “made that way on purpose... so the rain will slide off it.” Both these girls view their houses as more than just a place to sleep, but rather a statement about themselves and about their families. The grass is always greener on the other side, but Esperanza wants it to be otherwise.
“Aztlan, Cibola and Frontier New Spain” is a chapter in Between the Conquests written by John R. Chavez. In this chapter Chavez states how Chicano and other indigenous American ancestors had migrated and how the migration help form an important part of the Chicanos image of themselves as a natives of the south. “The Racial Politics behind the Settlement of New Mexico” is the second chapter by Martha Menchaca.
The public fallout this book received is proof that there is such a thing as bad publicity. Jeanine Cummins celebrated the book's release with two things, a barbed wire nail art, and a barbed wire centerpiece for the tables of her release parties. Barbed wire is a visual of keeping something out, it is created to entrap and harm anyone who passes through, people have died in the wire. Jeanine Cummins and the marketing team for this book believed that barbed wire, a symbol of oppression towards the Hispanic community, should decorate the cover of their book, the nails of its author as a fashion statement, and the centerpieces of a release party. It is disgusting to know how little self-awareness these people grasped as they already create a story that is not theirs to tell, which contributes to silencing the Hispanic communities' stories of immigration and celebrating their accomplishment by flaunting the symbol of oppression as the book's logo.
CRA: Anzaldua Borderlands In her poem “Borderlands,” Gloria Anzaldua strategically exposes readers to the true form of the Borderlands region as she conveys the internal incongruity that is rife with this state. As she characterizes the nature of the Borderlands, extending the idea of the Borderlands from a geographical region to an extensive social phenomenon, Anzaldua emulates an experience that is shared by many; conquered by fear. Anzaldua cogently employs the use of distinct structural elements within her poem as a form of illustrative depiction in order to express to readers the strenuous relationship between the inhabitants and their environment.
Bernadin 1 Patricia Bernadin Mrs. Noel English II 4 April 2017 Literary Analysis: Fences A Fathers Sins The notion of loyalty is something that is valued in a family trying to survive a stressful life. Fences is a play written by August Wilson about an African American Family having a hard time with a man due to his refusal of acceptance and loyalty.
The people that lived in the community were very racist towards the immigrants. Throughout The Tortilla Curtain, T.C. Boyle shows the signs of racism using coyotes, borders, and illegal Mexican immigrants. He connects these three topics together throughout the novel. They each play a role when speaking of the others.
THE BACKGROUND Fences is a play by August Wilson that is made in 1957, part of the sixth in August Wilson's ten-part "Pittsburgh Cycle". Fences is an American play that divided of two acts. The first act consists of four scenes, while the second act consists of five scenes. Fences is included as one of the most important American plays. This classic tragedy drama was written in 1983 and earned Pulitzer Prize.
In Mexican American society , women are deemed inferior to men, evident in traditional family roles, the male is the head of the family who provides for the family , while the woman stays at home to look after the children she is expected to provide for her husband . In the third vignette of ‘The House on Mango Street’ titled ‘Boys and Girls’ the reader is informed of the division between men and women when Esperanza refers to herself and her sister Nenny , and her brothers, “They’ve got plenty to say to me and Nenny inside the house. But outside they can’t be seen talking to girls”. The male dominance begins at a very young age.
In the poem “To live in the Borderlands means you”, the borderlands become a place of change, such as changing from just one culture or race into a diverse culture or race and not-belonging. (Singh, A., & Schmidt, P. 2000). The poem describes how the author’s own background ethnicity people, mixicanas, identifies people like her, chicanas, as “split or mixture that means to betray your word and they deny “Anlo inside you.” (Anzaldua, F. 1987). The poem describes that the borderland is a place of contradiction, such as of home not being a home.
