writer‚ Gloria Anzaldua proposes people of different races to confront their fears in order to move forward into a world that is a less hateful and more useful. Similarly‚ philosopher and writer‚ Kwame Appiah approaches this matter with cosmopolitanism. The meaning of cosmopolitanism is the focus of the world as being a whole rather than just a specific group. It is the belief that all humans belong to a single community based on a shared understanding that we are all similar. Both Anzaldua and Appiah’s
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Gloria Anzaldúa defies her border culture’s female gender standards by using her native male gendered language to speak out against her border culture’s beliefs and encouraging other Chicanas to embrace what the American culture has to offer. Border cultures are
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oppress the unfamiliar. To be confronted with a different opinion or way of living is uncomfortable. It challenges the ideas we are familiar with and the mental sets we have developed into concrete habits. In the essay by Gloria Anzaldua‚ How to Tame a Wild Tongue‚ Anzaldua provides us with her story of oppression. As a Spanish-speaking individual brought up in an American education system‚ she was hard-pressed by her teachers to forget her roots and adapt to an American way of thinking and speaking
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completely new. This identity is often a point of pride. It is celebration of a complex history and a reclamation of the mestiza land and body. Over the years‚ Chicanx activists‚ theorists‚ artists‚ and writers have attempted to understand what a “borderlands” identity could mean. At the start of the movement‚ Chicano activist Rodolfo “Corky” Gonzáles wrote the famous poem “I am Joaquín” in which he embraces the contradiction inherently present in mestizaje. He writes‚ And now! I must choose between
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to the Voices from the Margins in Introduction to Philosophy such as Cornel West‚ “Learning to Talk of Race”‚ Gloria Anzaldúa‚ “La Frontera/Borderlands”‚ Dr. Steve Best‚ “Legally Blind: The Case For Granting Animal Rights”‚ and Carol Adams‚ “ The Sexual Politics of Meat”. Adams and Best present topics about animals‚ meat‚ and the exploitation and politics related. West and Anzaldúa address topics of race and unknown identity within a changing society. “Learning To Talk of Race” Cornell West According
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movements created by the migration is analyzed through the focus on some important historical moments (the 1930s‚ the Chicano Movement‚ contemporary globalization and neoliberalism). Borderlands/la Frontera is a text that deals with the concept of ‘border’ not only in the physical but also in the figurative meaning; Anzaldua uses her own experiences as a Chicana‚ as a lesbian and as an activist to challenge the conception of a border as a simple divide. In both texts‚ what stands up most is how identity
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“instability which presages powerful cultural changes” (Bhabha 56). These third space sites revolutionized the very idea of “purity” in the way it creates an alternative space for cultural encounters in the same way as borderlands offer a theoretical space for resistance (Anzaldùa 2).” These “in-between” spaces provide the terrain for elaborating strategies of selfhood – singular or communal – that initiate
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Michael Thompson SXS 667 – Reading Response Paper #3 ID# 909067827 July 3‚ 2013 In her essay La Frontera‚ Gloria Anzaldua provides a detailed history of the persecution of the Chicano settlers of the U.S. Southwest at the hands of their Anglo oppressors. Anzaldua refers to the Aztlan‚ the borderlands between the United States and Mexico encompassing parts of Texas‚ New Mexico‚ Arizona‚ and California‚ as a “vague and undetermined place created by the emotional
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Gloria Anzaldua in “Borderlands” explains it well when she says‚ “Writing produces anxiety. Looking inside myself and my experience‚ looking at my conflicts‚ engenders anxiety in me.” Anzaldua looks at writing as something that can be risky and something she can be judged for. Writing‚ to her‚ is also a way to show who she really is and share her feelings
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Spanish and indigenous Indian blood. Mestiza though is also loosely identified as a spirituality‚ where a new borderland space is created and filled with a new meaning of individuality that bridges the gap between two or more opposing cultures. This phenomenon is vividly portrayed by Sandra Cisneros in her book‚ The House on Mango Street‚ where she illustrates her life as a mestiza. Anzaldua also reflects on her experiences in a mestiza culture in the article‚ Consciousness. The film Mi Vida Loca
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