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Elit 48 c class 36
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Elit 48 c class 36






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Elit 48 c class 36 Presentation Transcript

  • 1. ELIT 48C Class 36Imply or Infer?
  • 2. Imply / Infer Imply means tosuggest indirectly(you’re sending asubtle message). To infer is to come toa conclusion basedon information(you’re interpreting amessage).
  • 3. Chair Poet?The poet is thepriest of theinvisible.Wallace Stevens
  • 4. AGENDALa conciencia de la mestiza/Towards a New Consciousness“El Sonavabitche” Postmodernism and Intersectionsof identity and oppression
  • 5. DiscussFive minutes!Gloria Anzaldua was aself-described "chicanadyke-feminist, tejanapatlachepoet, writer, and culturaltheorist."
  • 6. Intersections of identity and oppressionAs a Mestiza I have no country, my homeland cast me out; yet allcountries are mine because I am every woman’s sister or potentiallover. (As a lesbian I have no race, my own people disclaim me; but Iam all races because there is the queer of me in all races.) I amcultureless because, as a feminist, I challenge the collectivecultural/religious male-derived beliefs of Indo-Hispanics andAnglos, yet I am cultured because I am participating in the creation ofyet another culture, a new story to explain the world and ourparticipation in it, a new value system with images and symbols thatconnect us to each other and to the planet. Soy un amasamiento, Iam an act of kneading, of uniting, and joining that not only hasproduced both a creature of darkness and a creature of light, but alsoa creature that questions the definitions of light and dark and givesthem new meanings. (841)
  • 7.  Gloria Anzaldua is among the many feminist theorists thatmove into the realm of addressing postmodernidentities. In her discussion of a new emergingconsciousness in La conciencia de la mestiza: Towards aNew Consciousness, Anzaldua suggests the construction ofidentities as multiple, hybrid, and morespecifically, created as a result of the Borderlands, thosespaces that intersect. While the people who live in theintersections are privy to a world others don’t see orunderstand, it is a space where cultures collide, often withincompatible values, opposing histories, and contradictoryexperiences. It can be difficult to be an individual, ormember, of several social, classed, gendered, racializedgroups but never feeling quite at home in either.
  • 8. An example of the contradictions of which she speaks is through a briefdiscussion of the identities of women of color. For instance, if anAfrican-American woman advocates for women’s rights, does thismean that femininity and the struggle against gender oppression takesprecedence over her racial identity and her struggle againstcolonization and racial oppression?The inverse question can also be asked. If an African-American womanof color takes a political stance for the end of her racialoppression, does this mean that she devalues her experience as beingoppressed by her gender identity?Anzaldua makes a plea to feminists to bridge identities and tounderstand identities as always being constituted in the Borderlands.The sorting out the contradictions embedded between these socialidentities requires a tolerance for ambiguity.
  • 9. Discuss Postmodernism or Minority Theory interms of Anzuldua Multiple Languages Not understanding Mixed Genres Embracing change Acknowledging difference Blended Identities Living in ambiguity Living a narrative of fragmentation—not a neatbeginning, middle, and end.
  • 10. My initial reaction was to wonder why she then also refers to thisfusion-identity as leading to a new culture, a newconsciousness—why would it be new, wouldn’t it moreaccurately and inclusively be called fusion, the pieces weldedbut distinct and—which is when I realized her answer is already inher metaphor, of “cross-pollinization,” and that to liken all of ouridentity to our genetics is in this way apt. A nectarine is its ownfruit; it was a cross between a plum and a peach at one point,and resembles both, but there is no part of a nectarine to isolateand say “that’s the plum!” nor “and that’s the peach!”Anzaldúa discusses how to be amestiza is to be someone who“operates in a pluralistic mode,”(840), who is “at the confluence oftwo or more genetic streams…racial, ideological, cultural, andbiological cross-pollinization” (838).
  • 11. QHQ: “La Conciencia de laMestiza” In the beginning of La Conciencia De LaMestiza, what are the four and five races? What is a new Mestiza? The author embraces the idea that manychanges need to happen in order to stop thestruggle of the Mestiza race but out off all theways to stop the struggle, which is the first ideathat needs to happen? discuss your own experience of la mestiza, havingto “constantly shift out of habitual formation; fromconvergent thinking, analytical reasoning.”p.840
  • 12. Why does Anzaldua choose not to includetranslations for most of her Spanish text?How is Anzuldua’s “tolerance for ambiguity” (840)expressed in her writing style or content?How does being feminist help her to develop herwork and strength on what she wants say?La conciencia de la mestiza feels like a call foraction to improve tolerance of both the female(mestiza) and for minorities overall. It is written in amix of English and Spanish so why is the call onesided, for the minority to change their actions andsome cultural values?how is the “dominant white culture… killing usslowly with its ignorance”? how does this affectimmigrants?
  • 13. Discuss themes or meaning in“El Sonavabitche” In El Sonavabitche, I recognize the themes of powerandpowerlessness, dehumanization, fear, injustice, anger,and courage. The main theme I am seeing in “El Sonavabitche” ispower and powerlessness. I also agree with everyone that mentioned the themepowerlessness in el sonavabitche. I also felt there wasisolation, bitterness, and pride in this poem. I think the main theme behind “El sonavabitche” isabout Mexico being pushed around by authority. In El Sonavabitche, I noticed the theme of bravenessand a switch of gender roles.
  • 14. Author Introduction: Maxine HongKingston Maxine "Ting Ting" Hong Kingston grew up in aworking-class neighborhood inStockton, California. Born in 1940 to Tom Hongand Brave Orchid, Kingston is the oldest of herparents six American-born children. Kingstonsparents serve as the primary sources for theimaginative stories she writes. Part 1 of Kingston’sautobiography Warrior Woman is “No NameWoman,” a secret story of an aunt from China thatshe never knew she had.
  • 15. HOMEWORK Read Maxine Hong Kingston Warrior Woman: Part 1 “No Name Woman793-801 Post #34: Choose one Discuss a theme or symbol from the reading QHQ Comment on the text via a critical lens.