tag:blogger.com,1999:blog-23665924397334710062024-03-19T00:32:15.012-07:00The Alt Librarianirinahttp://www.blogger.com/profile/03387357358559839487noreply@blogger.comBlogger19125tag:blogger.com,1999:blog-2366592439733471006.post-17926897510887495672011-07-12T07:23:00.000-07:002011-07-12T07:23:40.466-07:00Once again proving I am the worst at having a long-form blog.I'm about to enter the sixth week of my internship, which means I haven't so much as thought about this blog in over five week. Oops? Typical Irina, really.<br />
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Aside from being very broke and a little bit lonely, summer has been going well for me. This internship is kind of the greatest thing. A lot of the time is spent goofing off, which I feel 50/50 about. The thing is: of course I'm 21 years old, surrounded by other 20somethings, and we like spending time laughing at the news and finding Wikipedia pages for strange things like <a href="http://en.wikipedia.org/wiki/List_of_helicopter_prison_escapes">helicopter prison escapes</a>. But I also like being productive, which only one other intern has expressed interest in. So I'm having a bit of a hard time with that. But! When I do get to be productive, it's just about the best thing in the world.<br />
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After my two weeks on the social media rotation, I was finally put into archives! I spent two glorious weeks scanning lots of old stuff (Confederate bank notes, WWII war bonds, Revolutionary War supply grants) and updating entries on PastPerfect (this is the program most museums use to catalog their collections.) Digitizing collections is something I find really important. Yes, many collections are very safe now that there are all sorts of technologies to prevent fires, etc. (The system at the museum is kind of scary. It apparently sucks all of the oxygen out of the room, so it can definitely make you at least pass out if you ignore the warning bells.) But there is also something important about access. Not many people are going to travel to New York to view the archives at the museum - though we have had a couple walk-ins requesting to see our records for upcoming books. The scans we're making now are eventually going to go up on Flickr, creating worldwide access to records but also informing many people that an actual museum exists for this stuff. Cause let's face it, not many people come through this particular museum unless they have interest in the subject matter.<br />
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Anyway! I am now on the third rotation - education and visitor services. The interns thus far have created a massive <a href="http://en.wikipedia.org/wiki/The_Amazing_Race">Amazing Race</a>-like scavenger hunt which is going to take place at the end of July. Contestants will be given clues to help them identify Lower Manhattan landmarks where they must then race to receive more clues. There is even a cash prize! So my partner and I have inherited this project, and now we have to iron out all the hiccups. The clues are a bit too difficult, in my opinion, and we don't really know yet how teams will get the next clues. Plus we want to mix up clues so teams aren't just following each other around the city. And there was discussion of banning smart phones. <br />
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Although all of this is interesting, I was really happy to be allowed to get back into the archives last Friday. I'm glad they recognized my complete incompetence in attempting to work out a scavenger hunt on my own. Friday I was sitting with one of the 18th Century Collections boxes and a big book on early American money, trying to identify and appraise currency. Life is kind of sweet.<br />
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And since this is no longer just an academic blog, here's some other cool stuff going on this summer. <br />
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Currently reading:<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg47rTDf9pjsNlMWv1fVz_W-2C2GX-7Y36daX6XPA49DyqQTysBDZCmnLaqAmLdgcUoYduu72wQf7ZHfLTLhH5aO2lzxSTF1vVNcf2AGidKdh3fNUWIsfEpBchXMzgR8cKPyBBkocHG3jY/s1600/dccd.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg47rTDf9pjsNlMWv1fVz_W-2C2GX-7Y36daX6XPA49DyqQTysBDZCmnLaqAmLdgcUoYduu72wQf7ZHfLTLhH5aO2lzxSTF1vVNcf2AGidKdh3fNUWIsfEpBchXMzgR8cKPyBBkocHG3jY/s320/dccd.jpg" width="207" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.amazon.com/Copperfield-Penguin-Classics-Charles-Dickens/dp/0140434941"><i>David Copperfield </i>by Charles Dickens </a></div><div class="separator" style="clear: both; text-align: center;">(About a third of the way through, had to take a break from all the sadness.)</div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimjWP8NlYNrX04C1h6v-zVXTCavY2dLlJJ5xOo3pteBxiO3UfJEy06nuZRIKbE6vWvg_yU-6fglBUMAWVA6gvSA0ps3rjW-ona6XNnwx6NxEBPTUqFI-hTivqQG6XA4Av7hMCVPnB14IU/s1600/14595.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimjWP8NlYNrX04C1h6v-zVXTCavY2dLlJJ5xOo3pteBxiO3UfJEy06nuZRIKbE6vWvg_yU-6fglBUMAWVA6gvSA0ps3rjW-ona6XNnwx6NxEBPTUqFI-hTivqQG6XA4Av7hMCVPnB14IU/s320/14595.jpg" width="204" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.amazon.com/Please-Kill-Me-Uncensored-History/dp/0140266909"><i>Please Kill Me: The Uncensored Oral History of Punk</i> by Legs McNeil and Gillian McCain</a></div><div class="separator" style="clear: both; text-align: center;">(Just started this last week but it's super awesome!)</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQBVpX6i6KON-dx3xFyrvwyJRIuPsW_mBuR7IBzZubg0Iwcx4ZzRdNWFGN5VNeEgBPFSzu6O05OykPj3DJcufGIc6430YYUiCqVc8SefN9GDqmzZujGeKQRdBhu1c19Rgbgcp4Y-Uvc8M/s1600/mockingjay.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQBVpX6i6KON-dx3xFyrvwyJRIuPsW_mBuR7IBzZubg0Iwcx4ZzRdNWFGN5VNeEgBPFSzu6O05OykPj3DJcufGIc6430YYUiCqVc8SefN9GDqmzZujGeKQRdBhu1c19Rgbgcp4Y-Uvc8M/s1600/mockingjay.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.amazon.com/Mockingjay-Hunger-Games-Book-3/dp/0439023513"><i>Mockingjay</i> by Suzanne Collins</a></div><div class="separator" style="clear: both; text-align: center;">(Because everyone needs a good young adult trilogy - don't even think about saying <i>Twilight</i>.)</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">Currently watching:</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7PXbB_8TnRWcIbIIUa2DjVCGRf4hJU9ZWst7fSKlErYiwDeyFClpitPEf3D8Y3sDNkIUaUHxX-vW-kFVpGEgLJB5omSa35flK08WIsUs_rVOvbQgXBazzXOXqUW9H8Zi_fUfZwJPbz-Q/s1600/twin_peaks_poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7PXbB_8TnRWcIbIIUa2DjVCGRf4hJU9ZWst7fSKlErYiwDeyFClpitPEf3D8Y3sDNkIUaUHxX-vW-kFVpGEgLJB5omSa35flK08WIsUs_rVOvbQgXBazzXOXqUW9H8Zi_fUfZwJPbz-Q/s1600/twin_peaks_poster.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.imdb.com/title/tt0098936/">Twin Peaks</a></div><div class="separator" style="clear: both; text-align: center;">Because how can anyone resist the glory that is Agent Cooper?</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFh5_KONbBB2EflHm2KYXEVnWiFo1W7GUd5kMemdGLrrcyjCySIZsL-0SuHJRwGmEWo8mSQHdqQo8BKKvUB1IQ__t-UNpNgG-vQOQfGU-R7AqTPagYj8okTmA2YcXbi6B_HmlJS9vDAGE/s1600/Untitled-1+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFh5_KONbBB2EflHm2KYXEVnWiFo1W7GUd5kMemdGLrrcyjCySIZsL-0SuHJRwGmEWo8mSQHdqQo8BKKvUB1IQ__t-UNpNgG-vQOQfGU-R7AqTPagYj8okTmA2YcXbi6B_HmlJS9vDAGE/s320/Untitled-1+copy.jpg" width="320" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY1iZQDgDKWnG2JnThnQ7KKmslbC4yD-ow3XERF2tD1kqNFvi_W9MSVgS6SQmjdhQ4ipwXljkqaJTvtBO_jKU_YInbM5KjtsxSU2LsTGb4DfLotluze6FnnKW_rKCy8QbZ4HZotrhiTAQ/s1600/Untitled-2+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY1iZQDgDKWnG2JnThnQ7KKmslbC4yD-ow3XERF2tD1kqNFvi_W9MSVgS6SQmjdhQ4ipwXljkqaJTvtBO_jKU_YInbM5KjtsxSU2LsTGb4DfLotluze6FnnKW_rKCy8QbZ4HZotrhiTAQ/s320/Untitled-2+copy.jpg" width="320" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsJuu2hCcHT0b7QP2uCD3e2bAHqZl8GEmLxWyk4sywUmuf7DbdStms7QFm8y0Pg1T0BfdxbvFbHeqXjlQB9r8_z8hmcpG24c8ZwLQxWvF95jrQ9D6BIju5HscubHTMlF2x9zkfgadcOB4/s1600/ffffff-1+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsJuu2hCcHT0b7QP2uCD3e2bAHqZl8GEmLxWyk4sywUmuf7DbdStms7QFm8y0Pg1T0BfdxbvFbHeqXjlQB9r8_z8hmcpG24c8ZwLQxWvF95jrQ9D6BIju5HscubHTMlF2x9zkfgadcOB4/s320/ffffff-1+copy.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;">And, last but not least, currently listening to:</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8HXOg1VEh-e2-F2Ko40keBBntiQQ6S3r7UTjcMUPGfD7QDfRX78hySbpzZ83LrK1cJdsq1m9WHU8YS5rCskFLfmSkod5m3Q8BiFvAeIbVRG07-g5qGhvI4ILTeQgsKyAs51Q4PJ7scS0/s1600/XLosAngeles.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8HXOg1VEh-e2-F2Ko40keBBntiQQ6S3r7UTjcMUPGfD7QDfRX78hySbpzZ83LrK1cJdsq1m9WHU8YS5rCskFLfmSkod5m3Q8BiFvAeIbVRG07-g5qGhvI4ILTeQgsKyAs51Q4PJ7scS0/s1600/XLosAngeles.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://en.wikipedia.org/wiki/X_(American_band)"><i>Los Angeles</i> by X</a></div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">Well that was a good waste of time on this Tuesday morning! </div><div class="separator" style="clear: both; text-align: left;"><br />
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</div>irinahttp://www.blogger.com/profile/03387357358559839487noreply@blogger.com1tag:blogger.com,1999:blog-2366592439733471006.post-32208393354628485352011-06-12T05:19:00.000-07:002011-06-12T05:19:56.901-07:00The Highs and Lows of InterningSo I've decided to hold on to this blog for the time being. First, because I picked an awesome name. Second, because I really don't have anywhere else to long-form blog. Oh, and I acquired a few followers from the tattoo post, which is strange but nice! I hope I don't scare you guys off.<br />
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It's officially summer (has been for a while, I guess) but I finally started my internship this past week. I'm working at the <a href="http://www.moaf.org/index">Museum of American Finance</a> right here in New York City. Unfortunately, the internship is unpaid and I haven't had any luck finding part-time work. But! This internship rules! I've only been going for a week, but I've already learned a lot and met some great people. <br />
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To start off: I'm an undergraduate intern working with six other people (some from fancy places like Brown and Columbia) through rotations in three museum processes. I've been partnered off and am currently working in social media - aka a lot of tweeting. Which is strange because I don't even have my own twitter account But I've definitely gotten the hang of it! Though I am looking forward to moving on to the next rotation after this week - either exhibits and archives or visitors services and education. <br />
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Obviously, I cannot wait to get my hands on the archives. On Friday, the day with the smallest number of interns, my boss Becky grabbed myself and another girl to go down to the archives and put some things away. At some point I was holding a land grant signed by William Penn just going "Oh my god oh my god oh my god." Oh and there was a check signed by JFK! My fellow intern was also freaking out which made me feel better about what a huge geek I am.<br />
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I've also been learning a lot about financial history without really having to try, which is nice. Coming into this internship, I didn't know how interested I would be. Yes, I love Atlantic history, but a lot of this stuff is post-revolutionary, which is more of a hobby for me than my actual focus. Except for everything Alexander Hamilton, of course. But now I know a lot about stocks and bonds and markets and the Federal Reserve. Oh, like did you know the Secret Service was created as an anti-counterfeiting measure? Lincoln signed the agency into existence only one day before he was assassinated. Bad luck, huh?<br />
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I think this might be sufficient for the time being. Though I do have to say, after being on a computer all day at work, it's been increasingly difficult to even think about coming home and going online for hours. I can't tell if that's a good or a bad thing. All I know is that my eyes always hurt.irinahttp://www.blogger.com/profile/03387357358559839487noreply@blogger.com0tag:blogger.com,1999:blog-2366592439733471006.post-86365540167567321152011-05-23T09:43:00.000-07:002011-05-23T09:43:36.871-07:00The Tattoo Paper!So below is the tattoo paper. For those who are not Jane - I'm posting it here because many people who took my survey expressed interest in reading the final product. It's really long, about 18 pages, so I've also made PDFs of it and the appendix (which contains surveys in full which I quoted) for easier reading. PDFs can be downloaded <a href="http://www.mediafire.com/?h5g77fo2fvb8644">here</a> (paper) and <a href="http://www.mediafire.com/?bf93b5ya6xl42b6">here</a> (appendix). Enjoy? Also, I have a <a href="http://creativecommons.org/licenses/by/3.0/">Creative Commons license</a> on this blog, so please do not take my work without crediting me? Thank you!<br />
<a name='more'></a><div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;"><u>“You Were So Pretty Before”: <o:p></o:p></u></div><div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;"><u>Gender and its Implications within Modern American Tattoo Culture <o:p></o:p></u></div><div class="MsoNormal"><span class="apple-style-span"><span style="font-family: "Times New Roman Italic"; mso-ansi-font-size: 12.0pt;">Why do girls wanna pierce their nose,</span></span><span style="font-family: "Times New Roman Italic";"><o:p></o:p></span></div><div class="MsoNormal"><span class="apple-style-span"><span style="font-family: "Times New Roman Italic"; mso-ansi-font-size: 12.0pt;">And walk around in torn pantyhose, oh yeah</span></span><span style="font-family: "Times New Roman Italic";">.</span><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="FootnoteReference1"><span style="font-family: "Times New Roman Italic"; font-size: 10.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman Italic"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></span></span></a><span style="font-family: "Times New Roman Italic";"><o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal" style="line-height: 200%;"><span style="mso-tab-count: 1;"> </span>About once a week I receive a text message from my best friend, who is currently living in Atlantic City, New Jersey, recounting the story of how a complete stranger has come up to her in a public place and stroked her skin or attempted to move a part of her clothing.<span style="mso-spacerun: yes;"> </span>Christina often sounds perturbed or simply pissed off, which comes across clearly in her wording.<span style="mso-spacerun: yes;"> </span>Every time, I am shocked.<span style="mso-spacerun: yes;"> </span>Why do people think they have the right to touch her so intimately in public?<span style="mso-spacerun: yes;"> </span>The reader at this point might be questioning what could be so special about her that she attracts all of this attention from strangers.<span style="mso-spacerun: yes;"> </span>Simply put, my best friend is heavily tattooed.<span style="mso-spacerun: yes;"> </span>She has spent eleven years, thousands of dollars, and hundreds of hours covering her skin in meaningful and colorful tattoos.<span style="mso-spacerun: yes;"> </span>Though nearly every part of her body has at least one tattoo, the most visible pieces during most months are her chest piece and her full sleeve – tattoo lingo for a piece which covers the entire arm.<span style="mso-spacerun: yes;"> </span>When people touch her, they seek to stroke her tattoos and see more of them:</div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 45.0pt; margin-top: 0in;">I get touched in public by strangers all the time.<span style="mso-spacerun: yes;"> </span>If I’m wearing long sleeves they will come up to me and just pull up the sleeves to get a better look.<span style="mso-spacerun: yes;"> </span>If I’m wearing short sleeves, they will grab my arm and twist it around to take everything in.<span style="mso-spacerun: yes;"> </span>Most of them seem to only be interested in my tattoos personally and not the tattooing process.<span style="mso-spacerun: yes;"> </span>Basically they want to know, “Oh, how much did that cost?” or “What made you decide to get that?”<a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[2]</span></span><!--[endif]--></span></span></span></a><span class="FootnoteReference1"><span style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></span></div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 45.0pt; margin-top: 0in;"><br />
</div><div class="MsoNormal" style="line-height: 200%;">Having witnessed some of these moments, I have always found it shocking how unabashedly strangers approached her and touched her.<span style="mso-spacerun: yes;"> </span>While she has always been willing to speak to others about her tattoos – “I’m a fairly reasonable person and I have no problem discussing my tattoos or showing them off”<a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[3]</span></span><!--[endif]--></span></span></span></a> – the act of touching without permission particularly disturbs her.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">Having noticed this for years, it really hit home when I began getting my own tattoos.<span style="mso-spacerun: yes;"> </span>Several months ago, while at a gathering at a different college, I had my first experience with personal space invasion due to tattoos.<span style="mso-spacerun: yes;"> </span>A girl who I had just met came up behind me and poked a tattoo located on my upper back.<span style="mso-spacerun: yes;"> </span>Though I did not particularly mind the action in the moment, I could not help but think about all of the times Christina had experienced this.<span style="mso-spacerun: yes;"> </span>I began talking about this issue with other tattooed friends.<span style="mso-spacerun: yes;"> </span>I slowly came to the realization that most of the time, it was only my female friends who had experienced this inappropriate touching.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">When talking about tattoo culture in the United States, it has personally become difficult for me not to think about gender and its role in the culture.<span style="mso-spacerun: yes;"> </span>Why is it so astounding for society to witness a tattooed woman in this supposedly modern day and age?<span style="mso-spacerun: yes;"> </span>Then there are other instances of touching without permission – for instance, pregnant women’s stomachs – which are female centered.<span style="mso-spacerun: yes;"> </span>What is it about the female body in the public arena which presents the opportunity for the invasion of privacy and personal space?<span style="mso-spacerun: yes;"> </span>Is this only an occurrence for women who have somehow modified their bodies, naturally or artificially?<span style="mso-spacerun: yes;"> </span>Or is it a systematic problem, a demonstration of the way American society views women and their bodies?</div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">I set out to explore this problem in two directions: First, I wanted to examine the history of tattooing in America and the involvement of women within that culture.<span style="mso-spacerun: yes;"> </span>Second, I wanted to conduct a survey which would determine if this experience was common for all women, all people, or just an event that occurred sporadically within my friends group.<span style="mso-spacerun: yes;"> </span>The first study launched an analysis of the role of the female body within modern American society while the second resulted in a very surprising outcome.</div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">While most histories of tattooing begin in South Asian cultures, this essay will assume that most readers understand that tattooing and other forms of body modification such as piercing have been a staple of many cultures dating back to ancient times.<span style="mso-spacerun: yes;"> </span>The modern prominence of tattooing within the United States and other western cultures seeks further explanation.<span style="mso-spacerun: yes;"> </span>The presence of tattooing within western cultures can most notably be tied back to eighteenth-century England, where Captain James Cook reported on the practice of tattooing after his journey to Polynesia.<a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[4]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>Even before Cook’s travels, tattooed persons could be witnessed in European fairgrounds, marketed as “‘savages’ who had been captured at the edges of the world.”<a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[5]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>The recognition of tattooing in English culture allowed for its transition into western culture.<span style="mso-spacerun: yes;"> </span>Though the Victorian era initially linked tattoos to crime and the working class<a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[6]</span></span><!--[endif]--></span></span></span></a>, the close of the nineteenth-century saw a change within the medical profession which recognized “sailors, soldiers and (occasionally) criminals”<a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn7" name="_ftnref7" style="mso-footnote-id: ftn7;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[7]</span></span><!--[endif]--></span></span></span></a> as those most likely to be tattooed.<span style="mso-spacerun: yes;"> </span>This vision of tattooing would survive well into the twentieth century, largely excluding women because of their inability to enter the ranks of military institutions.<span style="mso-spacerun: yes;"> </span>Consequently, while tattooing became more common among men, tattooed women were kept on the outskirts and labeled as rare and odd.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">In the United States, tattooing attracted prominence through the growth of professional tattooists.<a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn8" name="_ftnref8" style="mso-footnote-id: ftn8;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[8]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>Women often entered the realm of tattooing through their relationships with tattoo artists.<span style="mso-spacerun: yes;"> </span>For example, Gus Wagner tattooed his wife Maude in Los Angeles in 1906.<span style="mso-spacerun: yes;"> </span>After he completed tattooing her entire body, the pair traveled across America “exhibiting themselves as tattooed attractions in circuses and carnivals.”<a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn9" name="_ftnref9" style="mso-footnote-id: ftn9;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[9]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>Another performer, Artoria Gibbons, got her first tattoo at fourteen while on a visit to the carnival.<span style="mso-spacerun: yes;"> </span>She soon after married the tattooist, Charles ‘Red’ Gibbons.<span style="mso-spacerun: yes;"> </span>She toured with the Ringling Brothers and Barnum and Bailey Circus until the death of her husband.<a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn10" name="_ftnref10" style="mso-footnote-id: ftn10;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[10]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>These women were often regarded with respect because of the sheer amount of tattoos they possessed.<span style="mso-spacerun: yes;"> </span>Judy Aurre stated that Betty Broadbent, another heavily tattooed woman, had a “‘respectable act, not like those carnival floozies with one or two tattoos who would bump and grind.’”<a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn11" name="_ftnref11" style="mso-footnote-id: ftn11;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[11]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>The more tattooed women in the entertainment business were, the more respect they received – they were viewed as having demonstrated a dedication to the art that exited the realm of sexuality and deviance.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">In the post-World War II era, tattooing was more than ever before associated with the military.<span style="mso-spacerun: yes;"> </span>Soldiers and sailors returned from the war with patriotic and personal tattoos.<span style="mso-spacerun: yes;"> </span>While some men were pressured into getting their tattoos removed, others held pride in them – “ the tattoo was ‘a form of medal (or maybe, wound), a sign that they had served their country in its time of need.’”<a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn12" name="_ftnref12" style="mso-footnote-id: ftn12;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[12]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>This view of tattooing connected the act to pride, patriotism, and physical strength – realms that in the mid-twentieth century were not accessible to most women.<span style="mso-spacerun: yes;"> </span>However, the United States army did not have a generally positive view of the practice, associating it with its so-called primitive roots in the South Pacific.<span style="mso-spacerun: yes;"> </span>The military challenged tattoos and stigmatized them by prosecuting soldiers who had them on the grounds that the men might miss time on active duty due to infection.<a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn13" name="_ftnref13" style="mso-footnote-id: ftn13;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[13]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>The post-war society of nuclear family and traditional values left tattooing to be “identified primarily with rebelliousness among adolescents and young adults.<span style="mso-spacerun: yes;"> </span>Tattoos were considered ‘lower class’ and deviant, associated with blue-collar workers, drunks, hot rods, motorcycle clubs and street gangs.”<a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn14" name="_ftnref14" style="mso-footnote-id: ftn14;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[14]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>With this switch from tattoo popularity being widespread throughout the United States because of prominence among the military to a view of tattooing as a deviant and low act, it was no longer acceptable for middle-class American to participate in the culture.<span style="mso-spacerun: yes;"> </span>Women were at the center of this normativity – as wives and mothers who had the responsibility of representing the checkpoint for all-American values.<span style="mso-spacerun: yes;"> </span>Tattooing was an especially egregious act for them.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">During the social revolutions of the 1960s, the public image of tattooing did not improve.<a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn15" name="_ftnref15" style="mso-footnote-id: ftn15;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[15]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>However, change within the art form did come from within.<span style="mso-spacerun: yes;"> </span>Artists entering tattooing during the 1960s came from an art school background and worked with patrons on custom works, leaving behind the pre-made ‘flash’ artwork that had been in use for decades.<a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn16" name="_ftnref16" style="mso-footnote-id: ftn16;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[16]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>These younger artists, such as Ed Hardy, began to demand changes in tattoo practices that sought to “establish uniform ethical and hygienic standards” which would challenge restrictive laws placed on tattooing throughout the first half of the twentieth-century.<a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn17" name="_ftnref17" style="mso-footnote-id: ftn17;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[17]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>Conventions, magazines, and books began to emerge on tattooing.<a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn18" name="_ftnref18" style="mso-footnote-id: ftn18;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[18]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>In the decades to follow, tattooing would have the opportunity to rise to the level of a genuine art form within the consciousness of a great number of Americans.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%;"><span style="mso-tab-count: 1;"> </span>A brief history of tattooing, however, does not seem like enough to understand the gender disparity within the culture.<span style="mso-spacerun: yes;"> </span>Yes, tattooing was originally associated with criminals and soldiers which in large part was restricted to male participation.<span style="mso-spacerun: yes;"> </span>This image of the masculine in tattooing sets up an image of body modification which associates itself with strong and powerful – the body that can withstand tattooing is not to be threatened.<span style="mso-spacerun: yes;"> </span>Susan Benson associates nineteenth and twentieth-century tattooing with “a defensive and bounded masculinity.”<a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn19" name="_ftnref19" style="mso-footnote-id: ftn19;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[19]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>She demonstrates that the spaces in which tattooing found its footing in western culture – the army, the working class, and prisons – were “spaces where issue of personal bodily integrity and security were most problematic.”<a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn20" name="_ftnref20" style="mso-footnote-id: ftn20;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[20]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>This view brings into question whether tattooing was a way in which these masculine groups could establish power over their own bodies – bodies which were being controlled by the state or the capitalist system around them – or whether tattooing marks one’s body for a lifetime as being part of systems of control.<span style="mso-spacerun: yes;"> </span>Benson describes tattoos as “additional protective carapace to those most buffeted by the operations of power and by marginalization.”<a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn21" name="_ftnref21" style="mso-footnote-id: ftn21;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[21]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>However, with this protective covering being so closely linked to these systems of control, how could those with permanent marks of control move outside of these systems?<span style="mso-spacerun: yes;"> </span>These competing ideologies are still a problem within modern tattoo culture, with media representations of tattooed people still profoundly relying on an aspect of criminality and control while individuals with tattoos often identify tattoos with the ability to control one’s own body and life.<span style="mso-spacerun: yes;"> </span>What do these issues of control mean for the women who entered the culture early on and what does it mean for tattooed women today?<span style="mso-spacerun: yes;"> </span>What does the tattoo mean to the female body?</div><div class="MsoNormal" style="line-height: 200%;"><span style="mso-tab-count: 1;"> </span><span style="color: #86133e;">An exploration of the female body within tattoo culture can easily be compared the place of other body modifications within the feminine realm</span>.<span style="mso-spacerun: yes;"> </span>As Anne Bolin says, “The history of women’s bodies in the United States is indeed a history of beauty.”<a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn22" name="_ftnref22" style="mso-footnote-id: ftn22;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[22]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>While a large part of American society still finds it strange for a woman to be heavily tattooed, it is more acceptable for a woman to have invasive surgery in order to fit a very narrow view of ideal feminine presentation.<span style="mso-spacerun: yes;"> </span>The female body has a different value within society than the male one.<span style="mso-spacerun: yes;"> </span>While the male is expected to be strong and powerful, the female is expected to be submissive and coy: “<span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;">Culture’s ideal for the American woman incorporates two essential attributes that buttress the beauty norms: youth and femininity…Cultivating childlike qualities and images as a beauty strategy undermines women’s power and reinforces the social dominance of males.”</span></span><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn23" name="_ftnref23" style="mso-footnote-id: ftn23;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[23]</span></span><!--[endif]--></span></span></span></a><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>However, these images of youth and beauty are not associated with tattooing.<span style="mso-spacerun: yes;"> </span>When women participate in tattoo culture, they are going against the ideals of society, setting themselves aside from the ‘normal.’<span style="mso-spacerun: yes;"> </span>This process of permanently marking oneself</span></span> as different, as outside of society, creates a body which is clearly labeled as different.<span style="mso-spacerun: yes;"> </span>But does being on the outside, being different, allow others to attempt to possess said body?<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">Before I can go any further, I must explain the survey.<span style="mso-spacerun: yes;"> </span>It sounds very official when I speak about it now, like it needs to be underlined or bolded or italicized or all three.<span style="mso-spacerun: yes;"> </span><u><span style="font-family: "Times New Roman Bold Italic";">The Survey</span></u>.<span style="mso-spacerun: yes;"> </span>In reality, it is probably not as big a deal as it is in my own personal world, and the occurrences I am about to describe I can recognize are being viewed through a David Foster Wallace ‘special-for-me’ lens.<span style="mso-spacerun: yes;"> </span>I decided I wanted to create a survey for this project because, as stated above, I did not know if invasions of private space in the tattoo community were a widespread phenomenon or were only known to the few friends I have that are heavily tattooed.<span style="mso-spacerun: yes;"> </span>Having some sort of connection to tattoo communities in other parts of the country (and the world) seemed to be most easily achieved by finding people through the internet.<span style="mso-spacerun: yes;"> </span>I wrote the survey questions up in the early afternoon of Saturday, May 7<sup>th</sup>, 2011 and posted it on my personal blog, expecting maybe a few dozen replies.<a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn24" name="_ftnref24" style="mso-footnote-id: ftn24;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[24]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>Seeking a larger sample size of heavily tattooed people than my own group of followers, I reached out to a popular blog dedicated to posting photographs of tattoos submitted by its followers.<span style="mso-spacerun: yes;"> </span>To my amazement, the blog almost immediately posted my request and the amount of replies to my survey increased dramatically.<span style="mso-spacerun: yes;"> </span>I did not realize how much people wanted to talk about their tattoos and experiences.<span style="mso-spacerun: yes;"> </span>Within an hour of this particular blog posting the survey, I had over 300 responses from a wide range of people.<a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn25" name="_ftnref25" style="mso-footnote-id: ftn25;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[25]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>Within three hours, there were over 1,000 replies and the website I was using had cut me off from seeing more than the first 100.<span style="mso-spacerun: yes;"> </span>I requested that survey answers be submitted directly to my personal blog, and after that I received over 500 replies which I could easily access.<span style="mso-spacerun: yes;"> </span>The combined number of responses I received from the survey site and on my personal blog to date is over 1800.<a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn26" name="_ftnref26" style="mso-footnote-id: ftn26;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[26]</span></span><!--[endif]--></span></span></span></a><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">To understand the role of tattoos in modern culture, considering Bolin’s view of women and beauty becomes very important.<span style="mso-spacerun: yes;"> </span>Tattoos seem to reflect the human aspiration to seek out and possess beauty.<span style="mso-spacerun: yes;"> </span>Humans build museums, spend fortunes, and fight wars to own and display what they deem beautiful.<span style="mso-spacerun: yes;"> </span>Those who view tattoos as artwork often view their bodies as blank canvases upon which art can be displayed and often directly credit their tattooist as an artist.<span style="mso-spacerun: yes;"> </span>Western forms of tattoos especially “<span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;">literalize this vision of the body as a surface or ground onto which patterns of significance can be inscribed.”</span></span><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn27" name="_ftnref27" style="mso-footnote-id: ftn27;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[27]</span></span><!--[endif]--></span></span></span></a><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>Tattoos are significant to many of the survey takers, echoing ideas of writing onto the body what the mind may forget.<span style="mso-spacerun: yes;"> </span></span></span>Echoing the sentiments of tattoos as art and possession, AJ wrote: “<span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;">I wanted to get a tattoo because it is a piece of art I will always have with me.”</span></span><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn28" name="_ftnref28" style="mso-footnote-id: ftn28;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[28]</span></span><!--[endif]--></span></span></span></a><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>This physical appropriation of art and memory onto the human form reflects itself in the desire of others to possess the modified body.<span style="mso-spacerun: yes;"> </span>An overwhelming amount of survey responders could pinpoint a time at which they had been touched by another person seeking to admire their tattoos, either with or without permission.<span style="mso-spacerun: yes;"> </span>This act of touch maps out well over an attempt at possession and is reminiscent of what Bolin describes as the contrast between “restraint and beauty” in the female underwriting “the male privilege to ‘look.’”</span></span><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn29" name="_ftnref29" style="mso-footnote-id: ftn29;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[29]</span></span><!--[endif]--></span></span></span></a><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>This binary of the female object and male observer translates into the relationship between the tattooed and the spectator.<span style="mso-spacerun: yes;"> </span>Within the realm of tattooing, the role of the viewer often transcends the act implied in seeing and steps into the domain of physical touch.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;"><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;">This possession is not a completely gendered act.<span style="mso-spacerun: yes;"> </span>Several survey takers questioned the role gender played in terms of the gender identification of the strangers who touched them as well as their own gender presentation.<span style="mso-spacerun: yes;"> </span>The perception of gender on both sides of the interaction was often questioned.<span style="mso-spacerun: yes;"> </span>For example, Nicole assessed touching in terms of both her gender-presentation and the gender of those touching her: “Most of the time only women will find it ok to reach out and touch one of my tattoos. Probably because they feel comfortable because I'm a very feminine woman.”</span></span><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn30" name="_ftnref30" style="mso-footnote-id: ftn30;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[30]</span></span><!--[endif]--></span></span></span></a><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>In contrast, Janine saw gender relations in tattooing in sexual terms: “I think that men don't touch women who are not tattooed because of fear of sexual harassment charges.”</span></span><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn31" name="_ftnref31" style="mso-footnote-id: ftn31;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[31]</span></span><!--[endif]--></span></span></span></a><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>The idea that women were more comfortable touching other women because of sexual expectations presented when men touch women came across many times in survey answers.<span style="mso-spacerun: yes;"> </span>This overstepping by the masculine also occurred frequently, with tattooed women feeling more uncomfortable when they were touched by men.<span style="mso-spacerun: yes;"> </span>Anna describes how she felt when a man grabbed her by the waist in order to see her tattoo: “I felt powerless. So yes I think gender does matter, I am physically weaker than many guys and they probably think it is flirting, but I just get nervous. If I was a man, they wouldn't have been inclined to flirt and touch without my permission. I do not show off my tats anymore.”</span></span><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn32" name="_ftnref32" style="mso-footnote-id: ftn32;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[32]</span></span><!--[endif]--></span></span></span></a><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>This feeling of loss of power upon being touched or grabbed occurs outside of tattoo culture.<span style="mso-spacerun: yes;"> </span>It demonstrates attitudes about the role of the female body within society.<span style="mso-spacerun: yes;"> </span>Nevertheless, the idea of impermissible touching of tattooed women – and the survey results did place women in the majority of those touched without permission – seems to work against the goals many women had for being tattooed in the first place.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;"><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;">Modern tattooed women often describe tattoos with a sense of empowerment.<span style="mso-spacerun: yes;"> </span>Sitting for hours and enduring pain in order to place a mark permanently on one’s body becomes a kind of journey which results in greater sense of ownership over one’s body.<span style="mso-spacerun: yes;"> </span>The act of tattooing allows one to participate in a form of personal branding which is permanent and dissociates oneself from the majority of other human bodies.<span style="mso-spacerun: yes;"> </span>It places one on the outside of what is deemed normal within society.<span style="mso-spacerun: yes;"> </span>For women, this act moves them outside of a set of normative values which society assigns to the female body.<span style="mso-spacerun: yes;"> </span>Bolin says: “</span></span>That women are the weaker sex is a central theme in the contemporary construction of the female body.<span style="mso-spacerun: yes;"> </span>This is demonstrated in the curvaceous, rounded, soft forms that display a decided difference in visible muscle between women and men in popular media images.”<a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn33" name="_ftnref33" style="mso-footnote-id: ftn33;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[33]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>Tattooing completely counters the vision of the weak female body with a mark that is culturally known to involve pain.<span style="mso-spacerun: yes;"> </span>In addition, female bodies that are tattooed but still exhibit classic stereotypes of the feminine like the curvaceous bodies Bolin describes seem to be marked as unfit within society.<span style="mso-spacerun: yes;"> </span>Tattooing, as a practice viewed as masculine due to its historical associations within western society, de-feminizes bodies that still seek to identity with the feminine: “<span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;">I've had friends that have known me for decades tell me that I ruined my body, that it was so pretty before and now I'm not feminine because of my tattoos.”</span></span><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"> <a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn34" name="_ftnref34" style="mso-footnote-id: ftn34;" title=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[34]</span></span><!--[endif]--></span></a></span></span><span style="mso-spacerun: yes;"> </span>Another interviewee said: <span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;">“Tattooing is supposed to be a "manly" thing so I think because I have a large tattoo and I’m a girl people think I’m ‘ruining my beautiful untouched body.’”</span></span><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"> <a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn35" name="_ftnref35" style="mso-footnote-id: ftn35;" title=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[35]</span></span><!--[endif]--></span></a></span></span><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>The modification of the female body through artificial means appears to detract from the feminine, which is often associated with the natural and clean.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;"><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;">However, this thinking about tattooing through its affects on outside perceptions of the female body excludes the reasons for which women choose to get tattooed.<span style="mso-spacerun: yes;"> </span>Tattooing can be an empowering process, a declaration of self and dissociation from the outside, as previously stated.<span style="mso-spacerun: yes;"> </span>Laura said: “I find being tattooed very empowering - it makes me feel confident about my body in a way I never was before, I’ve made it mine.”</span></span><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn36" name="_ftnref36" style="mso-footnote-id: ftn36;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[36]</span></span><!--[endif]--></span></span></span></a><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>This sentiment is reiterated by Krystyne Kolorful, former Guinness world record holder for most tattooed woman.<span style="mso-spacerun: yes;"> </span>Kolorful viewed tattooing “‘as a way of writing over the sense of physical violation’ she experienced as a result of childhood sexual abuse.”</span></span><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn37" name="_ftnref37" style="mso-footnote-id: ftn37;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[37]</span></span><!--[endif]--></span></span></span></a><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>Kolorful sought out a way in which to take back control over a violated body, and the avenue of tattooing was a way to literally change the body which had been abused.<span style="mso-spacerun: yes;"> </span>Kolorful also described the sense of social power found within the act of tattooing for women: “‘Heavily tattooed women really confront people with their independence,’ she insists.<span style="mso-spacerun: yes;"> </span>‘Even if you just get one, you’re doing something that is so contradictory to the morals of our society.<span style="mso-spacerun: yes;"> </span>That’s why women like me took it to the level that we did: we wanted to make a really big statement that this is my body and I’m doing with it what I choose.’”</span></span><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn38" name="_ftnref38" style="mso-footnote-id: ftn38;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[38]</span></span><!--[endif]--></span></span></span></a><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>Although Kolorful was speaking nearly twenty years ago and some of the social stigma around tattooed women has dissipated, the point she made about being able to choose the state of one’s body was repeated by many of the interviewees.<span style="mso-spacerun: yes;"> </span>Susan Benson describes tattooing as an opportunity for control for both genders:<o:p></o:p></span></span></div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 45.0pt; margin-top: 0in;">What is distinctive in contemporary tattoo practices is the linking of such assertions of permanence to ideas of the body as property and possession – “a statement of ownership over the flesh”, as one individual put it – indeed as the <span style="font-family: "Times New Roman Italic";">only </span>possession of the self in a world characterized by accelerating commodification and unpredictability, “the one thing you get in a culture where you are what you do.”<a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn39" name="_ftnref39" style="mso-footnote-id: ftn39;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[39]</span></span><!--[endif]--></span></span></span></a><span class="FootnoteReference1"><span style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></span></div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 45.0pt; margin-top: 0in;"><br />
</div><div class="MsoNormal" style="line-height: 200%;">If tattooing is then considered to be the ultimate ability for an individual to assert power over the physical body, then women like Krystyne Kolorful have the ability to assert power in a patriarchal system which seeks to own and dominate the female body.<span style="mso-spacerun: yes;"> </span>Kolorful was able to write over the violation she experienced in her childhood through tattooing, and she received international fame for the act.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%;"><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;">If women are getting tattooed in order to assert control over their own bodies, what effect does the impermissible touch have on this intent?<span style="mso-spacerun: yes;"> </span>Having established the loss of power that some women feel when they are touched without being asked first, I was interested in whether the survey takers understood how gender played into the act of touching.<span style="mso-spacerun: yes;"> </span>While many responders did not consider gender to be an issue, several followed up these statements with something along these lines: “I'm sure if I had been a big, scary tough guy, they wouldn't have been so open to approaching me.”</span></span><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn40" name="_ftnref40" style="mso-footnote-id: ftn40;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[40]</span></span><!--[endif]--></span></span></span></a><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>Reading this sentiment time and time again created a clear distinction between the female and male bodies in the public sphere.<span style="mso-spacerun: yes;"> </span>The male body is rugged and unapproachable while the female body is not only on display but also is read as inviting the touch.<span style="mso-spacerun: yes;"> </span>“A female who is inked up is MUCH more likely to be touched in public in a ‘semisafe’ way to be asked about her tattoos than a man is. It's very rare to find someone who will randomly touch a male stranger with tattoos in public, to ask him about it. The approach I've seen is generally verbal towards males and physical towards females.”</span></span><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn41" name="_ftnref41" style="mso-footnote-id: ftn41;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[41]</span></span><!--[endif]--></span></span></span></a><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>The juxtaposition of verbal with the male and physical with the female harkens back to Anne Bolin’s ideas of the male’s privilege to look: Now it is the male who has the privilege of being looked at without his physical self being encroached upon.<span style="mso-spacerun: yes;"> </span>Some interviewees looked further into this phenomenon, noting that women are interpreted as being far more approachable in public space.<span style="mso-spacerun: yes;"> </span>“I think for a lot of people, women are somehow more approachable than men whether they're more tattooed or not.”</span></span><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn42" name="_ftnref42" style="mso-footnote-id: ftn42;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[42]</span></span><!--[endif]--></span></span></span></a><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>The female body time and time again was interpreted as accessible to the general populous on demand, bringing up issues of body autonomy which reach beyond tattoo culture.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 200%;"><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>On the opposite side of this approachability is the experience of the women.<span style="mso-spacerun: yes;"> </span>“I think if you look like a ‘real’ girl they will think it's normal to touch you, because a woman is open, a woman is defenseless.<span style="mso-spacerun: yes;"> </span>People don't think it will hurt you, they just don't really take care about how you will feel.”</span></span><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn43" name="_ftnref43" style="mso-footnote-id: ftn43;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[43]</span></span><!--[endif]--></span></span></span></a><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>The lack of consideration for the person being touched is the ultimate act of dehumanization.<span style="mso-spacerun: yes;"> </span>The person is being treated like an object, and often their modification is viewed as a commodity.<span style="mso-spacerun: yes;"> </span>Although the tattooing is a service exchanged between an artist and a patron, many heavily tattooed individuals do not feel comfortable with questions about the price of their tattoos because of the intimacy of the exchange and result.<span style="mso-spacerun: yes;"> </span>Blogger Kaelah Bee writes: “</span></span><span class="apple-style-span"><span style="font-family: "Times New Roman Bold"; line-height: 200%; mso-ansi-font-size: 12.0pt;">It is</span></span><span class="apple-converted-space"><span style="font-family: "Times New Roman Bold"; line-height: 200%; mso-ansi-font-size: 12.0pt;"> </span></span><span class="apple-style-span"><span style="font-family: "Times New Roman Bold Italic"; line-height: 200%; mso-ansi-font-size: 12.0pt;">not</span></span><span class="apple-style-span"><span style="font-family: "Times New Roman Bold"; line-height: 200%; mso-ansi-font-size: 12.0pt;"> okay to ask someone how much they paid for their work…</span></span><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;">I just find it to be such a personal question. You certainly wouldn't ask a stranger how much their mortgage or credit card payment was each month, would you? To me, my tattoos are sacred and personal.”</span></span><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn44" name="_ftnref44" style="mso-footnote-id: ftn44;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[44]</span></span><!--[endif]--></span></span></span></a><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>This view of the commodity process within tattoo culture moves away from the act of purchasing an object – it would certainly be acceptable to ask how much a pair of shoes or a chair cost – and becomes a much more personal experience.<span style="mso-spacerun: yes;"> </span>Tattoos are a visible and clearly artificial modification to the body, unlike some forms of plastic surgery, but are still internalized by their owner: they become a part of the skin and a part of being: “</span></span>It’s something that literally becomes a part of you.”<a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn45" name="_ftnref45" style="mso-footnote-id: ftn45;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[45]</span></span><!--[endif]--></span></span></span></a><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 200%;"><span style="mso-tab-count: 1;"> </span>In the act of touching the viewer objectifies the human within the body.<span style="mso-spacerun: yes;"> </span>Since tattoos are so internalized by so many of those who possess them, there is a lack of recognition that something might be odd enough to illicit such behavior from strangers.<span style="mso-spacerun: yes;"> </span>The female body, which is already at the center of society because of its constantly sexualized status, becomes an even greater attraction when it is modified.<span style="mso-spacerun: yes;"> </span>Male bodies, even tattooed bodies, are not open to the public view because of the stigmas surrounding criminality and violence: “<span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;">This could be due to the lingering stigma of criminality which clings to the art form for men-- there are very few female tattooed gang members, for example, so the cultural significance of tattoos for us lacks that element.”</span></span><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn46" name="_ftnref46" style="mso-footnote-id: ftn46;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[46]</span></span><!--[endif]--></span></span></span></a><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>The female body has been established as approachable and open to objectification.<span style="mso-spacerun: yes;"> </span>How does this affect the lives of actual heavily tattooed women?<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 200%;"><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Although many of the responses I received did not identify gender as a factor in the phenomenon of touching without permission, those that did identify it help strong views.<span style="mso-spacerun: yes;"> </span>Some compared it to other types of objectification among women: “It’s like getting your ass grabbed in a crowded club, or whistled at from a car while walking down the street.</span></span><span style="mso-spacerun: yes;"> </span><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;">People expect women to just take it.”</span></span><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn47" name="_ftnref47" style="mso-footnote-id: ftn47;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[47]</span></span><!--[endif]--></span></span></span></a><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>This public image of women was echoed through ideas about the right of others to judge the female body: “I am a female and therefore, too many people feel like they can call out comments about my body and the way I look, including tattoos. I can't stand the fact that some men find it acceptable to treat me as an object of lust just because I'm a woman. It's detestable.</span></span><span class="apple-converted-space"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"> “</span></span><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn48" name="_ftnref48" style="mso-footnote-id: ftn48;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[48]</span></span><!--[endif]--></span></span></span></a><span class="apple-converted-space"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>The sexuality constantly connected to the female body came up time and time again when interviewees attempted to analyze the reasoning behind gender discrepancy in tattoo culture.<span style="mso-spacerun: yes;"> </span>“</span></span><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;">Women's bodies are already treated as communal property. They're analyzed, scrutinized, demeaned and devalued from birth.”</span></span><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn49" name="_ftnref49" style="mso-footnote-id: ftn49;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[49]</span></span><!--[endif]--></span></span></span></a><span class="apple-converted-space"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>“</span></span><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;">Sometimes, I just want to scream, ‘My body is not an object. It's not a spectacle for you to examine and touch at your will without my consent.’”</span></span><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn50" name="_ftnref50" style="mso-footnote-id: ftn50;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[50]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">These responses allowed me to recognize that this occurrence was not exclusive to a small group of people I personally knew, but that it was a scene which occurred time and time again in the western world, if not beyond.<span style="mso-spacerun: yes;"> </span>Women recognized the ways in which their bodies were being viewed by the public, and even modification could not change this perception.<span style="mso-spacerun: yes;"> </span>In fact, extreme body modification seemed to amplify the interpretation of the female body as public and open for physical observation.<span style="mso-spacerun: yes;"> </span>Furthermore, it was not only women who recognized this gender inequality within tattoo culture:<span style="mso-spacerun: yes;"> </span><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><o:p></o:p></span></span></div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;"><span class="apple-style-span"><span style="mso-ansi-font-size: 12.0pt;">I’m sure if I were perceived as female-gendered, people would be more likely to touch me, because in our current society, women are perceived as objects to be taken control of and owned. Because I am a male with tattoos, people often think of me as more “bad-ass” or more aggressive than I am, and thus I think they tend to refrain from physical contact. Women, however, are perceived in society as being objects made for men’s pleasure, which is disgusting and unfortunate.</span></span><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn51" name="_ftnref51" style="mso-footnote-id: ftn51;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[51]</span></span><!--[endif]--></span></span></span></a><span class="apple-style-span"><span style="mso-ansi-font-size: 12.0pt;"><o:p></o:p></span></span></div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;"><br />
</div><div class="MsoNormal" style="line-height: 200%;"><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;">Recognition from those who have not experienced the same amount of invasive touching solidifies the idea that there is a gendered factor to the act within not only tattoo culture, but American culture in general.<o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;"><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;">Here I must pause to consider the opposite side of the experience.<span style="mso-spacerun: yes;"> </span>I received many responses where women agreed that their gender made them more likely to be touched in society but had no problems with it and did not perceive themselves as objects.<span style="mso-spacerun: yes;"> </span></span></span><span class="apple-converted-space"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;">“</span></span><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;">I felt amazing. I thought it was wonderful that my tattoo actually made someone actually stopped what they were doing to admire me.”</span></span><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn52" name="_ftnref52" style="mso-footnote-id: ftn52;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[52]</span></span><!--[endif]--></span></span></span></a><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>Many of my survey responders enjoyed the attention they received from strangers because of their tattoos.<span style="mso-spacerun: yes;"> </span>Others recognized the desire to touch as a more general phenomenon: “I think people's interest in art transcends gender.”</span></span><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn53" name="_ftnref53" style="mso-footnote-id: ftn53;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[53]</span></span><!--[endif]--></span></span></span></a><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>Still others found that being tattooed involved the sacrifice of some sort of privacy: “Yes tattoos are very personal but when they are displayed for the public expect your personal space to diminish very quickly.”</span></span><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn54" name="_ftnref54" style="mso-footnote-id: ftn54;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[54]</span></span><!--[endif]--></span></span></span></a><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>These views support an important contradiction to my original theory which regrettably cannot be discussed in detail.<span style="mso-spacerun: yes;"> </span>However, it is important to understand that the process of tattooing is an individual one which exposes a variety of reactions and experiences.<span style="mso-spacerun: yes;"> </span>Hundreds of different views were expressed in the survey answers.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">In the larger scheme of this research project, one begins to question why any of this matters.<span style="mso-spacerun: yes;"> </span>Yes, I have determined invasive touch of tattooed women occurs in many different parts of the country, if not the world.<span style="mso-spacerun: yes;"> </span>I have been able to link this event to gender and have found that many women feel as though they are being objectified and owned when they are touched.<span style="mso-spacerun: yes;"> </span>Still, why is it important to consider the problems of personal space violations upon the bodies of tattooed women?<span style="mso-spacerun: yes;"> </span>Many of the reasons given for the invasive touch by the interviewees dealt with the open access, the approachability, of the female body within the public space.<span style="mso-spacerun: yes;"> </span>This exploration has aimed to take this one step further, to argue that there is a lingering feeling within society that a woman’s body can be owned and therefore examined without her permission.<span style="mso-spacerun: yes;"> </span>Moving away from the modified body, this is still true.<span style="mso-spacerun: yes;"> </span>From the touching of pregnant women’s bodies – which have been naturally and non-permanently modified – to insistence on physical admiration of commonplace traits such as hair, women are being treated as though they are constantly on display.<span style="mso-spacerun: yes;"> </span>Consequently, with trends in advertising which move to portray women as objects which can be acquired through consumption, women are left as open for the general populous to touch and take.<span style="mso-spacerun: yes;"> </span><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;">Jean Kilbourne identifies this commodification of the female form with possession.<span style="mso-spacerun: yes;"> </span>She finds a correlation between objectified presentations of women in advertising and media with a rise in violence towards women and self-harm amongst women in America.</span></span><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftn55" name="_ftnref55" style="mso-footnote-id: ftn55;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[55]</span></span><!--[endif]--></span></span></span></a><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>Therefore, patterns of invasive touch leech out of tattoo culture and onto society at large, illustrating the way female bodies are viewed and the women who possess them are devalued.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 200%;"><br />
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</div><div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;"><u>Works Cited<o:p></o:p></u></div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Benson, Susan. “Inscriptions of the Self: Reflections on Tattooing and Piercing in Contemporary Euro-America.” In <span style="font-family: "Times New Roman Italic";">Written on the Body: The Tattoo in European and American History</span>. Edited by Jane Caplan., 234-254. Princeton, NJ: Princeton University Press, 2000.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Blink-182. <span style="font-family: "Times New Roman Italic";">Take Off Your Pants and Jacket</span>, by Mark Hoppus, Tom DeLonge, and Travis Barker. MCA Records. Youtube. CD. Accessed May 9, 2011. 2001. http://www.youtube.com/watch?v=n4G9sidyG9E.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Bolin, Anne. “Vandalized Vanity: Feminine Physiques Betrayed and Portrayed.” In <span style="font-family: "Times New Roman Italic";">Tattoo, Torture, Mutilation, and Adornment</span>. Edited by Frances E. Mascia-Lees and Patricia Sharpe., 79-99. New York: State University of New York Press, 1992.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Bradley, James. “Body Commodification?<span style="mso-spacerun: yes;"> </span>Class and Tattoos in Victorian Britain.” In <span style="font-family: "Times New Roman Italic";">Written on the Body: The Tattoo in European and American History</span>, edited by Jane Caplan, 136-155. Princeton, NJ: Princeton University Press, 2000.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Governar, Alan. “The Changing Image of Tattooing in American Culture, 1846-1966.” In <span style="font-family: "Times New Roman Italic";">Written on the Body: The Tattoo in European and American History</span>. Edited by Jane Caplan., 212-233. Princeton, NJ: Princeton University Press, 2000.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Jones, C.P. “Stigma and Tattoo.” In <span style="font-family: "Times New Roman Italic";">Written on the Body: The Tattoo in European and American History</span>. Edited by Jane Caplan., 1-16. Princeton, NJ: Princeton University Press, 2000.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Kilbourne, Jean, host. <span style="font-family: "Times New Roman Italic";">Killing Us Softly 4</span>. Northampton, MA: Media Education Foundation, 2010. Media Education Foundation. Accessed May 8, 2011. http://www.mediaed.org/cgi-bin/commerce.cgi?key=241&preadd=action.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><span style="font-family: "Times New Roman Italic";">Little Chief Honeybee</span> (blog). http://honeybeeinthecity.blogspot.com/.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Mascia-Lees, Frances E., and Patricia Sharpe. “The Marked and the Un(re)Marked: Tattoo and Gender in Theory and Narrative.” In <span style="font-family: "Times New Roman Italic";">Tattoo, Torture, Mutilation, and Adornment</span>. Edited by Frances E. Mascia-Lees and Patricia Sharpe., 145-169. New York: State University of New York Press, 1992.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Oettermann, Stephan. “On Display: Tattooed Entertainers in America and Germany.” In <span style="font-family: "Times New Roman Italic";">Written on the Body: The Tattoo in European and American History</span>. Edited by Jane Caplan., 193-211. Princeton, NJ: Princeton University Press, 2000.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Putzi, Jennifer. “Tattooed Ladies.” Afterword to <span style="font-family: "Times New Roman Italic";">Identifying Marks: Race, Gender, and the Marked Body in Nineteenth-Century America</span>, 154-162. Athens, GA: The University of Georgia Press, 2006.</div><div class="MsoNormal" style="line-height: 200%;"><br />
</div><div style="mso-element: footnote-list;"><!--[if !supportFootnotes]--><br clear="all" /> <hr align="left" size="1" width="33%" /> <!--[endif]--> <div id="ftn1" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[1]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Blink-182,</span><span class="apple-converted-space"> “Give Me One Good Reason,” on </span><span class="apple-style-span"><span style="font-family: "Times New Roman Italic";">Take Off Your Pants and Jacket</span>, by Mark Hoppus, Tom DeLonge,</span><span class="apple-converted-space"> </span><span class="apple-style-span">and Travis Barker, MCA Records, Youtube, CD, accessed May 9, 2011, 2001,</span><span class="apple-converted-space"> </span><span class="apple-style-span">http://www.youtube.com/watch?v=n4G9sidyG9E.</span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn2" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[2]</span></span><!--[endif]--></span></span></a> Christina, 28, Female, New Jersey, USA, Survey conducted by author, May 7, 2011.<span style="mso-spacerun: yes;"> </span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn3" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[3]</span></span><!--[endif]--></span></span></a> Ibid.<span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn4" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[4]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">C.P. Jones, "Stigma and Tattoo," in</span><span class="apple-converted-space"> </span><span class="apple-style-span"><span style="font-family: "Times New Roman Italic";">Written on the Body: The Tattoo in</span></span><span class="apple-converted-space"><span style="font-family: "Times New Roman Italic";"> </span></span><span class="apple-style-span"><span style="font-family: "Times New Roman Italic";">European and American History</span>, ed. Jane Caplan (Princeton, NJ: Princeton</span><span class="apple-converted-space"> </span><span class="apple-style-span">University Press, 2000),</span> 1.<span style="mso-spacerun: yes;"> </span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn5" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[5]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Stephan Oettermann, "On Display: Tattooed Entertainers in America and</span><span class="apple-converted-space"> </span><span class="apple-style-span">Germany," in</span><span class="apple-converted-space"> </span><span class="apple-style-span"><span style="font-family: "Times New Roman Italic";">Written on the Body: The Tattoo in European and American History</span>,</span><span class="apple-converted-space"> </span><span class="apple-style-span">ed. Jane Caplan (Princeton, NJ: Princeton University Press, 2000)</span>, 193.<span style="mso-spacerun: yes;"> </span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn6" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[6]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">James Bradley, "Body Commodification? Class and Tattoos in Victorian</span><span class="apple-converted-space"> </span><span class="apple-style-span">Britain," in</span><span class="apple-converted-space"> </span><span class="apple-style-span"><span style="font-family: "Times New Roman Italic";">Written on the Body: The Tattoo in European and American History</span>,</span><span class="apple-converted-space"> </span><span class="apple-style-span">ed. Jane Caplan (Princeton, NJ: Princeton University Press, 2000),</span> 138.<span style="mso-spacerun: yes;"> </span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn7" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[7]</span></span><!--[endif]--></span></span></a> Ibid., 140.<span style="mso-spacerun: yes;"> </span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn8" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref8" name="_ftn8" style="mso-footnote-id: ftn8;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[8]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Alan Governar, "The Changing Image of Tattooing in American Culture,</span><span class="apple-converted-space"> </span><span class="apple-style-span">1846-1966," in</span><span class="apple-converted-space"> </span><span class="apple-style-span"><span style="font-family: "Times New Roman Italic";">Written on the Body: The Tattoo in European and American History</span>,</span><span class="apple-converted-space"> </span><span class="apple-style-span">ed. Jane Caplan (Princeton, NJ: Princeton University Press, 2000)</span>, 214.<span style="mso-spacerun: yes;"> </span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn9" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref9" name="_ftn9" style="mso-footnote-id: ftn9;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[9]</span></span><!--[endif]--></span></span></a> Ibid., 217.<span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn10" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref10" name="_ftn10" style="mso-footnote-id: ftn10;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[10]</span></span><!--[endif]--></span></span></a> Ibid., 223-225.<span style="mso-spacerun: yes;"> </span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn11" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref11" name="_ftn11" style="mso-footnote-id: ftn11;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[11]</span></span><!--[endif]--></span></span></a> Ibid., 223.<span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn12" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref12" name="_ftn12" style="mso-footnote-id: ftn12;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[12]</span></span><!--[endif]--></span></span></a> Ibid., 229.<span style="mso-spacerun: yes;"> </span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn13" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref13" name="_ftn13" style="mso-footnote-id: ftn13;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[13]</span></span><!--[endif]--></span></span></a> Ibid.<span style="mso-spacerun: yes;"> </span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn14" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref14" name="_ftn14" style="mso-footnote-id: ftn14;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[14]</span></span><!--[endif]--></span></span></a> Ibid., 230.<span style="mso-spacerun: yes;"> </span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn15" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref15" name="_ftn15" style="mso-footnote-id: ftn15;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[15]</span></span><!--[endif]--></span></span></a> Ibid., 233.<span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn16" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref16" name="_ftn16" style="mso-footnote-id: ftn16;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[16]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Susan Benson, "Inscriptions of the Self: Reflections on Tattooing and</span><span class="apple-converted-space"> </span><span class="apple-style-span">Piercing in Contemporary Euro-America," in</span><span class="apple-converted-space"> </span><span class="apple-style-span"><span style="font-family: "Times New Roman Italic";">Written on the Body: The Tattoo in</span></span><span class="apple-converted-space"><span style="font-family: "Times New Roman Italic";"> </span></span><span class="apple-style-span"><span style="font-family: "Times New Roman Italic";">European and American History</span>, ed. Jane Caplan (Princeton, NJ: Princeton</span><span class="apple-converted-space"> </span><span class="apple-style-span">University Press, 2000),</span> 240.<span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn17" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref17" name="_ftn17" style="mso-footnote-id: ftn17;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[17]</span></span><!--[endif]--></span></span></a> Alan Governar, “The Changing Image of Tattooing,” 233.<span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn18" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref18" name="_ftn18" style="mso-footnote-id: ftn18;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[18]</span></span><!--[endif]--></span></span></a> Susan Benson, “Inscriptions of the Self,” 240.<span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn19" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref19" name="_ftn19" style="mso-footnote-id: ftn19;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[19]</span></span><!--[endif]--></span></span></a> Ibid., 238.<span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn20" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref20" name="_ftn20" style="mso-footnote-id: ftn20;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[20]</span></span><!--[endif]--></span></span></a> Ibid.<span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn21" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref21" name="_ftn21" style="mso-footnote-id: ftn21;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[21]</span></span><!--[endif]--></span></span></a> Ibid., 239.<span style="mso-spacerun: yes;"> </span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn22" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref22" name="_ftn22" style="mso-footnote-id: ftn22;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[22]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Anne Bolin, "Vandalized Vanity: Feminine Physiques Betrayed and</span><span class="apple-converted-space"> </span><span class="apple-style-span">Portrayed," in</span><span class="apple-converted-space"> </span><span class="apple-style-span"><span style="font-family: "Times New Roman Italic";">Tattoo, Torture, Mutilation, and Adornment</span>, ed. Frances E.</span><span class="apple-converted-space"> </span><span class="apple-style-span">Mascia-Lees and Patricia Sharpe (New York: State University of New York Press,</span><span class="apple-converted-space"> </span><span class="apple-style-span">1992),</span> 81.<span style="mso-spacerun: yes;"> </span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn23" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref23" name="_ftn23" style="mso-footnote-id: ftn23;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[23]</span></span><!--[endif]--></span></span></a> Ibid., 82.<span style="mso-spacerun: yes;"> </span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn24" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref24" name="_ftn24" style="mso-footnote-id: ftn24;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[24]</span></span><!--[endif]--></span></span></a> The full survey can be found in Appendix 1.<span style="mso-spacerun: yes;"> </span>The original blog post can be found here: <a href="http://ancientbruises.tumblr.com/post/5282146506/hey-you-do-you-have-tattoos"><span class="Hyperlink1">http://ancientbruises.tumblr.com/post/5282146506/hey-you-do-you-have-tattoos</span></a> <span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn25" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref25" name="_ftn25" style="mso-footnote-id: ftn25;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[25]</span></span><!--[endif]--></span></span></a> The post can be found here: <a href="http://fyeahtattoos.com/post/5283057326/have-a-tattoo-take-this-survey"><span class="Hyperlink1">http://fyeahtattoos.com/post/5283057326/have-a-tattoo-take-this-survey</span></a><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn26" style="mso-element: footnote;"> <div class="MsoNormal"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref26" name="_ftn26" style="mso-footnote-id: ftn26;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[26]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;"> Simply said, I did not expect such an outpouring of assistance<span style="mso-spacerun: yes;"> </span>Not only were nearly 2,000 members of the internet community willing to fill out the survey, but many of the responses went into depth about personal experiences.<span style="mso-spacerun: yes;"> </span>These were not yes or no questions.<span style="mso-spacerun: yes;"> </span>Various survey responders expressed regret in not being able to give more thorough answers because of their own limited experiences, wished me luck in the paper writing process, and requested to see a finished version of this project upon its completion.<span style="mso-spacerun: yes;"> </span>Many talked in depth about the meaning of tattooing in their own lives, its views in society, and considered the implications of gender within tattoo culture.<span style="mso-spacerun: yes;"> </span>The popularity of the survey and peoples’ willingness to discuss body modification was astounding.<span style="mso-spacerun: yes;"> </span>At one point, it was tempting to completely switch the topic of my paper to analyze why people would be so willing to take time out of their day to talk about tattooing.<span style="mso-spacerun: yes;"> </span>Though this is not the point of my paper, I would like to question what it is about tattoo culture that makes most people extremely willing to discuss and display their modifications.<span style="mso-spacerun: yes;"> </span>Or does this immense response have something to do with internet culture in general – having a forum where someone is interested enough in you to follow your blog and care about what you have to say over the other six billion people in the world?<span style="mso-spacerun: yes;"> </span>The survey itself felt like a Wallace ‘special-for-me’ experience.<span style="mso-spacerun: yes;"> </span>People answered it as if they were speaking directly to me, and many left their e-mail addresses offering a way to contact them for more information if necessary.<span style="mso-spacerun: yes;"> </span>In the end, with only a little over a week to complete this paper, I was not able to read every single response.<span style="mso-spacerun: yes;"> </span>While the answers were ‘special-for-me’, their reception to date has not been.<span style="mso-spacerun: yes;"> </span>In the future, I would be interested in analyzing a large portion of these replies, but it was not possible for the exploration of this paper.<span style="mso-spacerun: yes;"> </span>The answers I will be quoting for the most part come from question number six: “Do you think your gender presentation affected the stranger’s decision to touch you?<span style="mso-spacerun: yes;"> </span>Do you think they would have acted differently if your gender presentation was different?”<span style="mso-spacerun: yes;"> </span>This question really seemed to get to the heart of the problem I am attempting to analyze, and the answers to this particular question allowed me to sort the responses in the most efficient way.<span style="mso-spacerun: yes;"> </span>The magnitude of response, however, has made me think about the degree of importance in my research and whether this survey will be useful for future projects within my academic career.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div><div class="MsoNormal"><span style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">For the purposes of this paper, quotes from the survey will be cited in the following format: Name, Age, Gender-presentation, place of origin, and current location (if different from origin).<span style="mso-spacerun: yes;"> </span>All ‘interviews’ were conducted between May 7<sup>th</sup> and May 11<sup>th</sup> of 2011.<span style="mso-spacerun: yes;"> </span>Any interview quoted in part will be available in full in the appendix of this project (with names excluded if the interviewee requested to not be named in full).<span style="mso-spacerun: yes;"> </span>Some spelling corrections have been made to keep in line with the academic purposes of this paper, but the surveys in the appendix are available in their original and unedited state.<span style="mso-spacerun: yes;"> </span>Though some responses are coming from people living outside of the United States, I interpreted them through the lens of a general westernized culture that has become more prominent in the recent decades due to globalization and the popularity, scope, and exchange of ideas available on the internet.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-font-size: 12.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn27" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref27" name="_ftn27" style="mso-footnote-id: ftn27;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[27]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Frances E. Mascia-Lees and Patricia Sharpe, "The Marked and the</span><span class="apple-converted-space"> </span><span class="apple-style-span">Un(re)Marked: Tattoo and Gender in Theory and Narrative," in</span><span class="apple-converted-space"> </span><span class="apple-style-span"><span style="font-family: "Times New Roman Italic";">Tattoo, Torture,</span></span><span class="apple-converted-space"><span style="font-family: "Times New Roman Italic";"> </span></span><span class="apple-style-span"><span style="font-family: "Times New Roman Italic";">Mutilation, and Adornment</span>, ed. Frances E. Mascia-Lees and Patricia Sharpe (New</span><span class="apple-converted-space"> </span><span class="apple-style-span">York: State University of New York Press, 1992),</span><span class="apple-converted-space"> 147.</span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn28" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref28" name="_ftn28" style="mso-footnote-id: ftn28;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[28]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">AJ, 19, Female, California, USA.</span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn29" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref29" name="_ftn29" style="mso-footnote-id: ftn29;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[29]</span></span><!--[endif]--></span></span></a> Anne Bolin, “Vandalized Vanity,” 86.<span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn30" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref30" name="_ftn30" style="mso-footnote-id: ftn30;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[30]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Nicole</span><span class="apple-converted-space">, 20, Female, Manhattan, NY; Boston, MA.</span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn31" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref31" name="_ftn31" style="mso-footnote-id: ftn31;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[31]</span></span><!--[endif]--></span></span></a><span class="apple-style-span"> Janine W, 21, Female, Michigan, US.</span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn32" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref32" name="_ftn32" style="mso-footnote-id: ftn32;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[32]</span></span><!--[endif]--></span></span></a> <span class="notranslate">Anna, 21 Female, Florida, US.</span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn33" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref33" name="_ftn33" style="mso-footnote-id: ftn33;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[33]</span></span><!--[endif]--></span></span></a> Anne Bolin, “Vandalized Vanity, “81.<span style="mso-spacerun: yes;"> </span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn34" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref34" name="_ftn34" style="mso-footnote-id: ftn34;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[34]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Amynda, 31, Female, New York, US; Minnesota, US.</span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn35" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref35" name="_ftn35" style="mso-footnote-id: ftn35;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[35]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Sarah, 18, Female, United States.</span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn36" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref36" name="_ftn36" style="mso-footnote-id: ftn36;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[36]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Laura</span><span class="apple-converted-space">, 22, Female, England.</span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn37" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref37" name="_ftn37" style="mso-footnote-id: ftn37;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[37]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Jennifer Putzi, "Tattooed Ladies," afterword to</span><span class="apple-converted-space"> </span><span class="apple-style-span"><span style="font-family: "Times New Roman Italic";">Identifying Marks:</span></span><span class="apple-converted-space"><span style="font-family: "Times New Roman Italic";"> </span></span><span class="apple-style-span"><span style="font-family: "Times New Roman Italic";">Race, Gender, and the Marked Body in Nineteenth-Century America</span></span><span class="apple-converted-space"> </span><span class="apple-style-span">(Athens, GA: The</span><span class="apple-converted-space"> </span><span class="apple-style-span">University of Georgia Press, 2006),</span><span class="apple-converted-space"> 157.</span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn38" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref38" name="_ftn38" style="mso-footnote-id: ftn38;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[38]</span></span><!--[endif]--></span></span></a> Ibid.<span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn39" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref39" name="_ftn39" style="mso-footnote-id: ftn39;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[39]</span></span><!--[endif]--></span></span></a> Susan Benson, “Inscriptions of the Self,” 251.<span style="mso-spacerun: yes;"> </span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn40" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref40" name="_ftn40" style="mso-footnote-id: ftn40;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[40]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Kate, 18, Female, Wisconsin, US.</span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn41" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref41" name="_ftn41" style="mso-footnote-id: ftn41;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[41]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Joey Weast, 18, Male, South Carolina, US.</span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn42" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref42" name="_ftn42" style="mso-footnote-id: ftn42;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[42]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Siena, 21, Female, New Zealand.</span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn43" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref43" name="_ftn43" style="mso-footnote-id: ftn43;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[43]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Mara Laplace, 18, Female, France.</span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn44" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref44" name="_ftn44" style="mso-footnote-id: ftn44;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[44]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Kaelah Bee, "Tattoo Etiquette: The Guide to Not Being a Douche,"</span><span class="apple-converted-space"> </span><span class="apple-style-span"><span style="font-family: "Times New Roman Italic";">Little Chief Honeybee</span></span><span class="apple-converted-space"> </span><span class="apple-style-span">(blog), April 8, 2011, accessed May 14, 2011,</span><span class="apple-converted-space"> </span><span class="apple-style-span">http://honeybeeinthecity.blogspot.com/2011/04/</span><span class="apple-converted-space"> </span><span class="apple-style-span">tattoo-etiquette-guide-to-not-being.html.<span style="mso-spacerun: yes;"> </span>Emphasis in the original.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn45" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref45" name="_ftn45" style="mso-footnote-id: ftn45;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[45]</span></span><!--[endif]--></span></span></a> Stephanie Mercedes, 21, Dominican Republic; New York, US.<span style="mso-spacerun: yes;"> </span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn46" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref46" name="_ftn46" style="mso-footnote-id: ftn46;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[46]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Kelling, 20, Female, California, US; Massachusetts, US.</span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn47" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref47" name="_ftn47" style="mso-footnote-id: ftn47;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[47]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Katie McShady</span>, 24, Female, Virginia, US.<span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn48" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref48" name="_ftn48" style="mso-footnote-id: ftn48;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[48]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Hillary, 21, Female, Ohio, US; Austin, Texas, US.</span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn49" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref49" name="_ftn49" style="mso-footnote-id: ftn49;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[49]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">ithinkyourewonderful, 27, Female, Canada; Canada and US.</span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn50" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref50" name="_ftn50" style="mso-footnote-id: ftn50;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[50]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Meg, 23, Queer Femme, Pennsylvania, US.</span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn51" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref51" name="_ftn51" style="mso-footnote-id: ftn51;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[51]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Joey, 20, Genderqueer Male, New York, US.</span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn52" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref52" name="_ftn52" style="mso-footnote-id: ftn52;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[52]</span></span><!--[endif]--></span></span></a><span class="apple-style-span"> Anonymous, 19, Female, Tennessee, US. </span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn53" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref53" name="_ftn53" style="mso-footnote-id: ftn53;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[53]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Ashley Pridgen, 25, Female, Florida, US.</span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn54" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref54" name="_ftn54" style="mso-footnote-id: ftn54;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[54]</span></span><!--[endif]--></span></span></a> Tiffany, 30, Female with male tendencies, Northeastern US.<span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn55" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Desktop/Tattoo%20Paper%20Final.doc#_ftnref55" name="_ftn55" style="mso-footnote-id: ftn55;" title=""><span class="FootnoteReference1"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[55]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Jean Kilbourne, host.,</span><span class="apple-converted-space"> </span><span class="apple-style-span"><span style="font-family: "Times New Roman Italic";">Killing Us Softly 4</span></span><span class="apple-converted-space"> </span><span class="apple-style-span">(Northampton, MA: Media</span><span class="apple-converted-space"> </span><span class="apple-style-span">Education Foundation, 2010), Media Education Foundation, accessed May 8, 2011,</span><span class="apple-converted-space"> </span><span class="apple-style-span">http://www.mediaed.org/cgi-bin/commerce.cgi?key=241&preadd=action.</span><span style="color: windowtext; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div></div>irinahttp://www.blogger.com/profile/03387357358559839487noreply@blogger.com31tag:blogger.com,1999:blog-2366592439733471006.post-41399679096721547152011-05-23T09:34:00.000-07:002011-05-23T09:44:04.952-07:00American Studies and the Survey<div style="margin-bottom: .0001pt; margin: 0in;"><span class="Apple-style-span" style="color: white;">One of the reasons I have been so stressed over the La Malinche paper is because - shocking news! - I am taking more than one class this semester. Two of my classes required major research projects for their completion. For my American Studies course, I went on a somewhat different journey. While I did stick to women, I ended up writing about modern American tattoo culture and the perceptions of the female body within it/due to it. I researched a lot of history and theory about tattooing and the female body, but I also wanted tattooed individuals to recount their own personal stories so I could include them in my paper. I made an online survey and ended up with over 1800 replies. This will all be explained in depth in the paper (which will be posted on this blog shortly).<o:p></o:p></span></div><div style="margin-bottom: .0001pt; margin: 0in;"><span class="Apple-style-span" style="color: white;"><br />
</span></div><div style="margin-bottom: .0001pt; margin: 0in;"><span class="Apple-style-span" style="color: white;">But there was another aspect about the survey which really threw me off. When I made it, I expected about 20-50 responses. Obviously, I got far more than I bargained for. This is a completely new field of research for me - I am used to dusty books and online databases, not individual responses. The survey I made was a bit flawed. <a href="http://ancientbruises.tumblr.com/post/5290197723/hey-you-dont-have-to-post-this-i-just-wanted-to-let-you">One person pointed out to me that some of my questions were leading, which I completely understand.</a> I was very clearly trying to gather answers which would make it easier to prove my thesis, which was a bit shaky at the very least. <o:p></o:p></span></div><div style="margin-bottom: .0001pt; margin: 0in;"><span class="Apple-style-span" style="color: white;"><br />
</span></div><div style="margin-bottom: .0001pt; margin: 0in;"><span class="Apple-style-span" style="color: white;">The thing that was really surprising, however, was the amount of responses I received. I spoke about the phenomenon in a footnote in the paper:<o:p></o:p></span></div><div style="margin-bottom: .0001pt; margin: 0in;"><span class="Apple-style-span" style="color: white;"><br />
</span></div><div style="margin-bottom: .0001pt; margin: 0in;"><span class="Apple-style-span" style="color: white;"><span class="apple-style-span"><i>Simply said, I did not expect such an outpouring of assistance </i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>Not only were nearly 2,000 members of the internet community willing to fill out the survey, but many of the responses went into depth about personal experiences. </i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>These were not yes or no questions. </i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>Various survey responders expressed regret in not being able to give more thorough answers because of their own limited experiences, wished me luck in the paper writing process, and requested to see a finished version of this project upon its completion. </i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>Many talked in depth about the meaning of tattooing in their own lives, its views in society, and considered the implications of gender within tattoo culture. </i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>The popularity of the survey and peoples’ willingness to discuss body modification was astounding. </i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>At one point, it was tempting to completely switch the topic of my paper to analyze why people would be so willing to take time out of their day to talk about tattooing. </i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>Though this is not the point of my paper, I would like to question what it is about tattoo culture that makes most people extremely willing to discuss and display their modifications. </i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>Or does this immense response have something to do with internet culture in general – having a forum where someone is interested enough in you to follow your blog and care about what you have to say over the other six billion people in the world? </i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>The survey itself felt like a Wallace ‘special-for-me’ experience. </i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>People answered it as if they were speaking directly to me, and many left their e-mail addresses offering a way to contact them for more information if necessary. </i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>In the end, with only a little over a week to complete this paper, I was not able to read every single response. </i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>While the answers were ‘special-for-me’, their reception to date has not been. </i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>In the future, I would be interested in analyzing a large portion of these replies, but it was not possible for the exploration of this paper. </i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>The answers I will be quoting for the most part come from question number six: “Do you think your gender presentation affected the stranger’s decision to touch you? </i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>Do you think they would have acted differently if your gender presentation was different?” </i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>This question really seemed to get to the heart of the problem I am attempting to analyze, and the answers to this particular question allowed me to sort the responses in the most efficient way. </i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>The magnitude of response, however, has made me think about the degree of importance in my research and whether this survey will be useful for future projects within my academic career. </i></span><i> <o:p></o:p></i></span></div><div class="MsoNormal"><span class="Apple-style-span" style="color: white;"><br />
</span></div><div class="MsoNormal"><span class="Apple-style-span" style="color: white;">This form of research was eye-opening to me and made me a little glad that my normal sources are not members of the internet community. Although the surveys were very helpful, it was incredibly overwhelming and sometimes frustrating to read them. </span></div><div class="MsoNormal"><span class="Apple-style-span" style="color: white;"><br />
</span></div><div class="MsoNormal"><span class="Apple-style-span" style="color: white;">And I will be posting the paper next! And stuff. </span></div><div class="MsoNormal"><span class="Apple-style-span" style="color: white;"><br />
</span></div><div class="MsoNormal"><span class="Apple-style-span" style="color: white;">It has been a difficult few weeks, but at least it is over? Yes. </span><o:p></o:p></div>irinahttp://www.blogger.com/profile/03387357358559839487noreply@blogger.com1tag:blogger.com,1999:blog-2366592439733471006.post-64341775855390604042011-05-22T15:47:00.000-07:002011-05-22T15:47:00.603-07:00Post-Paper Thoughts.Having nearly a week to step away from the final paper has not done too much for my nerves. Writing (and even more so, revising) this paper has been one of the most stressful experiences during my time at Bard. I cannot begin to image what senior project is going to be like - I cannot even think about my project topic right now because sometimes it feels like it has already taken over my entire life. Which it somewhat has.<br />
<br />
Overall, I am happy with how my paper turned out. It is, of course, weak in some aspects. Working on finals for so long made revision even harder to deal with, and in the end I only did about half of what I wanted to do. However, I am really proud of the work I did on identifying the ideas behind historical exile/exile from history. I had not realized how unclear this idea was until Tabetha pointed out the flaws in my original wording (historical exile). I guess it became a term that I made up out of nowhere? People do that, right? And if I am going to continue on this track with my senior project, defining terms is going to be really important. It just sort of blows my mind that I came up with this terminology just to be able to write this specific paper for a very specific class, and it somehow worked. The magic of liberal arts! (Emphasis on the liberal.)<br />
<br />
The other part of the paper that I spent a lot of time reworking was the conclusion. With help from Jane, I went in an entirely new direction and kind of attacked the Oxford History of Mexico. It was by far the most pleasant part for me to write after the definition of exile from history. The things that do not need citation really get me typing quickly and thinking even faster.<br />
<br />
After working on these two sections for a long time, I gave up. I spent about a day thinking I was done, that I could not do any more. And then Tabetha informed the class that she was extending the deadline – to today, actually. I knew I was leaving, but something about that e-mail gave me the push to put another couple hours into the work. I ended up working from an entirely new source. Of course it turned out to be one of those situations where I wondered why I had not used it from the beginning. But it worked out! And that is what is important!<br />
<br />
Overall, I have had an interesting semester trying to get through this paper and on to the next step. I have about a third of a bibliography for my senior project and a lot more direction than I did at the beginning of this semester. And of course, I learned how to research a lot better! I could not have done half of this work without Jane teaching me all about research. I actually ended up also helping a few of my friends out. <br />
So yes, a couple more posts to go. I am going to switch gears for a bit and talk about another form of research in my next post! Until then.irinahttp://www.blogger.com/profile/03387357358559839487noreply@blogger.com0tag:blogger.com,1999:blog-2366592439733471006.post-48718824837309163252011-05-22T14:54:00.000-07:002011-05-22T14:54:34.389-07:00THE FINAL DRAFT OH GOD x2So we survived the rapture, but more importantly: this paper has been done for nearly a week. And here it is:<br />
<br />
<a name='more'></a><div class="MsoNormal" style="line-height: 200%; text-align: left;"><u>The Enemy Within: </u><u>The Transformations of La Malinche within the Twentieth Century Chicano Movement</u></div><div class="MsoNormal" style="line-height: 200%;"><span style="mso-tab-count: 1;"> </span>In 1519, Spanish conquistador Hernán Cortés was making his way up the Yucutan in hopes of finding gold and conquering more land in the New World for the Spanish kingdom and his own personal gain.<span style="mso-spacerun: yes;"> </span>He and his men had their sights set on Tenochtitlan, the capital of the Aztec empire.<span style="mso-spacerun: yes;"> </span>While in the Yucutan, Cortés received a gift which would be invaluable to him for the duration of his time in New Spain: among a group of twenty native women given as slaves was Malintzin Tenepal.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">The woman today is known by three names.<span style="mso-spacerun: yes;"> </span>Malintzin Tenepal, Doña Marina, La Malinche.<span style="mso-spacerun: yes;"> </span>Indigenous, Christian, Mexican.<span style="mso-spacerun: yes;"> </span>She was a slave, a translator, a mistress and a mother.<span style="mso-spacerun: yes;"> </span>However, these roles are not where the exploration of her role can begin.<span style="mso-spacerun: yes;"> </span>It must begin with her names and the significance of them all.<span style="mso-spacerun: yes;"> </span>Malintzin – the native name only popularized in the late twentieth century by those seeking to redeem her from centuries of exploitation and damnation.<span style="mso-spacerun: yes;"> </span>Doña Marina – the name awarded to her by Cortés upon baptism, the first indicator of the betrayal but also an acknowledgement of her indigenous nobility with the use of Doña.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[2]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>La Malinche – the most common name despite being synonymous with the image of the cultural betrayer.<span style="mso-spacerun: yes;"> </span>All of these names are given, not chosen, but the plethora of names assigned to this figure is in direct contrast to the lack of her own voice in the historical record.<span style="mso-spacerun: yes;"> </span>Her words are spoken for her – by sixteenth century historians and twentieth century philosophers – she is never allowed to speak for herself despite her pivotal role as a translator.<span style="mso-spacerun: yes;"> </span>In the same light, her names are also given to her.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[3]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>They signify the varied accounts of her historical presence and the views societies hold of her.<span style="mso-spacerun: yes;"> </span>She is many things to many people, an exile from history and a scapegoat for colonial power, and this status is exemplified through her name.<span style="mso-spacerun: yes;"> </span>She is a historical figure constantly plunged in and out of exile, hovering between the factual and the fictional by strings attached by those who lived after her.<span style="mso-spacerun: yes;"> </span>La Malinche’s exile from history has significantly shaped the Mexican national identity of the twentieth century.</div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">The examination of La Malinche’s assorted names broaches the various contexts of her portrayal in the near-half millennia since her first meeting with Cortés and the Spanish conquistadors.<span style="mso-spacerun: yes;"> </span>La Malinche has been used by colonists, by revolutionaries, by civil rights activists and by feminists – among others – to accomplish goals which she historically had no involvement in.<span style="mso-spacerun: yes;"> </span>In the sixteenth-century Spanish historical texts written about the conquest of Mexico, La Malinche takes on the role of interpreter and assistant, and is valued for this role.<span style="mso-spacerun: yes;"> </span>For centuries after her death, La Malinche was viewed as a hero, a “<span style="font-family: "Times New Roman Italic";">conquistadora</span>”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[4]</span></span><!--[endif]--></span></span></span></a> within the consciousness of colonial Mexico.<span style="mso-spacerun: yes;"> </span>The revolutions which sought the overthrow of the Spanish in the early nineteenth-century in Mexico soured her image in the scope of Mexican national identity.<span style="mso-spacerun: yes;"> </span>The Mexicans needed to remove Spanish sentiments which pervaded the culture in order to gain independence.<span style="mso-spacerun: yes;"> </span>Their first target was the role of the indigenous women who worked and entered into relationships with the Spanish in order to conquer Mexico.<span style="mso-spacerun: yes;"> </span>Consequently, Doña Marina lost her position as a powerful woman in history and instead fulfilled the classic trope of the indigenous woman who could not control her sexuality and betrayed her people in order to carry out her own desires.<span style="mso-spacerun: yes;"> </span>This view is a complete departure from the historical record and only contributes to the exile from history La Malinche has experienced within the last five-hundred years.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%;"><u>The Significance of Exile from History<o:p></o:p></u></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">Exile from history is a three-fold concept.<span style="mso-spacerun: yes;"> </span>First, there is the silence of a historical figure within the actual writings contemporary to his or her time.<span style="mso-spacerun: yes;"> </span>Though his or her presence may be mentioned constantly, and although actions may be contributed to him or her, the actual human being is never given the opportunity to write his or her own biography or opinions about the events which occurred in his or her life.<span style="mso-spacerun: yes;"> </span>La Malinche experiences this form of exile from history in the Spanish sixteenth-century historical record.<span style="mso-spacerun: yes;"> </span>Although several historians speak at various lengths about her, there is no reliable record of her own words despite the ten years she spent as a translator for Cortés.<span style="mso-spacerun: yes;"> </span>No matter the amount of power she is given through the portrayal of her actions, La Malinche’s role in the conquest remains open to manipulation through the various groups that use her name.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">The second aspect of exile from history also occurs within the historical record.<span style="mso-spacerun: yes;"> </span>It is the lack of interest in the historical figure once his or her role in a major event has been fulfilled and transcribed.<span style="mso-spacerun: yes;"> </span>For La Malinche, the events of her life become silent after the fall of the Aztec capital of Tenochtitlan in 1521.<span style="mso-spacerun: yes;"> </span>Although she bears Cortés a son named Martín sometime in the same year, her life is no longer recounted in the step-by-step process she was allowed during the conquest.<span style="mso-spacerun: yes;"> </span>She more or less disappears from the record for three years.<span style="mso-spacerun: yes;"> </span>This can mainly be attributed to the fact that Cortés was living with his Spanish wife during this time and therefore there are no records in which both Doña Marina and Cortés cohabitate.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[5]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>In 1524, Cortés asked Doña Marina to accompany him as an interpreter to Honduras.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[6]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>During the mission, Marina became pregnant with the daughter of her Spanish husband, Juan de Jaramillo.<span style="mso-spacerun: yes;"> </span>Not long after giving birth, Marina died, having spent approximately ten years with the company of the Spanish in Mexico.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn7" name="_ftnref7" style="mso-footnote-id: ftn7;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[7]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>Though this information is known about Doña Marina,<span style="mso-spacerun: yes;"> </span>the years after the fall of Tenochtitlan still lack the intense tracking of her every actions that the conquest histories exhibit.<span style="mso-spacerun: yes;"> </span>Significantly, the historical record does not seek to account for Doña Marina’s actions when she is not helping the male conquistadors.<span style="mso-spacerun: yes;"> </span>This exile from history devalues her life as an individual: It may be understood that there is a lack of interest in her personal life outside of her role as translator to the Spanish, and therefore she is viewed as though she has no true value outside of the one role assigned to her by historians.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;"><span style="mso-spacerun: yes;"> </span>The third prong of exile from history relies upon the national consciousness of the peoples who use the historical figure for their own purposes<span style="mso-spacerun: yes;"> </span>Edward Said connects nationalism and modern, physical exile to a binary of the ‘us versus them.’<span style="mso-spacerun: yes;"> </span>“All nationalisms have their founding fathers, their basic, quasi-religious texts, their rhetoric of belonging, their historical and geographical landmarks, their official enemies and heroes.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn8" name="_ftnref8" style="mso-footnote-id: ftn8;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[8]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>The exile from history experienced by a figure is then manipulated to create a national identity which relies upon the elevation or vilification of the value of this human life and the actions and characteristics he or she symbolizes.<span style="mso-spacerun: yes;"> </span>The lack of historical data pointed out in the first two sections of exile from history allow for later figures to fill the void with their own ideas about the motivations and thought processes of an individual who lacks a written record from their own hand.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">La Malinche has been used by many groups in several nations – most significantly Mexico and the United States.<span style="mso-spacerun: yes;"> </span>La Malinche experiences this part of exile from history because of her construction as an enemy on the inside, a them within the us reaching from pre-colonial history to the modern day.<span style="mso-spacerun: yes;"> </span>She is purged from the national identity of Mexico through her exile in order to absolve it.<span style="mso-spacerun: yes;"> </span>Frances Karttunen sees Malinche’s nineteenth-century role as that of an simple weapon used to negate the power of the Spanish: “The casting of great bells traditionally requires some human blood, and so it seems to be in the forging of national identity.<span style="mso-spacerun: yes;"> </span>A scapegoat was needed for three centuries of colonial rule, and one was easily found in doña Marina, who was sexualized as the Indian woman who could not get enough of the white man.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn9" name="_ftnref9" style="mso-footnote-id: ftn9;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[9]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>These assumptions were made about the goals of Doña Marina without any recognition or thought for the reasons for her supposed betrayal.<span style="mso-spacerun: yes;"> </span>She could not speak for herself from the historical record because she had been misinterpreted from the very beginning.<span style="mso-spacerun: yes;"> </span>This third part of exile from history leaves La Malinche open to be used to further the goals of several groups within Mexican culture.<span style="mso-spacerun: yes;"> </span>From the colonial era, where she was used as a figurehead of the mestizo nation, through the Mexican revolution, where her image was defiled in order to remove imperial influence, La Malinche has been implemented by the people, for the people, and never for herself.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">Exile from history finds rooting in the idea that someone was so worthless or so evil that they can only be forgotten, written-out, or vilified within modern national consciousness.<span style="mso-spacerun: yes;"> </span>La Malinche’s exile is entrenched in the idea that after she died and after colonial ties were severed, the very thought of her was so atrocious to her people that they spent centuries of historical and literary work in order to demonize her very memory, to create an enemy for a whole people.<span style="mso-spacerun: yes;"> </span>This is a form of exile from which one can never return, can never justify oneself.<span style="mso-spacerun: yes;"> </span>This is a form of exile which buttresses the national identity of the Mexican people to this day.<span style="mso-spacerun: yes;"> </span>This form of exile can only be reversed by those seeking to elevate themselves and their national identity, to move away from the villains of the past and towards a future which acknowledges the important roles and reasons of historical figures.<span style="mso-spacerun: yes;"> </span>The social memory surrounding La Malinche depends on her inability to refute the accusations made against her character and actions.<span style="mso-spacerun: yes;"> </span>Her historical context has been manipulated to serve other means, such as those of the Chicano Movement of the mid-twentieth century in the United States.<span style="mso-spacerun: yes;"> </span>The movement, seeking civil rights for the Mexican-American population of the United States, used the historical presence of La Malinche in order to secure the separateness of its people within the dominant society.<span style="mso-spacerun: yes;"> </span>An examination of La Malinche within history begins to unravel the actions of those who seek to place blame for the destruction of indigenous culture upon the shoulders of one historical character. </div><div class="MsoNormal" style="line-height: 200%;"><u>The Historical Record – La Malinche in the Sixteenth-Century<o:p></o:p></u></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;"><span style="color: windowtext;">La Malinche enters the historical record of the sixteenth-century through her distinct role as translator and companion to Hernán Cortés.</span><span style="color: #a8184b;"><span style="mso-spacerun: yes;"> </span></span>Spanish chroniclers of the conquest vary in their representations of her.<span style="mso-spacerun: yes;"> </span>Francisco López de Gómara, a Spanish priest hired by Cortés to write about the conquest using Cortés’ point of view, only briefly mentions La Malinche.<span style="mso-spacerun: yes;"> </span>On the other side is Bernal Díaz del Castillo, a foot soldier under Cortés, who published his own account of the conquest written in an attempt to challenge the parts of Gómara’s history which he did not agree with.</div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">The two histories spend different lengths on the presence of La Malinche in the conquest, but the most significant part is that they both note her as important to the mission.<span style="mso-spacerun: yes;"> </span>Without these accounts, there would be little or no recorded presence of La Malinche.<span style="mso-spacerun: yes;"> </span>Taking this a step further, without the Díaz accounts, written out of frustration with the official account by Gómara, there would be little known about La Malinche’s life before she encountered Cortés.</div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">Gómara briefly sites La Malinche’s history in a chapter dedicated to her.<span style="mso-spacerun: yes;"> </span>Here the text and analysis switches to La Malinche’s Christian name, Doña Marina.<span style="mso-spacerun: yes;"> </span>Both Gómara and Díaz find it important to point out that she was baptized and therefore can only be referred to as Doña Marina.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn10" name="_ftnref10" style="mso-footnote-id: ftn10;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[10]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>According to Gómara’s account, which is an amalgamation of the testimonies of Cortés and the men who served under him, Doña Marina was born to wealthy parents “who were related to the lord of that country.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn11" name="_ftnref11" style="mso-footnote-id: ftn11;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[11]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>Gómara then writes that Doña Marina claims that she was “stolen by certain merchants during a war and sold in the market place of Xicalanco.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn12" name="_ftnref12" style="mso-footnote-id: ftn12;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[12]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>She was a slave in several areas of the Yucatan before she was given to Cortés.<span style="mso-spacerun: yes;"> </span>Gómara spends no more than a few sentences recounting Doña Marina’s life story, but he significantly introduces this personal history by using the phrasing “Marina…answered.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn13" name="_ftnref13" style="mso-footnote-id: ftn13;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[13]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>Here, Gómara is setting up the background of Doña Marina as a story she tells herself in reply to Cortés’ questioning of her.<span style="mso-spacerun: yes;"> </span>It certainly reads as if this is the true history of Doña Marina from her own words, and appears to give her a voice within her own lifetime.<span style="mso-spacerun: yes;"> </span>However, it is valid to question the legitimacy of the accounts, most importantly because Gómara was never in New Spain and his chronicle is a compilation of various accounts.<span style="mso-spacerun: yes;"> </span>Time and various motivations could have changed the way the story was portrayed to Gómara as well as his own personal intentions, being as he was paid to write this history by Cortés himself.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">In contrast to the very brief account Gómara writes of Doña Marina’s life before the conquest, Bernal Díaz del Castillo weaves a story that spans many years and reads more like a biblical tale of tragedy and redemption than the simple summary Gómara supplies.<span style="mso-spacerun: yes;"> </span>Díaz begins by establishing his own feelings towards Doña Marina, creating the most extensive portrayal of her available from her contemporaries: she was “one very excellent woman,”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn14" name="_ftnref14" style="mso-footnote-id: ftn14;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[14]</span></span><!--[endif]--></span></span></span></a> “good looking and intelligent and without embarrassment.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn15" name="_ftnref15" style="mso-footnote-id: ftn15;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[15]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>Díaz’s high opinion of Doña Marina certainly translates into the way he treats her within his history – even in moments where she is just referenced as a translator, Díaz finds space to give her credit for all of her actions.<span style="mso-spacerun: yes;"> </span>This treatment counters the way Gómara and even more so, Cortés, wrote her off as just another translator on the mission.<span style="mso-spacerun: yes;"> </span>Of course, for both historians, Doña Marina’s presence is valuable enough to be noted in the historical record, unlike the works of Cortés who mentions Marina merely twice in his own letters.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn16" name="_ftnref16" style="mso-footnote-id: ftn16;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[16]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>Díaz, by going as far as to comment on her personal attributes, takes a step which signifies a deeper respect for her role in the conquest than Gómara intend and Cortés intend.</div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">Díaz then presents her story without associating it with her own words.<span style="mso-spacerun: yes;"> </span>He says: “I wish to give some account of Doña Marina…It happened in this way.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn17" name="_ftnref17" style="mso-footnote-id: ftn17;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[17]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>Díaz’s history has Doña Marina being raised by parents who were also caciques – tribal and political leaders – of Paynala, a town within the Aztec empire.<span style="mso-spacerun: yes;"> </span>Upon her father’s death, Doña Marina’s mother remarried and had a son with her new husband.<span style="mso-spacerun: yes;"> </span>“Her father and mother had a great affection for this one [the son] and it was agreed between them that he should succeed their honours when their days were done.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn18" name="_ftnref18" style="mso-footnote-id: ftn18;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[18]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>With this plan in mind, Marina’s parents gave her away to peoples living in Xicalango and then claimed that she had died as to not bring about any suspicion.<span style="mso-spacerun: yes;"> </span>Doña Marina was then given to people in Tabasco, a city in the Yucutan inhabited by the Maya.<span style="mso-spacerun: yes;"> </span>With this movement, she was able to speak at least two languages before she was given to Cortés as a slave in 1519. It is important to note that Díaz never refers to Doña Marina as a slave, but rather she is a person that is constantly being “given.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn19" name="_ftnref19" style="mso-footnote-id: ftn19;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[19]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>This wording is another factor which signifies the respect Díaz holds for Marina and was no doubt held by several others of the conquistadors during the conquest.</div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">Díaz goes on to further detail Doña Marina’s life under Cortés. After Tenochitlan, the Aztec capital, was conquered, Cortés went to Honduras in 1524 to quell an apprising in the area.<span style="mso-spacerun: yes;"> </span>Díaz and Doña Marina accompanied him, and they passed through Coatzacoalcos, the major town near Marina’s birthplace.<span style="mso-spacerun: yes;"> </span>Here, her mother and half-brother were jointly ruling as chiefs.<span style="mso-spacerun: yes;"> </span>The expedition sent for them, and Díaz writes that “these relations [relatives] were in great fear of Doña Marina, for they thought that she had sent for them to put them to death, and they were weeping.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn20" name="_ftnref20" style="mso-footnote-id: ftn20;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[20]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>Díaz uses this event to establish his statement that “Doña Marina was a person of the great importance and was obeyed without question by the Indians throughout New Spain.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn21" name="_ftnref21" style="mso-footnote-id: ftn21;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[21]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>It is a potent image to have indigenous chiefs cowering in the presence of a woman that was once a slave and was now among the most trusted of Cortés’ group.<span style="mso-spacerun: yes;"> </span>Díaz is giving Doña Marina a powerful position within the conquest which was used throughout centuries of colonial rule in Mexico.<span style="mso-spacerun: yes;"> </span>By elevating her position to that of a woman respected by both the Spanish and the indigenous tribes, Díaz grants Doña Marina a great amount of agency and power within her limited position as a woman straddling the border between two patriarchal societies.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">Díaz closes his account of Doña Marina by showing a righteous and forgiving side of her: She instantly absolves her mother and half-brother for her life in bondage.<span style="mso-spacerun: yes;"> </span>She gives them gifts of jewels and calms their fears.<span style="mso-spacerun: yes;"> </span>Díaz constructs the encounter in a way which gives credit to the Spanish for changing Marina’s life.<span style="mso-spacerun: yes;"> </span>She</div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">Told them that God had been very gracious to her in freeing her from the worship of idols and making her a Christian, and letting her bear a son to her lord and master Cortés and in marrying her to such a gentleman as Juan Jaramillo, who was now her husband.<span style="mso-spacerun: yes;"> </span>That she would rather serve her husband and Cortés than anything else in the world, and would not exchange her place to be Cacica of all the provinces in New Spain.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn22" name="_ftnref22" style="mso-footnote-id: ftn22;" title=""><span class="FootnoteReference1"><span style="mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[22]</span></span><!--[endif]--></span></span></span></a><span class="FootnoteReference1"><span style="mso-ansi-font-size: 12.0pt;"><o:p></o:p></span></span></div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;"><br />
</div><div class="MsoNormal" style="line-height: 200%;">Díaz’s writing claims that these are words she indeed said to her family members, and this gives rise to the idea that Doña Marina – La Malinche – was actively denying her indigenous roots and taking the side of the Spanish.<span style="mso-spacerun: yes;"> </span>Díaz depicts Doña Marina as being grateful for her life of slavery because it resulted in a relationship with the Spanish and with the Christian god.<span style="mso-spacerun: yes;"> </span>This story is one which establishes her role as the betrayer of her people – why else would she so willingly become a Christian, bear a child for Cortés, and marry a Spaniard?<span style="mso-spacerun: yes;"> </span>Of course, this retelling has many flaws.<span style="mso-spacerun: yes;"> </span><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;">Frances Karttunen questions Díaz’s ability to recount </span></span>Doña<span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"> Marina’s words: “Since her words were supposedly addressed to her kin, they would have been uttered in Nahuatl, so how could Bernal Díaz know for certain what she had said?”</span></span><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn23" name="_ftnref23" style="mso-footnote-id: ftn23;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[23]</span></span><!--[endif]--></span></span></span></a><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>Karttunen brings up an interesting point in her questioning of the various ways in which Díaz’s story may be interpreted – as truth, as manipulation of the story, as manipulation by </span></span>Doña<span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"> Marina (considering she could have spoken to her family in Nahuatl and then translated her words different for Díaz), or as complete fiction.</span></span><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn24" name="_ftnref24" style="mso-footnote-id: ftn24;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[24]</span></span><!--[endif]--></span></span></span></a><span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>It is impossible to distinguish which interpretation is true – one, all, neither – but nevertheless D</span></span>í<span class="apple-style-span"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;">az succeeded in constructing a history for Doña Marina which would survive for half a millennia.<span style="mso-spacerun: yes;"> </span></span></span><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 200%;"><span style="mso-tab-count: 1;"> </span>There are a great number of disparities between the histories given by Gómara and by Díaz in relation to Doña Marina.<span style="mso-spacerun: yes;"> </span>Both of these histories must be questioned in relation to their goals and the effect they would have on later generations.<span style="mso-spacerun: yes;"> </span>Díaz has many positive things to say about Marina that in more recent history have been used to demonize her and other women.<span style="mso-spacerun: yes;"> </span>Conversely, the image of Doña Marina that Díaz presents is one which is only positive for the Spanish side of the conquest.<span style="mso-spacerun: yes;"> </span>She willingly – at least as Díaz describes it – accepts Christianity and a Spanish lifestyle.<span style="mso-spacerun: yes;"> </span>Díaz is careful not to call her a slave but Gómara does imply her initial status as one: He writes that Cortés “promised her more than her liberty if she would establish friendship between him and the men of her country.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn25" name="_ftnref25" style="mso-footnote-id: ftn25;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[25]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>Her ability to make personal choices is not questioned by the historians of the sixteenth century, but it may be inferred that she accepted Cortés’ proposal in Gómara’s account.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">Both historians, however, are writing from a European point of view and do not go on to mention the degree of freedom Doña Marina was granted when she agreed to be Cortés’ translator.<span style="mso-spacerun: yes;"> </span>The issue of La Malinche’s agency cannot be decided one way or another through the brief accounts of her actual life in the histories and is still vital to the discussion of La Malinche in the twentieth century movements which appropriated her image.<span style="mso-spacerun: yes;"> </span>These movements refer heavily to the history which is supplied by the sixteenth-century conquerors but also rely on nineteenth-century images of La Malinche as a cultural betrayer who caused the colonial takeover of Mexico.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%;"><u>Octavio Paz and La Chingada<o:p></o:p></u></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">One of the earliest twentieth-century texts to use both the historical accounts of La Malinche and her imagined role as betrayer in order to create and exile out of her presence within Mexican national identity is Octavio Paz’s<span style="font-family: "Times New Roman Italic";"> </span>“Los Hijos de La Malinche” or “The Sons of La Malinche.”<span style="mso-spacerun: yes;"> </span>Paz is writing after the Mexican Revolution of 1910 which sought to establish a more liberal if not socialist regime within Mexico.<span style="mso-spacerun: yes;"> </span>The revolution created confusion within the realm of Mexican national identity through its challenging of Mexican traditions upheld by the upper class, the government, and the church.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn26" name="_ftnref26" style="mso-footnote-id: ftn26;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[26]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Paz’s work seeks to uncover and name the reasons for the traditional Mexican national identity dual submissiveness and aggression.<span style="mso-spacerun: yes;"> </span>His work is philosophical and interpretive, attempting to identify what he views as a problem for the Mexican people which can stand to be corrected.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn27" name="_ftnref27" style="mso-footnote-id: ftn27;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[27]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>His work finds that the people of Mexico “struggle with imaginary entities, with vestiges of the past or self-engendered phantasms”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn28" name="_ftnref28" style="mso-footnote-id: ftn28;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[28]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>Paz looks back into the history of Mexico, most importantly the conquest, in order to understand the present situation of the Mexican people.<span style="mso-spacerun: yes;"> </span>His work ties the social consciousness and reality to characters of indigenous and Spanish backgrounds.<span style="mso-spacerun: yes;"> </span>He writes: “History helps us to understand certain traits of our characters, provided we are capable of isolating and defining them beforehand.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn29" name="_ftnref29" style="mso-footnote-id: ftn29;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[29]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>The expansion into explaining the Mexican subordinate outlook then spans into the historical images that Mexico must contend with: those of the Conquest and the colonial era that followed. </div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">Paz deconstructs the internal view of Mexicans as ‘los hijos de la chingada’ or ‘the sons of the fucked one’ via the conquest.<span style="mso-spacerun: yes;"> </span>La Malinche is a seminal figure in Mexican history and culture because of her role as ‘la chingada’ or ‘the fucked one.’<span style="mso-spacerun: yes;"> </span>Paz claims: “The <span style="font-family: "Times New Roman Italic";">Chingada</span> is the mother who has suffered – metaphorically or actually – the corrosive and defaming action implicit in the verb that gives her her name.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn30" name="_ftnref30" style="mso-footnote-id: ftn30;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[30]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>By connecting La Malinche to the act implied by <span style="font-family: "Times New Roman Italic";">chingada</span> and then resting her entire self-worth on the subject, Paz disconnects La Malinche first from her historical reality and then from her agency.<span style="mso-spacerun: yes;"> </span>Most importantly, <span style="font-family: "Times New Roman Italic";">chingada</span> is feminine and clearly connects to the role of women in society in general.<span style="mso-spacerun: yes;"> </span>Paz writes:</div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; tab-stops: 255.0pt;">The person who suffers this action is passive, inert and open, in contrast to the active, aggressive and closed person who inflicts it. The <span style="font-family: "Times New Roman Italic";">chingón</span> is the macho, the male; he rips open the <span style="font-family: "Times New Roman Italic";">chingada</span>, the female, who is pure passivity, defenseless against the exterior world. The relationship between them is violent, and it is determined by the cynical power of the first and the impotence of the second.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn31" name="_ftnref31" style="mso-footnote-id: ftn31;" title=""><span class="FootnoteReference1"><span style="mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[31]</span></span><!--[endif]--></span></span></span></a><span class="FootnoteReference1"><span style="mso-ansi-font-size: 12.0pt;"><o:p></o:p></span></span></div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; tab-stops: 255.0pt;"><br />
</div><div class="MsoNormal" style="line-height: 200%; tab-stops: 255.0pt;">Juxtaposing the role of <span style="font-family: "Times New Roman Italic";">chingada</span> as woman and the role of <span style="font-family: "Times New Roman Italic";">chingón </span>as man creates a view of the conquest in which La Malinche is stripped of her agency in her submission to the European conqueror.<span style="mso-spacerun: yes;"> </span>By casting La Malinche in this light, the historical view of her becomes that of a woman without agency or choice in her actions.<span style="mso-spacerun: yes;"> </span>It seems to deny the actual historical description of La Malinche, which must also be questioned as previously demonstrated, but does grant La Malinche agency through action.<span style="mso-spacerun: yes;"> </span>Paz, however, is setting up La Malinche to be a mythical figure in terms of her lack of agency thus allowing her to image to be at the center of blame for the conquest of Mexico.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; tab-stops: .5in 255.0pt;"><span style="mso-tab-count: 1;"> </span>Paz also sets up the word <span style="font-family: "Times New Roman Italic";">chingada </span>to be forbidden and prohibited, thus making it somehow shameful that La Malinche is referred to as lacking agency but more shameful that the blood-line of the mestizo nation reportedly traces back to her act of submission.<span style="mso-spacerun: yes;"> </span>There is a connection between <span style="font-family: "Times New Roman Italic";">la chingada</span> and the Mexican people, but there is a distinct difference between being <span style="font-family: "Times New Roman Italic";">los hijos de la chingada</span> and <span style="font-family: "Times New Roman Italic";">la chingada</span>.<span style="mso-spacerun: yes;"> </span>While <span style="font-family: "Times New Roman Italic";">los hjios</span> feel the shame of the act performed upon the ancestry and internalize this shame, it is left for <span style="font-family: "Times New Roman Italic";">la chingada</span> to carry the blame of the act of violation which is performed upon her.<span style="mso-spacerun: yes;"> </span>Thereby, Mexico feels submissive and shamed by the act, but they are not still open for conquest in Paz’s time.<span style="mso-spacerun: yes;"> </span>They are, however, open for foreign influence via the form of a paternal figure – the <st1:country-region><st1:place>United States</st1:place></st1:country-region> and other western countries.<span style="mso-spacerun: yes;"> </span>They have learned from the wrongs committed upon <span style="font-family: "Times New Roman Italic";">la chingada</span>, but they are <span style="font-family: "Times New Roman Italic";">los hijos</span> and thereby have the distance to reject the internalization of <span style="font-family: "Times New Roman Italic";">la chingada, </span>although they do not.</div><div class="MsoNormal" style="line-height: 200%; tab-stops: .5in 255.0pt;"><span style="mso-tab-count: 1;"> </span>In the larger view of Mexican women in the Chicano movement of the second half of the twentieth-century, Paz’s idea of <span style="font-family: "Times New Roman Italic";">chingada</span> and the lack of agency is placed upon all women.<span style="mso-spacerun: yes;"> </span>In the introduction to this essay, Paz questions the reality of woman as an ‘other’: </div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">Woman is another being who lives apart and is therefore an enigmatic figure…She attracts and repels like men of an alien race or nationality…Woman is a living symbol of the strangeness of the universe and its radical heterogeneity.<span style="mso-spacerun: yes;"> </span>As such, does she bide life within herself, or death?<span style="mso-spacerun: yes;"> </span>What does she think?<span style="mso-spacerun: yes;"> </span>Or does she think?<span style="mso-spacerun: yes;"> </span>Does she truly have feelings?<span style="mso-spacerun: yes;"> </span>Is she the same as we are?<span style="mso-spacerun: yes;"> </span>Sadism begins as a revenge against feminine hermeticism or as a desperate attempt to obtain a response from a body we fear is insensible.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn32" name="_ftnref32" style="mso-footnote-id: ftn32;" title=""><span class="FootnoteReference1"><span style="mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[32]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;"><br />
</div><div class="MsoNormal" style="line-height: 200%;">The path of questioning the overall ability of women to reason and then stripping La Malinche of her own reason in the conquest is clearly delineated in Paz’s work.<span style="mso-spacerun: yes;"> </span>He is questioning women’s ability to be human – if humanity is established through the possession of reason, he is wondering if women have the ability to think at all.<span style="mso-spacerun: yes;"> </span>His over-arching “we” fears that women are insensible.<span style="mso-spacerun: yes;"> </span>This opinion of women, Paz is trying to explain to the reader, finds its roots in the dichotomy between Hernán Cortés and La Malinche and the role of <span style="font-family: "Times New Roman Italic";">la chingada</span>.<span style="mso-spacerun: yes;"> </span>Paz reaffirms this assertion: “In effect, every woman — even when she gives herself willingly —is torn open by the man, is the <span style="font-family: "Times New Roman Italic";">Chingada</span>.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn33" name="_ftnref33" style="mso-footnote-id: ftn33;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[33]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>Claiming all women to be <span style="font-family: "Times New Roman Italic";">la chingada</span> sets them up to all be La Malinche.<span style="mso-spacerun: yes;"> </span>There is a fear of betrayal which is reaffirmed by the Judeo-Christian presence of Eve, who performed the ultimate betrayal upon all of humanity.<span style="mso-spacerun: yes;"> </span>La Malinche in turn becomes the Mexican Eve, betraying her people to the Spanish conquistadors via her voice and her body, as a translator and as the mistress of Cortés.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">Nevertheless, the act of betrayal requires the presence of agency, which Paz is constantly denying to <span style="font-family: "Times New Roman Italic";">la chingada</span> and therefore all women.<span style="mso-spacerun: yes;"> </span><span style="font-family: "Times New Roman Italic";">La chingada </span>lacks any form of action: “Her passivity is abject: she does not resist violence, but is an inert heap of bones, blood and dust. Her taint is constitutional and resides…in her sex. This passivity, open to the outside world, causes her to lose her identity…She loses her name; she is no one; she disappears into nothingness; she is Nothingness. And yet she is the cruel incarnation of the feminine condition.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn34" name="_ftnref34" style="mso-footnote-id: ftn34;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[34]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>In this dual vision of <span style="font-family: "Times New Roman Italic";">la chingada</span> as “nothingingness” and as the “incarnation of the feminine condition,” a clear hypocrisy begins to emerge about the view of La Malinche in terms of agency.<span style="mso-spacerun: yes;"> </span>The phrasing of “cruel incarnation of the feminine condition” implies agency in the presence of the female and is in clear contrast to the nothingness of <span style="font-family: "Times New Roman Italic";">la chingada</span>.<span style="mso-spacerun: yes;"> </span>By assigning any form of condition, Paz gives life to <span style="font-family: "Times New Roman Italic";">la chingada</span> and thus negates his assertion of her supposed lack of being.<span style="mso-spacerun: yes;"> </span>Nonetheless, Paz’s image of submissive betrayal articulates the twentieth century national view of La Malinche as the Mexican Eve.<span style="mso-spacerun: yes;"> </span>Eve, the exile incarnate for her participation in original sin, casts the aura of exile from history upon La Malinche throughout Paz’s work and the usage of it in the Chicano Movement.<span style="mso-spacerun: yes;"> </span>The Movement was influenced by the view the essay is communicating even if every single member of the movement did not read the work – Paz is most successful in his ability to capture the conscience of the Mexican people in writing.<span style="mso-spacerun: yes;"> </span>This conscience also made itself present even in the Chicano Movement centered in the United States.</div><div class="MsoNormal" style="line-height: 200%;"><u>The Chicano Movement<o:p></o:p></u></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">The Chicano Movement in the United States cannot be separated from the post-revolutionary feelings Octavio Paz is writing about in “Los Hijos de La Malinche.”<span style="mso-spacerun: yes;"> </span>Though the movement came into fruition in the 1960s, nearly a decade after Paz published his completed essays, the fervor of the movement stood alongside Paz’s examination of Mexican identity and the role of La Malinche in shaping it.<span style="mso-spacerun: yes;"> </span>The Chicano Movement, inspired dually by the African-American Civil Rights Movement and the United Farm Workers organized by Cesar Chavez, sought to confront the racial and class differences Mexican-Americans faced in the white-dominated United States.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn35" name="_ftnref35" style="mso-footnote-id: ftn35;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[35]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>The movement, like the civil rights movements which came before and after it, targeted institutionalized racism and inequality through many platforms including legislation, community outreach, and scholarly work.<span style="mso-spacerun: yes;"> </span>The movement took on a radical slant after the assimilation attempts of the 1950s.<span style="mso-spacerun: yes;"> </span>In his <span style="font-family: "Times New Roman Italic";">Chicano Manifesto</span>, Armando Rendón describes his discovery of the Chicano community and its effect in bringing him back to his own race: “I owe my life to my Chicano people. They rescued me from the Anglo kiss of death, the monolingual,<span class="apple-converted-space"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"> </span></span><span class="spelle"><span style="font-size: 10.0pt; line-height: 200%; mso-bidi-font-size: 12.0pt;">monocultural</span></span>, and colorless gringo society. I no longer face a dilemma of identity or direction. That identity and direction have been charted for me by the Chicano.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn36" name="_ftnref36" style="mso-footnote-id: ftn36;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[36]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>The supplicating Mexican-Americans of the post-World War II decade were overrun by radicals, often young people if not students, in an effort to achieve civil rights goals.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">The power of the movement and its ties to Mexico can be accounted for by the post-war reality of the Mexican-American community.<span style="mso-spacerun: yes;"> </span>The United States Census in 1960 counted approximately 3,842,000 Mexican-Americans living in the country, the majority of which resided in the Southwest.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn37" name="_ftnref37" style="mso-footnote-id: ftn37;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[37]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>This was a fifty-one percent increase from the previous census in 1950.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn38" name="_ftnref38" style="mso-footnote-id: ftn38;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[38]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>At the same time, over eighty-five percent of Mexican-Americans were second-generation, native born to native born parents, meaning that the majority of the population increase can be attributed to births and not immigration.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn39" name="_ftnref39" style="mso-footnote-id: ftn39;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[39]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>The Mexican-American community, however, was also replenished by nearly 300,000 legal immigrants during the 1950s and an unknown (but undoubtedly higher) number of illegal immigrants.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn40" name="_ftnref40" style="mso-footnote-id: ftn40;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[40]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>This change in the composition of the Mexican-American population led to a community which was significantly young – the median age of Mexican-Americans being nineteen compared to twenty-eight in the white community of the Southwest.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn41" name="_ftnref41" style="mso-footnote-id: ftn41;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[41]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>This community was also inextricably tied to its Mexican heritage through segregated communities which relied upon tradition and a common language, Spanish.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn42" name="_ftnref42" style="mso-footnote-id: ftn42;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[42]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>These strong dies to Mexico and to the identity of the Mexican people kept the role of La Malinche alive within in the Mexican-American community.</div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">These two factors allowed for the Chicano Movement to grow rapidly amongst the Mexican-American population.<span style="mso-spacerun: yes;"> </span>One of the distinctions made in the early days of the movement between those with radical involvement was a change in name – radical, academic-minded activists chose the name Chicano for the movement while the conservative sect of the population continued to rely on the term ‘Mexican-American.’<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn43" name="_ftnref43" style="mso-footnote-id: ftn43;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[43]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>Rendón describes this delineation of Chicano as “the one unique word of the Mexican American people. Its derivation is strictly internal; it owes nothing to the Anglo penchant for categorizing ethnic groups.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn44" name="_ftnref44" style="mso-footnote-id: ftn44;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[44]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>With this usage, the Chicano Movement made a conscious choice to separate itself drastically from the dominant culture of the United States, a step taken in several civil rights movements after assimilation attempts did not spur on instant change.<span style="mso-spacerun: yes;"> </span>Carlos Muñoz, Jr. defines the movement as “a quest for a new identity and for political power.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn45" name="_ftnref45" style="mso-footnote-id: ftn45;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[45]</span></span><!--[endif]--></span></span></span></a></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">Simply the focus on the use of the word “Chicano” reveals the disparity in the movement on the issue of women’s rights.<span style="mso-spacerun: yes;"> </span>Like many civil rights movements of the 1960s, the Chicano Movement sought to focus on race and class issues without reflecting on the gender problems within the community.<span style="mso-spacerun: yes;"> </span>The “basis for unity would be their pride in Mexican ethnicity and culture,”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn46" name="_ftnref46" style="mso-footnote-id: ftn46;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[46]</span></span><!--[endif]--></span></span></span></a> thereby depending on a culture that was historically misogynistic.<span style="mso-spacerun: yes;"> </span>When women in the movement, Chicanas, attempted to seek leadership roles, they were often rejected by the men leading the movement and “were inevitably relegated to subordinate positions, such as secretaries, cooks, and janitors.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn47" name="_ftnref47" style="mso-footnote-id: ftn47;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[47]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>Sexual harassment was also a common presence within the movement.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn48" name="_ftnref48" style="mso-footnote-id: ftn48;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[48]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>Women reacted to these subservient roles and harassment by pushing for a greater voice within the movement.<span style="mso-spacerun: yes;"> </span>Male leaders confronted this threat by associating women who sought to bring feminism into the movement with La Malinche, Paz’s passive betrayer.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%;"><u>Chicana Reactions<o:p></o:p></u></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">Accusations of feminist leanings and the use of La Malinche ignited the Chicana response within the movement.<span style="mso-spacerun: yes;"> </span>Outspoken feminist thought in the Chicano Movement originated from one of the more radical branches in the movement, the Brown Berets.<span style="mso-spacerun: yes;"> </span>The Berets moved away from a focus on the academic aspect of the Chicano movement and focused on the barrio – poor and working class Spanish-speaking communities – in which police brutality and drug use were their main concerns, along with bringing awareness to the youth population.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn49" name="_ftnref49" style="mso-footnote-id: ftn49;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[49]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>An anonymous work published from a member of the Orange County Brown Berets in 1971 illustrated the desire of women to participate in the movement: “In order to have a successful Revolution you must have full involvement from both the Chicanos and Chicanas.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn50" name="_ftnref50" style="mso-footnote-id: ftn50;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[50]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>The female Brown Beret member sought to address injustices recently done to women in the Brown Beret division of the movement perpetuated by the “deep-macho hang-ups”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn51" name="_ftnref51" style="mso-footnote-id: ftn51;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[51]</span></span><!--[endif]--></span></span></span></a> of the culture.<span style="mso-spacerun: yes;"> </span>The article lays out the stereotypes that must immediately be abolished in order to completely involve women in the movement and thereby bring about the most radical change.<span style="mso-spacerun: yes;"> </span>The author presents the following stereotypes: “1. ‘A woman is only good for making love to.’<span style="mso-spacerun: yes;"> </span>2. ‘All women should do is stay home, was dishes, cook and clean the house.’<span style="mso-spacerun: yes;"> </span>3. ‘Women don’t rap as good as men; they aren’t as heavy regarding the movement, and they don’t command the respect of their peers.’<span style="mso-spacerun: yes;"> </span>4. ‘Women shouldn’t be allowed to do community work; the work should be done by men.’”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn52" name="_ftnref52" style="mso-footnote-id: ftn52;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[52]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>These stereotypes fall in line with those which many feminist groups in the United States in the late 1960s and 1970s were trying to confront: The role of women as simply sexual and domestic, without political or social power.<span style="mso-spacerun: yes;"> </span>This view ties in closely to views expressed about La Malinche by writers and thinkers such as Paz.<span style="mso-spacerun: yes;"> </span>So commonly referred to as a translator and a mistress, La Malinche directs the focus of women’s work in coherent movements to side kicks and sexual partners.<span style="mso-spacerun: yes;"> </span>This translates into a larger view of women within Mexico as a nation and the machismo inherent in the culture.</div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">The anonymous article clearly demonstrates the disparity between Chicanas and Chicanos in a movement which sought civil rights for an entire ethnic group but continued to delegate women to second-class status.<span style="mso-spacerun: yes;"> </span>The stereotypes involved here were not exclusive to the late-twentieth century United States – they found footing in historical and cultural precedents dating back even further than the passive role Octavio Paz assigns to La Malinche, <span style="font-family: "Times New Roman Italic";">la chingada</span>.<span style="mso-spacerun: yes;"> </span>They exemplify the woman Octavio Paz returns to time and time again – questionably unthinking, passive, not fit to step outside of submissive roles because of a lack of reason or even humanity.<span style="mso-spacerun: yes;"> </span>They mirror <span style="font-family: "Times New Roman Italic";">la chingada</span> in the woman’s ability to only be a sexual object.<span style="mso-spacerun: yes;"> </span>The role is subservient but at the same time is used to hold up the movement, much like Paz’s <span style="font-family: "Times New Roman Italic";">chingada</span> has a role in explaining what has gone wrong in the Mexican identity.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">The anonymous Brown Beret author concludes that “We don’t blame Chicanos for feeling that women are inferior.<span style="mso-spacerun: yes;"> </span>The Chicano family structure teaches the men to be leaders while the women are taught how to do household chores and to think in terms of the day when they will be married.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn53" name="_ftnref53" style="mso-footnote-id: ftn53;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[53]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>There is an understanding that this view of women is learned, is tied to Paz’s views of the national identity’s dependence on the relationship between superior (the white man; the male) and inferior (Mexicans; the female) peoples.<span style="mso-spacerun: yes;"> </span>The author recognizes the traditions being demonstrated by the Chicano Movement’s treatment of women but also demands a change, if not a completely radical one.<span style="mso-spacerun: yes;"> </span>She still advocates that “Chicanas are needed to stand by their men,” <a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn54" name="_ftnref54" style="mso-footnote-id: ftn54;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[54]</span></span><!--[endif]--></span></span></span></a> not deviating from the heteronormativity prevalent in Mexican culture.<span style="mso-spacerun: yes;"> </span>Most significantly, the author makes a clear point of removing these opinions from the concurrent women’s liberation movement: “That’s not ours – that’s a white thing.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn55" name="_ftnref55" style="mso-footnote-id: ftn55;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[55]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>This closing point addresses the fear and distaste that all members of the Chicano Movement, Chicanas included, felt for associations with institutions and movements led by white Americans.<span style="mso-spacerun: yes;"> </span>The specter of La Malinche hung over those who gravitated towards the power of white-led movements and it would take Chicanas who willingly self-identified as feminists to free her image from its centuries-long state of demonization.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">The framing of feminism outside of the white women’s liberation movement is vital to understanding the fear and rebirth of La Malinche in the late twentieth century.<span style="mso-spacerun: yes;"> </span>La Malinche was prominent in the Chicano Movement because of her role in the conquest of Mexico as both Cortés’ translator and mistress – a dual betrayal of indigenous peoples.<span style="mso-spacerun: yes;"> </span>Centuries of historical writing and philosophical thought was dedicating to portraying her as the sole reason for the collapse of the Aztec empire – all contributing to the vilification of La Malinche and her exile from history.<span style="mso-spacerun: yes;"> </span>Malinche served a dual purpose within the Mexican national identity – she was the betrayer but also the model of a woman who was willing to satisfy the desires of men.<span style="mso-spacerun: yes;"> </span>In portraying her as a traitor, the focus was placed on which men she helped and which men she hurt.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">It was the appropriation of this image in support of the macho goals of the Chicano movement that sparked the reaction of the Chicana feminists.<span style="mso-spacerun: yes;"> </span>In 1977, Martha Cotera wrote “Encouraged by the Octavio Paz mentality, men have used her [La Malinche] as a club for us, to keep us down.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn56" name="_ftnref56" style="mso-footnote-id: ftn56;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[56]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>This action is associated with La Malinche because women who stepped outside of the boundaries delineated by the men in power were labeled as <span style="font-family: "Times New Roman Italic";">malinchistas </span>– a diminutive form of La Malinche’s name.<span style="mso-spacerun: yes;"> </span>Paz described the use of <span style="font-family: "Times New Roman Italic";">malinchista</span> as a general derogatory term for Mexicans who allowed western culture to penetrate into their society: He describes the “success of the contemptuous adjective <span style="font-family: "Times New Roman Italic";">malinchista</span> recently put into circulation by the newspapers to denounce all those who have been corrupted by foreign influences. The malinchistas are those who want Mexico to open itself to the outside world: the true sons of La Malinche, who is the <i>Chingada</i> in person.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn57" name="_ftnref57" style="mso-footnote-id: ftn57;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[57]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>This use of <span style="font-family: "Times New Roman Italic";">malinchista</span> was problematic for the Chicano Movement because their culture was already open to foreign influence – they were, for the most part, United States citizens.<span style="mso-spacerun: yes;"> </span><span style="font-family: "Times New Roman Italic";">Malinchista</span> was therefore redefined for those who stepped outside of the goals of the movement – and those who did so were for the most part women because the majority of goals within the movement were created by and for men.<span style="mso-spacerun: yes;"> </span>The word <span style="font-family: "Times New Roman Italic";">malinchista</span> is also distinctly feminine, tying all betrayal to the female form whether said betrayal is committed by men or women: “To be a traitor is by implication to become female, while to be female is to be inherently a potential traitor.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn58" name="_ftnref58" style="mso-footnote-id: ftn58;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[58]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>The role of traitor is one closely tied to exile, and La Malinche is inevitably tied to her exile from history.<span style="mso-spacerun: yes;"> </span>The act of being labeled <span style="font-family: "Times New Roman Italic";">malinchista</span> created the dual form of being exiled from the Chicano Movement and also connecting with the historical exile of La Malinche.<span style="mso-spacerun: yes;"> </span>These were both undesirable for the women within the movement, since they sought the same equality as their male counterparts and did not desire to have their goals obscured by androcentric ones.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">There were several definitions for what stepping outside of the goals of the movement entailed.<span style="mso-spacerun: yes;"> </span>Cherríe Moraga defines one option as that for “the woman who defies her role as subservient to her husband, father, brother, or son by taking control of her sexual destiny.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn59" name="_ftnref59" style="mso-footnote-id: ftn59;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[59]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>This included rejection of heteronormativity either through expression of non-normative sexual desires (for example, lesbianism) or the choice not to have children.<span style="mso-spacerun: yes;"> </span>Either stepped outside of the objectives of the Chicano movement – lesbians were viewed as inferior because they could no longer even go as far as to support ‘their’ men.<span style="mso-spacerun: yes;"> </span>Consequently, if the Chicano men were not in control of the woman, it was obvious that the white men were, even without a sexual connection.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn60" name="_ftnref60" style="mso-footnote-id: ftn60;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[60]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>Both lesbians and women who did not want to bear children were connected to la Malinche despite the historical record demonstrating that she engaged in sexual relations with men and bore at least two children.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">An even broader application of <span style="font-family: "Times New Roman Italic";">malinchista</span> was afforded to women who were involved with white men or participated in institutions and movements run by white Americans, especially that of women’s liberation.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn61" name="_ftnref61" style="mso-footnote-id: ftn61;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[61]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>The second-wave feminist movement in the United States was controlled by middle-class white women.<span style="mso-spacerun: yes;"> </span>This led Chicana feminists to shy away from claiming feminism for themselves and gave Chicano men the opportunity to demonize women who related to feminist ideologies.<span style="mso-spacerun: yes;"> </span>Cotera explains: </div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">We didn’t say that we were feminists.<span style="mso-spacerun: yes;"> </span>It was the men who said that.<span style="mso-spacerun: yes;"> </span>They said, “Aha!<span style="mso-spacerun: yes;"> </span>Feminista!” and that was a good reason for not listening to some of the most active women in the community.<span style="mso-spacerun: yes;"> </span>When the men, and even some of the women, in the movement spoke of liberation, you found that they literally meant liberation for men, and they couldn’t care peanuts about you or your little girls or your little sisters, or your own mother.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn62" name="_ftnref62" style="mso-footnote-id: ftn62;" title=""><span class="FootnoteReference1"><span style="mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[62]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;"><br />
</div><div class="MsoNormal" style="line-height: 200%;">It was the rejection of adding the liberation of women to the goals of the Chicano Movement which caused feminists within the movement to walk away and build their own branches which incorporated gender into the fight for civil rights. <span style="mso-spacerun: yes;"> </span>The tag of <span style="font-family: "Times New Roman Italic";">malinchista</span> could no longer be accepted as the final word when feminist issues were brought up in Chicano meetings and protests.<span style="mso-spacerun: yes;"> </span>The use of language which entailed exile would not be tolerated – women did not desire to be exiled from a movement they believed in, but they had no other choice within the patriarchal structure of Chicano society.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">Feminists sought to redefine their own roles as well as the role of La Malinche, to bring her out of her exile from history and to exalt her from the centuries of blame which had been placed upon her.<span style="mso-spacerun: yes;"> </span>Cypess notes that “the revisionist works of…Chicana writers are significant because they react to the negative presentations of La Malinche as a direct defamation of themselves.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn63" name="_ftnref63" style="mso-footnote-id: ftn63;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[63]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>The Chicano Movement chose to incorporate La Malinche in a negative light.<span style="mso-spacerun: yes;"> </span>Instead of subverting their goals to those of the Chicano leaders because of fears over being contrasted to La Malinche, Chicana feminists sought to revise the role of La Malinche within the collective memory of the Chicano/a people.<span style="mso-spacerun: yes;"> </span>Cypess quotes Adelaida Del Castillo: “‘Any denigrations made against her [La Malinche] indirectly defame the character of the Mexicana/Chicana female.<span style="mso-spacerun: yes;"> </span>If there is shame for her, there is shame for us; we suffer the effects of these implications.’”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn64" name="_ftnref64" style="mso-footnote-id: ftn64;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[64]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>Chicanas would no longer accept the shame of stepping outside of the patriarchal society, and the transformation would come about through the reworking of the character of La Malinche.<span style="mso-spacerun: yes;"> </span>Chicana feminists sought to grant La Malinche the agency which Octavio Paz denied.<span style="mso-spacerun: yes;"> </span>They questioned the accountability directed to La Malinche for the destruction of an entire empire, and they even questioned the reality of the empire in itself.</div><div class="MsoNormal" style="line-height: 200%;"><u>Chicana Revision<o:p></o:p></u></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">Octavio Paz described La Malinche as <span style="font-family: "Times New Roman Italic";">la chingada</span>, a figure without any agency and barely even any humanity.<span style="mso-spacerun: yes;"> </span>Chicana feminists reacting to this perpetuated view within the American Chicano Movement sought to not only grant La Malinche her humanity but also her agency.<span style="mso-spacerun: yes;"> </span>They aspired to rework the history and interpretation of La Malinche through various platforms – literature, poetry, philosophical manifestos, and academic essays.<span style="mso-spacerun: yes;"> </span>They relied on what was supplied by the historians – Gómara and Díaz – and on what society accepted within the realm of social memory.<span style="mso-spacerun: yes;"> </span>The shame which Adelaida Del Castillo describes above would be removed through exploration and revision, and La Malinche would no longer be relegated to the realm of exile from history.<span style="mso-spacerun: yes;"> </span>She would join the ranks of feminist heroes for the modern era, taking history and all of its implications out of the hands of men who spent centuries writing and reading history which for the most part only sought to benefit their own gendered norms for society.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">The passivity of La Malinche and other women throughout history was challenged by Chicana revisions of popular histories.<span style="mso-spacerun: yes;"> </span>‘Great Man’ histories were challenged by ‘Great Woman’ retellings.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn65" name="_ftnref65" style="mso-footnote-id: ftn65;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[65]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>The process of revising history in order to include accomplished women who were ignored by Chicano historians “dispels damaging and distorting images of Chicanas”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn66" name="_ftnref66" style="mso-footnote-id: ftn66;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[66]</span></span><!--[endif]--></span></span></span></a> and “provides Chicana students with positive role models.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn67" name="_ftnref67" style="mso-footnote-id: ftn67;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[67]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>These histories sought to bring women out of their exile from history.<span style="mso-spacerun: yes;"> </span>Alma Garcia’s exploration of the entrance of Chicana women into history does find some things problematic.<span style="mso-spacerun: yes;"> </span>She says:<span style="mso-spacerun: yes;"> </span>“Such accounts remain at a basically descriptive level, lacing a theoretical framework with which to analyze the specific experience of such women.<span style="mso-spacerun: yes;"> </span>More importantly, however, this approach fails to analyze the lives of the majority of Mexican women or Chicanas who were the contemporaries of such individuals.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn68" name="_ftnref68" style="mso-footnote-id: ftn68;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[68]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>This analysis of some Chicana histories points out that the interpretation of individual women is not enough; Uncovering the true history of La Malinche, which is both difficult and most likely impossible given the lack of direct account from her, will not obliterate the need for Chicana feminism.<span style="mso-spacerun: yes;"> </span>There is an aspect to this process that craves analysis and social application, which demands redemption from the subordinate position Paz and many others have placed La Malinche and other women in.<span style="mso-spacerun: yes;"> </span>Straight facts and history textbooks are not enough to subvert misogynistic culture.<span style="mso-spacerun: yes;"> </span>As Martha Cotera argued, “What we do with our identity is also our own decision, not the decision of men, the universities, ‘herstories’, ‘his-stories’, or anyone else.<span style="mso-spacerun: yes;"> </span>That goes for Malinche and for us today!”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn69" name="_ftnref69" style="mso-footnote-id: ftn69;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[69]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>New identities needed to be formed outside of academic circles, identities which could be applied to all aspects of the community, not just the members who could access higher education.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">Artistic interpretation appears to have been the best option for Chicana feminists when it came time to reframe La Malinche.<span style="mso-spacerun: yes;"> </span>The lack of La Malinche’s voice in history created a void which Chicanas rushed to fill in attempts to provide her with agency and reaffirm their own evolving condition.<span style="mso-spacerun: yes;"> </span>In an article entitled “Yo Soy La Malinche,” Mary Louis Pratt examines the various uses of La Malinche and her voice by Chicana feminist artists in the 1970s and 1980s.<span style="mso-spacerun: yes;"> </span>One of the poems she examines, “Trilogy” by Naomi Quiñonez, works to subvert the traditional reasoning for La Malinche’s betrayal through examination of feminine archetypes and patriarchal societies.<span style="mso-spacerun: yes;"> </span>Quiñonez begins her poem by comparing three mythical female figures who are all viewed as betrayers: “Eve…Malinche…Helen[of Troy]/Unpredictable hurricanes/sources of destructive power.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn70" name="_ftnref70" style="mso-footnote-id: ftn70;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[70]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>The juxtaposition of these three women, each often blamed for the destruction of their people – though these people are often referred to through androcentric language such as ‘mankind’ – places La Malinche among familiar beings and creates an instant bond with commonplace views of women as traitors.<span style="mso-spacerun: yes;"> </span>Quiñonez is not creating this paradigm, she is defining it in order to explore the centuries of blame La Malinche has faced.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">The stanza of the poem which focuses on La Malinche seeks to understand La Malinche’s choices and exalt her from carrying the responsibility for the conquest.<span style="mso-spacerun: yes;"> </span>“The atrocity of Malinche’s sin/as if she had no father/who ingrained in her/absolute obedience/to men/as if he had not given her/to Cortez as a gift./She, obeying men/obeyed her father’s wish/to be given/obeyed Cortez/and gave him Mexico.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn71" name="_ftnref71" style="mso-footnote-id: ftn71;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[71]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>Here Quiñonez manipulates the role of men and women in traditional indigenous society in order to come to a conclusion about the reasons for La Malinche’s betrayal.<span style="mso-spacerun: yes;"> </span>However, she also ignores the history provided by Gómara and Díaz in order to connect La Malinche’s tragic early years to a male figure.<span style="mso-spacerun: yes;"> </span>These histories are themselves flawed, and Quiñonez deliberately plays on the questionable facts of La Malinche’s history in order to further her own feminist aims.<span style="mso-spacerun: yes;"> </span>Malinche “obeyed her father’s wish”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn72" name="_ftnref72" style="mso-footnote-id: ftn72;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[72]</span></span><!--[endif]--></span></span></span></a> to be given to Cortés while Díaz has demonstrated that Malinche was sold into slavery by her mother and stepfather and given to Cortés by those who were not her actual family members.<span style="mso-spacerun: yes;"> </span>This manipulation of what has been considered historical fact demonstrates the pliability of the La Malinche archetype within her exile from history.<span style="mso-spacerun: yes;"> </span>While for centuries men used the story to place blame for the destruction of indigenous culture upon one woman, Quiñonez turns the tables and places blame on the patriarchy – something Chicana feminists heavily identified as a cause of problems within the Chicano movement.<span style="mso-spacerun: yes;"> </span>La Malinche had no choice but to help Cortés in the conquest of Mexico, Quiñonez’s poem argues, because she had no choice in her birth as a woman.<span style="mso-spacerun: yes;"> </span>She was taught to obey the wishes of men, and so she gave Cortés what he wished for – Mexico.<span style="mso-spacerun: yes;"> </span>The analysis of La Malinche through poetry seeks to reestablish not only her agency but also her humanity after centuries of exile, especially after the way she was portrayed in Paz’s essay.<span style="mso-spacerun: yes;"> </span>Quiñonez is seeking to displace blame by taking on the patriarchal societies which expect women to obey men and then vilify these same women when they succeed in this task.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">In contrast to Quiñonez, Carmen Tafolla’s 1978 poem attempts to raise La Malinche without shifting the cause of the betrayal away from her.<span style="mso-spacerun: yes;"> </span>Pratt recognizes that poems such as Tafolla’s “La Malinche,” seek “re-cognition of Malintzin’s decisive role in determining the course of the Spanish invasion.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn73" name="_ftnref73" style="mso-footnote-id: ftn73;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[73]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>This avenue for explanation aims to question why La Malinche’s powerful part in the conquest has been so threatening to her historical successors, enough that she was specifically singled out for vilification and thereby exile from history.<span style="mso-spacerun: yes;"> </span>Tafolla assigns La Malinche agency in the following lines: “And <span style="font-family: "Times New Roman Italic";">you</span> came/My dear Hernán Cortés/to share your ‘civilization’ – to/play god/…….and I began to <span style="font-family: "Times New Roman Italic";">dream…/I saw</span>/<span style="font-family: "Times New Roman Italic";">and I acted!</span>”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn74" name="_ftnref74" style="mso-footnote-id: ftn74;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[74]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>This creates less of a betrayal and more of a choice, a path in which La Malinche saw not an empire which could be betrayed but an empire which could be improved.<span style="mso-spacerun: yes;"> </span>The poem endeavors to grant La Malinche agency and even more – power.<span style="mso-spacerun: yes;"> </span>She takes control of the situation she is put in because she believes that the conquest could help her and her people: “I saw our world/And I saw yours/And I saw – /another.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn75" name="_ftnref75" style="mso-footnote-id: ftn75;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[75]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>There is also a hint of the formation of the mestizo nation which Mexico became, a mix of indigenous and Spanish ancestry which contributes so heavily to Octavio Paz’s definition of Mexican national identity. </div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">Tafolla aims to move away from the view of Mexico’s birth as coming from a violent act, from the people of Mexico being <span style="font-family: "Times New Roman Italic";">los hijos de la chingada</span>.<span style="mso-spacerun: yes;"> </span>“They could not imagine me dealing on a level with you –/so they said I was raped, used,/<span style="font-family: "Times New Roman Italic";">chingada</span>.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn76" name="_ftnref76" style="mso-footnote-id: ftn76;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[76]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>Tafolla is challenging Paz and the Chicano mentality that La Malinche was at once a helpless victim and an evil betrayer.<span style="mso-spacerun: yes;"> </span>The fear of a woman with agency who made her own decision to deal with Cortés on her own terms in order to better her own life challenges the ideas of <span style="font-family: "Times New Roman Italic";">la chingada </span>and of the betrayal.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">These conflicting views obscure both La Malinche’s agency and her power.<span style="mso-spacerun: yes;"> </span>Why was it that La Malinche was the one singled out for exile from history when thousands of other indigenous peoples, mostly men in the role of warriors, assisted Cortés in overthrowing the so-called Aztec empire?<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn77" name="_ftnref77" style="mso-footnote-id: ftn77;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[77]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>It is very possible that she was just a woman who used the power she was granted, power she had been denied initially when she was sold into slavery, in order to better herself and perhaps her people.<span style="mso-spacerun: yes;"> </span>The historical record does not represent her goals – it barely represents her voice.<span style="mso-spacerun: yes;"> </span>The policing of female power through reference to <span style="font-family: "Times New Roman Italic";">la malinchista</span> in the Chicano movement depicts a fear of female power being used to fulfill androcentric goals.<span style="mso-spacerun: yes;"> </span>The Chicana writers of the 1970s sought to define those goals for themselves through the use of La Malinche.<span style="mso-spacerun: yes;"> </span>If she could be turned into a positive character, they could not be degraded for seeking more power within their communities and within the United States.</div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">Though these works attempted to grant La Malinche a greater deal of agency, it is still important to note that they were just another instance of manipulation within La Malinche’s exile from history.<span style="mso-spacerun: yes;"> </span>Assigning positive or negative values to the works that use her image does not eliminate the fact the La Malinche is still in exile from history because of the lack of her own voice and reasoning in history.<span style="mso-spacerun: yes;"> </span>Using her image in order to reach their own goals, Chicanos and Chicanas alike played into the third aspect of exile from history by relying on or changing the historical reality of her presence.<span style="mso-spacerun: yes;"> </span>These manipulations were vital in the formation of the modern Mexican national identity both in Mexico and in the United States.</div><div class="MsoNormal" style="line-height: 200%;"><u>Modern Thought on La Malinche’s Exile from History</u><o:p></o:p></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">Why is La Malinche so captivating in her relation to the conquest and her association with Spanish conquistadors?<span style="mso-spacerun: yes;"> </span>Mary Louis Pratt points out that “exploration, imperial invasion, and plunder are endeavors overwhelmingly associated with men.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn78" name="_ftnref78" style="mso-footnote-id: ftn78;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[78]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>La Malinche’s historical presence as an aid to the conquest of a vast society is intriguing because of her status as a female.<span style="mso-spacerun: yes;"> </span>Noble or not, she stepped outside of the boundaries her society allocated to women.<span style="mso-spacerun: yes;"> </span>Whether or not she had the ability to make choices for herself during her life is still in question, but the record presents her as an active individual and that is the ultimate outcome.<span style="mso-spacerun: yes;"> </span>It is rare to see the men who helped Cortés’ conquest being questioned and singled out as betrayers of their people.<span style="mso-spacerun: yes;"> </span>Therefore, some sort of conclusion can be made about the association between La Malinche’s power and her womanhood.<span style="mso-spacerun: yes;"> </span>There is something threatening about her, or frightening, or simply confusing.<span style="mso-spacerun: yes;"> </span>Centuries have been spent trying to vilify or justify her decisions – she was a slave, she must have been forced, she wanted revenge, she sought to bring about a better world than the one she witnessed – but one conclusive answer has never been reached and may never be reached.<span style="mso-spacerun: yes;"> </span>This is the source of La Malinche’s exile from history.<span style="mso-spacerun: yes;"> </span>She is an enigma, not in the ways Octavio Paz describes women, but in the way that there is no solid historical proof of anything about her, and there may never be.<span style="mso-spacerun: yes;"> </span>Despite spending her life speaking and interpreting the words of others, La Malinche’s words about herself were never recorded in an undoubtedly truthful way.<span style="mso-spacerun: yes;"> </span>She has no voice, and there is irony in that.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">Despite all of this, La Malinche has struck a chord in the formation of the Mexican national identity and the modern Chicana feminist identity.<span style="mso-spacerun: yes;"> </span>Pratt states: “Her very presence contradicts, for example, canonical ideologies of conquest and resistance as masculine heroic enterprises, and reductive visions of the conquest as a straightforward relation between victimizers and victims.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn79" name="_ftnref79" style="mso-footnote-id: ftn79;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[79]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>La Malinche’s presence manipulates the normative views of history, society, and women.<span style="mso-spacerun: yes;"> </span>The gap left by her exile from history has been filled time and time again by various groups, all seeking to use her in different ways.<span style="mso-spacerun: yes;"> </span>The most important aspect, however, is that she continues to be used and referred to.<span style="mso-spacerun: yes;"> </span>Despite the lack of writing from her, she has survived nearly five-hundred years of history and is still having her story told and retold.<span style="mso-spacerun: yes;"> </span>She is significant, no matter her degree of exile.</div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">When researching this project, it was impossible to ignore the degree to which La Malinche mattered to the peoples that commandeered her image for their own use.<span style="mso-spacerun: yes;"> </span>No matter how positive or negative the portrayals of her were, she was always viewed as a figure who had and has a great deal of importance.<span style="mso-spacerun: yes;"> </span>Which is why it is surprising, if not incredibly baffling, that one of the premiere sources for historical research completely discounts La Malinche and her role in the conquest.<span style="mso-spacerun: yes;"> </span><span style="font-family: "Times New Roman Italic";">The</span> <span style="font-family: "Times New Roman Italic";">Oxford History of Mexico</span>, a reference source which is an important first step in researching Mexico, says this of La Malinche: “Marina, who spoke both Maya and Nahuatl, is often credited in her role as Cortés’ translator with playing a key role in the Conquest.<span style="mso-spacerun: yes;"> </span>However, her importance as interpreter has been considerably overstated.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn80" name="_ftnref80" style="mso-footnote-id: ftn80;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[80]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>The source goes on to site the fact that La Malinche only spoke two native languages when she was given to Cortés and that there were other translators who knew both Spanish and Nahuatl as reasons for the diminishment of her role.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn81" name="_ftnref81" style="mso-footnote-id: ftn81;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[81]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>The text does not clarify that Malinche learned Spanish at an incredible pace and has also been credited with the ability to not only speak and understand two indigenous languages but also the various dialects within them.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn82" name="_ftnref82" style="mso-footnote-id: ftn82;" title=""><span class="FootnoteReference1"><span style="line-height: 200%; mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[82]</span></span><!--[endif]--></span></span></span></a><span style="mso-spacerun: yes;"> </span>There is no attempt to identify why Cortés kept her as a translator for so long, only a simple dismissal of the role that has been created for her in the last five-hundred years.<span style="mso-spacerun: yes;"> </span>Hassig seems to have ignored the historical record and the cultural precedence of La Malinche in order to focus on the men of the conquest.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">After months spent researching this topic, moving through dozens of sources, one cannot help but believe that no matter the view of La Malinche, whether positive or negative, she is an important figure in the history of the conquest of Mexico and the formation of the national identity of Mexican peoples.<span style="mso-spacerun: yes;"> </span>So why is it that this haughty history reference writes away not only her historical role, but her presence in general?<span style="mso-spacerun: yes;"> </span>Aside from the Hassig article, La Malinche is only mentioned three more times in <span style="font-family: "Times New Roman Italic";">The Oxford History of Mexico</span> – as the opening to an essay about the role of women in colonial Mexico, as the mistress of Cortés, and in an explanation of Octavio Paz’s work.<span style="mso-spacerun: yes;"> </span>Is this an attempt to remove or belittle her importance in the historical record, to delegate conquest and exploration back to the masculine?<span style="mso-spacerun: yes;"> </span>Is this the true result of La Malinche’s exile from history?<span style="mso-spacerun: yes;"> </span>Does exile from history result in not a manipulation of her presence but a complete negation of it?<span style="mso-spacerun: yes;"> </span>The exile described in this work opens the opportunity for redemption through appropriations by various groups.<span style="mso-spacerun: yes;"> </span>The exile employed by the <span style="font-family: "Times New Roman Italic";">Oxford History of Mexico</span> eliminates her entire existence and the work of these groups over several hundred years.<span style="mso-spacerun: yes;"> </span>It is by far the most remarkable of exiles.<span style="mso-spacerun: yes;"> </span></div><div align="center" class="NormalWeb1" style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 12.0pt; text-align: center;"><u>Appendix 1<o:p></o:p></u></div><div class="MsoNormal"><u>Trilogy</u> by Naomi Quiñonez<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn83" name="_ftnref83" style="mso-footnote-id: ftn83;" title=""><span class="FootnoteReference1"><span style="mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[83]</span></span><!--[endif]--></span></span></span></a><span class="FootnoteReference1"><span style="mso-ansi-font-size: 12.0pt;"><o:p></o:p></span></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Eve…Malinche…Helen</div><div class="MsoNormal">Eve…Malinche…Helen</div><div class="MsoNormal">Unpredictable hurricanes</div><div class="MsoNormal">sources of destructive power</div><div class="MsoNormal">The ancients passed us</div><div class="MsoNormal">the ashes of your vulvas</div><div class="MsoNormal">quietly contained them</div><div class="MsoNormal">in earthen pots</div><div class="MsoNormal">golden chalices </div><div class="MsoNormal">stainless steel safes</div><div class="MsoNormal">and placed them </div><div class="MsoNormal">undisturbed</div><div class="MsoNormal">in coffins</div><div class="MsoNormal">of dead women.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Eve…Malinche…Helen</div><div class="MsoNormal">Eve…Malinche…Helen</div><div class="MsoNormal">Why did</div><div class="MsoNormal">civilization</div><div class="MsoNormal">doomed to downfall</div><div class="MsoNormal">blame a woman</div><div class="MsoNormal">eating fruit of knowledge</div><div class="MsoNormal">from a forbidden tree?</div><div class="MsoNormal">Would Eve knowingly</div><div class="MsoNormal">Embrace the pain of childbirth</div><div class="MsoNormal">or the anonymity</div><div class="MsoNormal">of creation?</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Eve…Malinche…Helen</div><div class="MsoNormal">Eve…Malinche…Helen</div><div class="MsoNormal">Tu padre te llevo</div><div class="MsoNormal">a la chingada…</div><div class="MsoNormal">Often we utter</div><div class="MsoNormal">the atrocity of Malinche’s sin</div><div class="MsoNormal">as if she had no father</div><div class="MsoNormal">who ingrained in her</div><div class="MsoNormal">absolute obedience</div><div class="MsoNormal">to men</div><div class="MsoNormal">as if he had not given her</div><div class="MsoNormal">to Cortez</div><div class="MsoNormal">as a gift.</div><div class="MsoNormal">She, obeying men</div><div class="MsoNormal">obeyed her father’s wish</div><div class="MsoNormal">to be given </div><div class="MsoNormal">obeyed Cortez</div><div class="MsoNormal">and gave him Mexico.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Eve…Malinche…Helen</div><div class="MsoNormal">Eve…Malinche…Helen</div><div class="MsoNormal">The curse of your beauty</div><div class="MsoNormal">is with us today Helen</div><div class="MsoNormal">you have not been alone.</div><div class="MsoNormal">Men have made themselves slaves</div><div class="MsoNormal">to feminine beauty.</div><div class="MsoNormal">You were just another wooden horse</div><div class="MsoNormal">filled with desires</div><div class="MsoNormal">to win wars.</div><div class="MsoNormal">You were created for warriors Helen</div><div class="MsoNormal">not love.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Eve…Malinche…Helen</div><div class="MsoNormal">Eve…Malinche…Helen</div><div class="MsoNormal">and hurricanes and all other</div><div class="MsoNormal">phenomenal powers</div><div class="MsoNormal">which men cannot explain</div><div class="MsoNormal">to justify their downfalls.</div><div class="MsoNormal">Let your ashes fly into the wind</div><div class="MsoNormal">perhaps today</div><div class="MsoNormal">we can learn to accept</div><div class="MsoNormal">ourselves.<span style="mso-spacerun: yes;"> </span></div><div align="center" class="NormalWeb1" style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 12.0pt; text-align: center;"><br />
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</div><div align="center" class="NormalWeb1" style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 12.0pt; text-align: center;"><u>Appendix 2<o:p></o:p></u></div><div class="NormalWeb1" style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 12.0pt;"><u>La Malinche</u> by Carmen Tafolla<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftn84" name="_ftnref84" style="mso-footnote-id: ftn84;" title=""><span class="FootnoteReference1"><span style="mso-ansi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[84]</span></span><!--[endif]--></span></span></span></a><span class="FootnoteReference1"><span style="mso-ansi-font-size: 12.0pt;"><o:p></o:p></span></span></div><div class="MsoNormal">Yo soy la Malinche.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">My people called Malintzin Tenepal</div><div class="MsoNormal">The Spaniards called me Doña Marina</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">I came to be known as Malinche</div><div class="MsoNormal"><span style="mso-spacerun: yes;"> </span>and Malinche came to mean traitor.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">They called me – chingada</div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>¡Chingada!</div><div class="MsoNormal">(Ha – Chingada!<span style="mso-spacerun: yes;"> </span>Screwed!)</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Of noble ancestry, for whatever that means, I was sold into slavery</div><div class="MsoNormal">by MY ROYAL FAMILY – so that my brother could get my</div><div class="MsoNormal">inheritance</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">…And then the omens began – a god, a new civilization, the</div><div class="MsoNormal">downfall of our empire.</div><div class="MsoNormal"><span style="mso-spacerun: yes;"> </span>And <span style="font-family: "Times New Roman Italic";">you</span> came.</div><div class="MsoNormal"><span style="mso-spacerun: yes;"> </span>My dear Hernán Cortés, to share your “civilization” – to </div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span>play god,</div><div class="MsoNormal">…….and I began to <span style="font-family: "Times New Roman Italic";">dream</span>…</div><div class="MsoNormal" style="text-indent: .5in;"><span style="font-family: "Times New Roman Italic";">I saw<o:p></o:p></span></div><div class="MsoNormal" style="text-indent: .5in;"><span style="mso-spacerun: yes;"> </span>and I <span style="font-family: "Times New Roman Italic";">acted!<o:p></o:p></span></div><div class="MsoNormal">I saw our world</div><div class="MsoNormal"><span style="mso-spacerun: yes;"> </span>And I saw yours</div><div class="MsoNormal"><span style="mso-spacerun: yes;"> </span>And I saw – </div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>another.</div><div class="MsoNormal">And yes – I helped you – against Emperor Moctezuma Xocoyotzin</div><div class="MsoNormal"><span style="mso-spacerun: yes;"> </span>himself!</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">I became Interpreter, Advisor, <span style="mso-tab-count: 1;"> </span>and lover.</div><div class="MsoNormal"><span style="mso-spacerun: yes;"> </span>They could not imagine me dealing on a level with you – </div><div class="MsoNormal"><span style="mso-spacerun: yes;"> </span>so they said I was raped, used</div><div class="MsoNormal"><span style="mso-tab-count: 5;"> </span><span style="font-family: "Times New Roman Italic";">chingada<o:p></o:p></span></div><div class="MsoNormal"><span style="mso-tab-count: 7;"> </span><span style="font-family: "Times New Roman Italic";">¡Chingada! <o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">But I saw our world</div><div class="MsoNormal"><span style="mso-spacerun: yes;"> </span>and your world</div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span>and another.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">No one else could <span style="font-family: "Times New Roman Italic";">see!<o:p></o:p></span></div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span>Beyond one world, none existed.</div><div class="MsoNormal"><span style="mso-spacerun: yes;"> </span>And you yourself cried the night</div><div class="MsoNormal"><span style="mso-spacerun: yes;"> </span>the city burned,</div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span>and burned at your orders.</div><div class="MsoNormal">The most beautiful city on earth</div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>in flames.</div><div class="MsoNormal">You cried broken tears the night you saw your destruction.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">My homeland ached within me</div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>(but I saw <span style="font-family: "Times New Roman Italic";">another!</span>)</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Another world – </div><div class="MsoNormal" style="text-indent: .5in;">a world yet to be born.</div><div class="MsoNormal">And our child war born…</div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span>And I was immortalized <span style="font-family: "Times New Roman Italic";">Chingada!<o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Years later, you took away my child (my sweet mestizo new world </div><div class="MsoNormal">child)</div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span>to raise him in your world.</div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span>You <span style="font-family: "Times New Roman Italic";">still</span> didn’t see.</div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>You <span style="font-family: "Times New Roman Italic";">still</span> didn’t see.</div><div class="MsoNormal">And history would call <span style="font-family: "Times New Roman Italic";">me<o:p></o:p></span></div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>chingada.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">But Chingada I was not.</div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span>Not tricked, not screwed, not traitor.</div><div class="MsoNormal">For I was not traitor to myself – </div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span>I saw a dream</div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>and I <span style="font-family: "Times New Roman Italic";">reached</span> it.</div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>Another world…….</div><div class="MsoNormal"><span style="mso-tab-count: 2;"> </span><span style="mso-spacerun: yes;"> </span>la raza.</div><div class="MsoNormal"><span style="mso-tab-count: 3;"> </span>la raaaaaaaaa-zaaaaa…….</div><div class="NormalWeb1" style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 12.0pt;"><br />
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</div><div align="center" class="MsoNormal" style="line-height: 200%; margin-left: .5in; text-align: center; text-indent: -.5in;"><u>Works Cited <o:p></o:p></u></div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Anonymous. “The Adelitas’ Role in El Movimiento.” In <span style="font-family: "Times New Roman Italic";">Chicana Feminist Thought: The Basic Historical Writings</span>. Edited by Alma M. Garcia., 118-119. New York: Routeledge, 1997.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Cotera, Martha P. <span style="font-family: "Times New Roman Italic";">The Chicana Feminist</span>. Austin, TX: Information Systems Development, 1977.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Cypess, Sandra Messinger. <span style="font-family: "Times New Roman Italic";">La Malinche in Mexican Literature: From History to Myth</span>. Austin: University of Austin Press, 1991.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Del Castillo, Adelaida R. “Malintzin Tenepal: A Preliminary Look into a New Perspective.” In <span style="font-family: "Times New Roman Italic";">Chicana Feminist Thought: The Basic Historical Writings</span>. Edited by Alma M. Garcia., 122-126. New York: Routeledge, 1997.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Díaz, Ella M. “1500 by 1939 by 1998 – These Are the Measurements of Malinche’s Body: An Analysis and Review of Twentieth-Century Interpretations of Nationality.” Master’s thesis, College of William and Mary, 2002.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Díaz del Castillo, Bernal. <span style="font-family: "Times New Roman Italic";">The Discovery and Conquest of Mexico 1517-1521</span>. Edited by Genaro Garcia. Translated by A.P. Maudslay. New York: Farrar, Straus, and Giroux, 1956.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Garcia, Alma M. “Studying Chicanas: Bringing Women into the Frame of Chicano Studies.” In <span style="font-family: "Times New Roman Italic";">Chicana voices : intersections of class, race, and gender</span>. Edited by Teresa Córdova., 19-29. Alburquerque, NM: University of New Mexico Press, 1993.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Gonzales, Manuel G. <span style="font-family: "Times New Roman Italic";">Mexicanos: The History of Mexicans in the United States</span>. Bloomington, IN: Indiana University Press, 1999.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Hassig, Ross. “The Collision of Two Worlds.” In <span style="font-family: "Times New Roman Italic";">The Oxford History of Mexico</span>. Edited by William H. Beezley and Michael C. Meyer., 79-112. New York: Oxford University Press, 2000.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Jaffary, Nora E., Edward W. Osowski, and Susie S. Porter, eds. <i>Mexican History:<span style="mso-spacerun: yes;"> </span>A Primary Source Reader</i>. Boulder, CO: Westview Press, 2010. <o:p></o:p></div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Karttunen, Frances. “Rethinking Malinche.” In <span style="font-family: "Times New Roman Italic";">Indian Women in Early Mexico</span>. Edited by Susan Schroeder, Stephanie Wood, and Robert Haskett., 291-312. Norman, OK: University of Oklahoma Press, 1997.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">López de Gómara, Francisco. <span style="font-family: "Times New Roman Italic";">The Life of the Conquerer by His Secretary: 1511-1564</span>. Edited and translated by Lesley Byrd Simpson. Berkley: University of California Press, 1964.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Moraga, Cherríe L. <span style="font-family: "Times New Roman Italic";">Loving in the War Years</span>. 2nd ed. 1983. Reprint, Cambrdige: South End Press, 2000.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Muñoz, Carlos, Jr. <span style="font-family: "Times New Roman Italic";">Youth, Identity, Power: The Chicano Movement</span>. 2nd ed. 1989. Reprint, New York: Verso, 2007.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Paz, Octavio. “The Sons of La Malinche.” In <span style="font-family: "Times New Roman Italic";">The Labyrinthe of Solitude</span> 2nd ed., translated by Lysander Kemp, Yara Milos, and Rachel Phillips Belash, 65-88. 1961. Reprint, New York: Grove Press, Inc, 1985.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Pratt, Mary Louise. “’Yo Soy La Malinche’: Chicana Writers and the Poetics of Ethnonationalism.” <span style="font-family: "Times New Roman Italic";">Callaloo</span> 16, no. 4 (Fall 1993): 859-873. Accessed February 26, 2011. http://www.jstor.org/stable/2932214.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Quiñonez, Naomi. “Triology.” In <span style="font-family: "Times New Roman Italic";">Sueño de Colibrí: Hummingbird Dreams</span>, 6-7. Los Angeles: West End Press, 1985.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Rendón, Armando B. <span style="font-family: "Times New Roman Italic";">Chicano Manifesto: The history and aspirations of the second largest minority in America</span>. Toronto: The Macmillan Company, 1971.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Said, Edward W. “Reflections on Exile.” In <span style="font-family: "Times New Roman Italic";">Reflections on exile and other essays</span>, 137-147. Cambridge: Harvard University Press, 2000.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;">Sanchez, Violeta. “Haciendole Justicia: A Discussion of Contemporary Works Claiming To Do Malinche Justice, A Master’s Thesis.” Master’s thesis, University of Houston, 2007.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-indent: -.5in;"><br />
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</div><div style="mso-element: footnote-list;"><!--[if !supportFootnotes]--><br clear="all" /> <hr align="left" size="1" width="33%" /> <!--[endif]--> <div id="ftn1" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[1]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> <span class="apple-style-span">Frances Karttunen, "Rethinking Malinche," in</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>Indian Women in Early</i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>Mexico</i>, ed. Susan Schroeder, Stephanie Wood, and Robert Haskett (Norman, OK:</span><span class="apple-converted-space"> </span><span class="apple-style-span">University of Oklahoma Press, 1997),</span><span class="apple-converted-space"> 301.</span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn2" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[2]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> <span class="apple-style-span">Adelaida R. Del Castillo, "Malintzin Tenepal: A Preliminary Look into a</span><span class="apple-converted-space"> </span><span class="apple-style-span">New Perspective," in</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>Chicana Feminist Thought: The Basic Historical Writings</i>,</span><span class="apple-converted-space"> </span><span class="apple-style-span">ed. Alma M. Garcia (New York: Routeledge, 1997),</span> 123.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn3" style="mso-element: footnote;"> <div class="MsoNormal"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[3]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> The discussion of naming is vital to the examination of this woman’s role in history and social memory.<span style="mso-spacerun: yes;"> </span>This paper will use the name La Malinche most frequently.<span style="mso-spacerun: yes;"> </span>Although it is the name that is most degrading, being irrevocably tied to the process of cultural betrayal, it is the most recognizable.<span style="mso-spacerun: yes;"> </span>The repetition of La Malinche seeks to constantly tie the woman to the name and to the process she is associated with and used within.<span style="mso-spacerun: yes;"> </span>The names Doña Marina and Malintzin will be used when the referential texts being quoted name her as such.<span style="mso-spacerun: yes;"> </span>They will also be used when these texts are heavily analyzed or when the historical period being discussed would have used one of the secondary names instead of La Malinche.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn4" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[4]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Frances Karttunen, “Rethinking Malinche,” 296.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn5" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[5]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid., 308.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn6" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[6]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> 308-309.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn7" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[7]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> 309-310.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn8" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref8" name="_ftn8" style="mso-footnote-id: ftn8;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[8]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Edward W. Said, "Reflections on Exile," in <i>Reflections on exile and other essays</i> (Cambridge: Harvard University Press, 2000), 140.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn9" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref9" name="_ftn9" style="mso-footnote-id: ftn9;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[9]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> <span class="apple-style-span">Frances Karttunen, "Rethinking Malinche," </span>296-297.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn10" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref10" name="_ftn10" style="mso-footnote-id: ftn10;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[10]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> <span class="apple-style-span">Francisco Lopez Gómara,</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>The Life of the Conqueror by His Secretary:</i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>1511-1564</i>, ed. and trans. Lesley Byrd Simpson (Berkley: University of</span><span class="apple-converted-space"> </span><span class="apple-style-span">California Press, 1964)</span>, 57.<span style="mso-spacerun: yes;"> </span>Her baptism is also mentioned by Bernal Díaz del Castillo on page 63.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn11" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref11" name="_ftn11" style="mso-footnote-id: ftn11;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[11]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn12" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref12" name="_ftn12" style="mso-footnote-id: ftn12;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[12]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn13" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref13" name="_ftn13" style="mso-footnote-id: ftn13;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[13]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid., 56.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn14" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref14" name="_ftn14" style="mso-footnote-id: ftn14;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[14]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> <span class="apple-style-span">Bernal Díaz del Castillo,</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>The Discovery and Conquest of Mexico</i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>1517-1521</i>, ed. Genaro Garcia, trans. A.P. Maudslay (New York: Farrar,</span><span class="apple-converted-space"> </span><span class="apple-style-span">Straus, and Giroux, 1956), </span>62.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn15" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref15" name="_ftn15" style="mso-footnote-id: ftn15;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[15]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid., 64.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn16" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref16" name="_ftn16" style="mso-footnote-id: ftn16;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[16]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> <span class="apple-style-span">Frances Karttunen, "Rethinking Malinche," 299.<span style="mso-spacerun: yes;"> </span></span><span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn17" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref17" name="_ftn17" style="mso-footnote-id: ftn17;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[17]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Bernal <span class="apple-style-span">Díaz del Castillo,</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>The Discovery and Conquest of Mexico</i>, </span><span style="mso-spacerun: yes;"> </span>66.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn18" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref18" name="_ftn18" style="mso-footnote-id: ftn18;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[18]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn19" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref19" name="_ftn19" style="mso-footnote-id: ftn19;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[19]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid., 64.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn20" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref20" name="_ftn20" style="mso-footnote-id: ftn20;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[20]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid., 67.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn21" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref21" name="_ftn21" style="mso-footnote-id: ftn21;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[21]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn22" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref22" name="_ftn22" style="mso-footnote-id: ftn22;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[22]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid., 68.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn23" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref23" name="_ftn23" style="mso-footnote-id: ftn23;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[23]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> <span class="apple-style-span">Frances Karttunen, “Rethinking Malinche,” 299.</span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn24" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref24" name="_ftn24" style="mso-footnote-id: ftn24;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[24]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn25" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref25" name="_ftn25" style="mso-footnote-id: ftn25;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[25]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Gómara, <i>The Life of the Conqueror</i>, 56.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn26" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref26" name="_ftn26" style="mso-footnote-id: ftn26;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;">[26]</span></span><!--[endif]--></span></span></a> Nora E. Jaffary, Edward W. Osowski, and Susie S. Porter, eds. <i>Mexican History: A Primary Source Reader</i> (Boulder, CO: Westview Press, 2010), 293-294.<o:p></o:p></div></div><div id="ftn27" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref27" name="_ftn27" style="mso-footnote-id: ftn27;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[27]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Paz’s work is incredibly philosophical and heavily influenced by historical events that are not all clear at the time.<span style="mso-spacerun: yes;"> </span>The difficulty I had in trying to understand his work also made it very clear to me that some of his intentions may have been misconstrued by following generations as well.<span style="mso-spacerun: yes;"> </span>His heavy-handed discussion of La Malinche seems to pull his work away from his goal of improving the Mexican condition.<span style="mso-spacerun: yes;"> </span>Those who find his work seminal seem less focused on the national identity goals of the essay and often focus more on the dehumanization of La Malinche.<span style="mso-spacerun: yes;"> </span>For example, in her Master’s Thesis, Ella M. Díaz claims: “Paz alleged that the Mexican nationality was too female, and therefore he called for the exclusion of Mexican women in the creation of a strong national identity” (<span class="apple-style-span">Ella M. Díaz, "1500 by 1939 by 1998 – These Are the Measurements of</span><span class="apple-converted-space"> </span><span class="apple-style-span">Malinche’s Body: An Analysis and Review of Twentieth-Century Interpretations of</span><span class="apple-converted-space"> </span><span class="apple-style-span">Nationality" (master's thesis, College of William and Mary, 2002),</span> 39).<span style="mso-spacerun: yes;"> </span>In contrast, Violeta Sanchez claims that “In Paz’s version of events, the mexicanos are the victims, the ones who have to pay the price for a sexually hungry Spaniard and a weak and passive indigenous woman” (<span class="apple-style-span">Violeta Sanchez, "Haciendole Justicia: A Discussion of Contemporary</span><span class="apple-converted-space"> </span><span class="apple-style-span">Works Claiming To Do Malinche Justice, A Master’s Thesis" (master's thesis, University of Houston, 2007)</span>, 5).<span style="mso-spacerun: yes;"> </span>Mary Louis Pratt views Paz as having written about La Malinche as having “constituted part of a debilitating self-hatred and misogyny that undermined the national psyche.” (Pratt, “Yo Soy La Malinche,” 860).<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn28" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref28" name="_ftn28" style="mso-footnote-id: ftn28;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[28]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> <span class="apple-style-span">Octavio Paz, "The Sons of La Malinche," in</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>The Labyrinthe of Solitude</i>,</span><span class="apple-converted-space"> </span><span class="apple-style-span">2nd ed., trans. Lysander Kemp, Yara Milos, and Rachel Phillips Belash (1961;</span><span class="apple-converted-space"> </span><span class="apple-style-span">repr., New York: Grove Press, Inc, 1985),</span> 72.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn29" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref29" name="_ftn29" style="mso-footnote-id: ftn29;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[29]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid., 73.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn30" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref30" name="_ftn30" style="mso-footnote-id: ftn30;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[30]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid., 75.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn31" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref31" name="_ftn31" style="mso-footnote-id: ftn31;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[31]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid., 77.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn32" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref32" name="_ftn32" style="mso-footnote-id: ftn32;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[32]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid., 66.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn33" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref33" name="_ftn33" style="mso-footnote-id: ftn33;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[33]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid., 80.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn34" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref34" name="_ftn34" style="mso-footnote-id: ftn34;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[34]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid., 85-86.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn35" style="mso-element: footnote;"> <div class="FootnoteTextA" style="margin-top: 12.0pt;"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref35" name="_ftn35" style="mso-footnote-id: ftn35;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[35]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> The origins of the Chicano Movement are up for debate.<span style="mso-spacerun: yes;"> </span>While Manuel Gonazales argues that they stem from a combination of influences such as the African-American Civil Rights Movement and the United Farm Workers (197), Carlos Muñoz, Jr. contributes the movement heavily to the work of Mexican-American university students (16).<span style="mso-spacerun: yes;"> </span>Armando Rendón ties the movement to country’s population feeling neglected by the federal government, with Mexican-Americans being “dismissed as a regional problem” due to their large numbers in the American Southwest (18).<span style="mso-spacerun: yes;"> </span>I chose to articulate with Gonzales’s argument because it seems to encompass the inspiration for the vast majority of groups within the Chicano Movement, coming both from another minority group and from organizations formed decades before to help the Mexican-American population.<span style="mso-spacerun: yes;"> </span>All the theories I read were valid, however, but the aim of this paper does not require an extensive examination of them.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn36" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref36" name="_ftn36" style="mso-footnote-id: ftn36;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[36]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> <span class="apple-style-span">Armando B. Rendón,</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>Chicano Manifesto: The history and aspirations of</i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>the second largest minority in America</i></span><span class="apple-converted-space"> </span><span class="apple-style-span">(Toronto: The Macmillan Company, 1971), </span>324.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn37" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref37" name="_ftn37" style="mso-footnote-id: ftn37;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[37]</span></span><!--[endif]--></span></span></span></a><span class="apple-style-span"><span style="font-size: 10.0pt;">Manuel G. Gonzales,</span></span><span class="apple-converted-space"><span style="font-size: 10.0pt;"> </span></span><span class="apple-style-span"><i><span style="font-size: 10.0pt;">Mexicanos: The History of Mexicans in the United</span></i></span><span class="apple-converted-space"><i><span style="font-size: 10.0pt;"> </span></i></span><span class="apple-style-span"><i><span style="font-size: 10.0pt;">States</span></i></span><span class="apple-converted-space"><span style="font-size: 10.0pt;"> </span></span><span class="apple-style-span"><span style="font-size: 10.0pt;">(Bloomington, IN: Indiana University Press, 1999), </span></span><span style="font-size: 10.0pt;">192.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn38" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref38" name="_ftn38" style="mso-footnote-id: ftn38;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[38]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid., 193.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn39" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref39" name="_ftn39" style="mso-footnote-id: ftn39;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[39]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn40" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref40" name="_ftn40" style="mso-footnote-id: ftn40;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[40]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn41" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref41" name="_ftn41" style="mso-footnote-id: ftn41;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[41]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn42" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref42" name="_ftn42" style="mso-footnote-id: ftn42;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[42]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid., 192.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn43" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref43" name="_ftn43" style="mso-footnote-id: ftn43;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[43]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> <span class="apple-style-span">Sandra Messinger Cypess,</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>La Malinche in Mexican Literature: From</i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>History to Myth</i></span><span class="apple-converted-space"> </span><span class="apple-style-span">(Austin: University of Austin Press, 1991),</span> 4.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn44" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref44" name="_ftn44" style="mso-footnote-id: ftn44;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[44]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Rendón, <i>Chicano Manifesto</i>, 325.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn45" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref45" name="_ftn45" style="mso-footnote-id: ftn45;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[45]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> <span class="apple-style-span">Carlos Muñoz Jr.,</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>Youth, Identity, Power: The Chicano Movement</i>, 2nd ed.</span><span class="apple-converted-space"> </span><span class="apple-style-span">(1989; repr., New York: Verso, 2007), </span>26.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn46" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref46" name="_ftn46" style="mso-footnote-id: ftn46;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[46]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid., 92.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn47" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref47" name="_ftn47" style="mso-footnote-id: ftn47;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[47]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Gonzales, <i>Mexicanos</i>, 215.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn48" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref48" name="_ftn48" style="mso-footnote-id: ftn48;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[48]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn49" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref49" name="_ftn49" style="mso-footnote-id: ftn49;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[49]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid., 211.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn50" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref50" name="_ftn50" style="mso-footnote-id: ftn50;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[50]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> <span class="apple-style-span">Anonymous, "The Adelitas’ Role in El Movimiento," in</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>Chicana Feminist</i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>Thought: The Basic Historical Writings</i>, ed. Alma M. Garcia (New York:</span><span class="apple-converted-space"> </span><span class="apple-style-span">Routeledge, 1997), </span>119.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn51" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref51" name="_ftn51" style="mso-footnote-id: ftn51;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[51]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn52" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref52" name="_ftn52" style="mso-footnote-id: ftn52;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[52]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn53" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref53" name="_ftn53" style="mso-footnote-id: ftn53;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[53]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid. </span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn54" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref54" name="_ftn54" style="mso-footnote-id: ftn54;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[54]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid., 118.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn55" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref55" name="_ftn55" style="mso-footnote-id: ftn55;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[55]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid., 119. </span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn56" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref56" name="_ftn56" style="mso-footnote-id: ftn56;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[56]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> <span class="apple-style-span">Martha P. Cotera,</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>The Chicana Feminist</i></span><span class="apple-converted-space"> </span><span class="apple-style-span">(Austin, TX: Information Systems</span><span class="apple-converted-space"> </span><span class="apple-style-span">Development, 1977), </span>30.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn57" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref57" name="_ftn57" style="mso-footnote-id: ftn57;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[57]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Paz, Labyrinth, 86.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn58" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref58" name="_ftn58" style="mso-footnote-id: ftn58;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[58]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> <span class="apple-style-span">Mary Louise Pratt, "'Yo Soy La Malinche': Chicana Writers and the</span><span class="apple-converted-space"> </span><span class="apple-style-span">Poetics of Ethnonationalism,"</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>Callaloo</i></span><span class="apple-converted-space"> </span><span class="apple-style-span">16, no. 4 (Fall 1993):</span><span class="apple-converted-space"> </span><span class="apple-style-span">860,</span><span class="apple-converted-space"> </span><span class="apple-style-span">accessed February 26, 2011, http://www.jstor.org/stable/2932214.</span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn59" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref59" name="_ftn59" style="mso-footnote-id: ftn59;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[59]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> <span class="apple-style-span">Cherríe L. Moraga,</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>Loving in the War Years</i>, 2nd ed. (1983; repr.,</span><span class="apple-converted-space"> </span><span class="apple-style-span">Cambrdige: South End Press, 2000),</span><span class="apple-converted-space"> </span><span class="apple-style-span">104</span>.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn60" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref60" name="_ftn60" style="mso-footnote-id: ftn60;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[60]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid., 105.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn61" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref61" name="_ftn61" style="mso-footnote-id: ftn61;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[61]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Pratt, “‘Yo Soy La Malinche’”, 862.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn62" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref62" name="_ftn62" style="mso-footnote-id: ftn62;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[62]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Cotera, <i>The Chicana Feminist</i>,<span style="mso-spacerun: yes;"> </span>31.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn63" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref63" name="_ftn63" style="mso-footnote-id: ftn63;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[63]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Cypess, <i>La Malinche in Mexican Literature</i>, 12.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn64" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref64" name="_ftn64" style="mso-footnote-id: ftn64;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[64]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn65" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref65" name="_ftn65" style="mso-footnote-id: ftn65;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[65]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> <span class="apple-style-span">Alma M. Garcia, "Studying Chicanas: Bringing Women into the Frame of</span><span class="apple-converted-space"> </span><span class="apple-style-span">Chicano Studies," in</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>Chicana voices: intersections of class, race, and gender</i>,</span><span class="apple-converted-space"> </span><span class="apple-style-span">ed. Teresa Córdova (Alburquerque, NM: University of New Mexico Press, 1993), </span>20.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn66" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref66" name="_ftn66" style="mso-footnote-id: ftn66;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[66]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn67" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref67" name="_ftn67" style="mso-footnote-id: ftn67;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[67]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn68" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref68" name="_ftn68" style="mso-footnote-id: ftn68;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[68]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid., 21.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn69" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref69" name="_ftn69" style="mso-footnote-id: ftn69;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[69]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Cotera, <i>The Chicana Feminst</i>, 30.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn70" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref70" name="_ftn70" style="mso-footnote-id: ftn70;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[70]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Pratt, “‘Yo Soy La Malinche’”, 865.<span style="mso-spacerun: yes;"> </span>Entire poem available in Appendix 1 via my transcription.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn71" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref71" name="_ftn71" style="mso-footnote-id: ftn71;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[71]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid., 865-866.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn72" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref72" name="_ftn72" style="mso-footnote-id: ftn72;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[72]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid., 866.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn73" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref73" name="_ftn73" style="mso-footnote-id: ftn73;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[73]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid., 867.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn74" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref74" name="_ftn74" style="mso-footnote-id: ftn74;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[74]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid.<span style="mso-spacerun: yes;"> </span>Citation refers to version reprinted in Pratt’s piece, poem is also available in the Appendix 2 via my transcription from Pratt’s piece.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn75" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref75" name="_ftn75" style="mso-footnote-id: ftn75;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[75]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn76" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref76" name="_ftn76" style="mso-footnote-id: ftn76;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[76]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid., 868.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn77" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref77" name="_ftn77" style="mso-footnote-id: ftn77;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[77]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid., 861.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn78" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref78" name="_ftn78" style="mso-footnote-id: ftn78;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[78]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid., 859.<span style="mso-spacerun: yes;"> </span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn79" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref79" name="_ftn79" style="mso-footnote-id: ftn79;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[79]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid., 860.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn80" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref80" name="_ftn80" style="mso-footnote-id: ftn80;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[80]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> <span class="apple-style-span">Ross Hassig, "The Collision of Two Worlds," in</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>The Oxford History of</i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>Mexico</i>, ed. William H. Beezley and Michael C. Meyer (New York: Oxford</span><span class="apple-converted-space"> </span><span class="apple-style-span">University Press, 2000), 81.<span style="mso-spacerun: yes;"> </span></span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn81" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref81" name="_ftn81" style="mso-footnote-id: ftn81;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[81]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Ibid.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn82" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref82" name="_ftn82" style="mso-footnote-id: ftn82;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[82]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> <span class="apple-style-span">Frances Karttunen, “Rethinking Malinche,” 300.<span style="mso-spacerun: yes;"> </span></span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn83" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref83" name="_ftn83" style="mso-footnote-id: ftn83;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[83]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> <span class="apple-style-span">Naomi Quiñonez, "Triology," in</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>Sueño de Colibrí: Hummingbird Dreams</i></span><span class="apple-converted-space"> </span><span class="apple-style-span">(Los Angeles: West End Press, 1985),</span><span class="apple-converted-space"> 6-7.</span></span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div><div id="ftn84" style="mso-element: footnote;"> <div class="FootnoteTextA"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Final.doc#_ftnref84" name="_ftn84" style="mso-footnote-id: ftn84;" title=""><span class="FootnoteReference1"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="FootnoteReference1"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3";">[84]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> Pratt, “‘Yo Soy La Malinche’”, 867-868.</span><span style="color: windowtext; font-size: 10.0pt; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div></div></div>irinahttp://www.blogger.com/profile/03387357358559839487noreply@blogger.com0tag:blogger.com,1999:blog-2366592439733471006.post-91687915637794408392011-05-04T17:32:00.000-07:002011-05-04T17:32:37.526-07:00DRAFT ONE OH DEAR JESUS ETC ETCYeah here it is, my first draft of my La Malinche paper. Jane, I hope I have humored you enough. Title is: The Enemy Within: The Transformations of La Malinche within the Twentieth Century Chicano Movement<br />
<br />
<a name='more'></a><div class="MsoNormal" style="text-indent: .5in;">The woman is known by three names.<span style="mso-spacerun: yes;"> </span>Malintzin , Doña Marina, La Malinche.<span style="mso-spacerun: yes;"> </span>Indigenous, Christian, Mexican.<span style="mso-spacerun: yes;"> </span>She is the woman who helped Hernán Cortés in his mission to conquer <st1:country-region><st1:place>Mexico</st1:place></st1:country-region>.<span style="mso-spacerun: yes;"> </span>She was a slave, a translator, a mistress and a mother.<span style="mso-spacerun: yes;"> </span>However, these roles are not where the exploration can begin.<span style="mso-spacerun: yes;"> </span>It must begin with her names and the significance of them all.<span style="mso-spacerun: yes;"> </span>Malintzin – the native name only popularized in the late twentieth century by those seeking to redeem her from centuries of exploitation and damnation.<span style="mso-spacerun: yes;"> </span>Doña Marina – the name awarded to her by Cortés upon baptism, the first indicator of the betrayal but also an acknowledgement of her indigenous nobility with the use of Doña.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[1]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>La Malinche – the most common name despite being synonymous with the image of the cultural betrayer.<span style="mso-spacerun: yes;"> </span>All names are given, not chosen, but the plethora of names assigned to this figure is in direct contrast to the lack of her voice in the historical record.<span style="mso-spacerun: yes;"> </span>Her words are spoken for her – by sixteenth century historians and twentieth century philosophers – she is never allowed to speak for herself despite her pivotal role as a translator.<span style="mso-spacerun: yes;"> </span>In the same light, her names are also given to her.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[2]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>They signify the varied accounts of her historical presence and the views societies hold of her.<span style="mso-spacerun: yes;"> </span>She is many things to many people, and this status is exemplified through her name.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="text-indent: .5in;">The examination of La Malinche’s assorted names broaches the various contexts of her portrayal in the near-half millennia since her first meeting with Cortés and the Spanish conquistadors.<span style="mso-spacerun: yes;"> </span>La Malinche has been used by colonists, by revolutionaries, by civil rights activists and by feminists – among others – to accomplish goals which she historically had no involvement in.<span style="mso-spacerun: yes;"> </span>She is a historical figure constantly plunged in and out of exile, hovering between the factual and the fictional by strings attached by those who lived after her.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>La Malinche’s historical exile has influenced the Mexican national identity throughout centuries of upheaval.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="text-indent: .5in;">Historical exile depends on the use of a figure within the shared memory of a cultural group.<span style="mso-spacerun: yes;"> </span>Edward Said connects nationalism and modern, physical exile to a binary of the us versus them.<span style="mso-spacerun: yes;"> </span>“All nationalisms have their founding fathers, their basic, quasi-religious texts, their rhetoric of belonging, their historical and geographical landmarks, their official enemies and heroes.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[3]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>La Malinche experiences historical exile because of her construction as an enemy on the inside, a them within the us reaching from pre-colonial history to the modern day.<span style="mso-spacerun: yes;"> </span>She is purged from the national identity through her exile in order to absolve it.<span style="mso-spacerun: yes;"> </span>For centuries after the conquest, and after her own death, La Malinche has been used to further the goals of several groups within Mexican culture.<span style="mso-spacerun: yes;"> </span>From the colonial era, where she was used as a figurehead of the mestizo nation, through the Mexican revolution, where her image was defiled in order to remove imperial influence, La Malinche has been implemented by people.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="text-indent: .5in;">This action towards historical exile is problematized by the fact that the historical record does not allow La Malinche to speak for herself, thereby creating a archetypal figure out of the alleged actions of a woman without a voice.<span style="mso-spacerun: yes;"> </span>This is at the root of historical exile - the idea that after La Malinche died, the very thought of her was so atrocious to her people that they spent centuries of historical and literary work in order to demonize her very memory, to create an enemy for a whole people.<span style="mso-spacerun: yes;"> </span>This is a form of exile from which one can never return, can never justify oneself.<span style="mso-spacerun: yes;"> </span>The social memory surrounding La Malinche depends on her inability to refute the accusations made against her character and actions.<span style="mso-spacerun: yes;"> </span>Her historical context has been manipulated to serve other means, such as those of the Chicano Movement of the mid-twentieth century in the <st1:country-region><st1:place>United States</st1:place></st1:country-region>.<span style="mso-spacerun: yes;"> </span>The movement, seeking civil rights for the Mexican-American population of the <st1:country-region><st1:place>United States</st1:place></st1:country-region>, used the historical presence of La Malinche in order to secure the separateness of its people within the dominant society.<span style="mso-spacerun: yes;"> </span>An examination of La Malinche within history begins to unravel the actions of those who seek to place blame for the destruction of indigenous culture upon the shoulders of one historical character. </div><div class="MsoNormal" style="text-indent: .5in;">La Malinche enters the realm of historical reality through her role in the conquest of the indigenous peoples of present day <st1:country-region><st1:place>Mexico</st1:place></st1:country-region>.<span style="mso-spacerun: yes;"> </span>She plays a distinct role as translator and companion to Hernán Cortés.<span style="mso-spacerun: yes;"> </span>Spanish chroniclers of the conquest vary in their representations of her.<span style="mso-spacerun: yes;"> </span>Francisco Gomara, a Spanish priest hired by Cortés to write about the conquest from his point of view, only briefly mentions La Malinche.<span style="mso-spacerun: yes;"> </span>On the other side is Bernal Diaz del Castillo, a foot soldier under Cortés, published his own account of the conquest written in an attempt to challenge the parts of Gomara’s history which he did not agree with.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[4]</span></span><!--[endif]--></span></span></a><o:p></o:p></div><div class="MsoNormal" style="text-indent: .5in;">The two histories spend different lengths on the presence of La Malinche in the conquest, but the most significant part is that they both note her as important to the mission.<span style="mso-spacerun: yes;"> </span>Without these accounts, there would be little or no recorded presence of La Malinche.<span style="mso-spacerun: yes;"> </span>Taking this a step further, without the Diaz accounts, written out of frustration with the official account by Gomara, there would be little known about La Malinche’s life before she encountered Cortés.<o:p></o:p></div><div class="MsoNormal" style="text-indent: .5in;">Gomara briefly sites La Malinche’s history in a chapter dedicated to her.<span style="mso-spacerun: yes;"> </span>Here the text and analysis switches to La Malinche’s Christian name, Doña Marina.<span style="mso-spacerun: yes;"> </span>Both Gomara and Diaz find it important to point out that she was baptized and therefore can only be refereed to as Doña Marina.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[5]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>According to Gomara’s account, which are an amalgamation of the testimonies of Cortés and the men who served under him, Doña Marina was born to wealthy parents “who were related to the lord of that country.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[6]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Gomara then writes that Doña Marina claims that she was “stolen by certain merchants during a war and sold in the market place of Xicalanco.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn7" name="_ftnref7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[7]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>She was a slave in several areas of the <st1:state><st1:place>Yucatan</st1:place></st1:state> before she was given to Cortés.<span style="mso-spacerun: yes;"> </span>Gomara spends no more than a few sentences recounting Doña Marina’s life story, but he significantly introduces this personal history by using the phrasing “<st1:city><st1:place>Marina</st1:place></st1:city>…answered.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn8" name="_ftnref8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[8]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Here, Gomara is setting up the background of Doña Marina as a story she tells herself in reply to Cortés’s questioning of her.<span style="mso-spacerun: yes;"> </span>It certainly reads as if this is the true history of Doña Marina from her own words.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div><div class="MsoNormal" style="text-indent: .5in;">In contrast, Bernal Diaz del Castillo weaves a story about Doña Marina’s life before the Spanish that spans many years and reads more like a biblical tale of tragedy and redemption than the simple summary Gomara supplies.<span style="mso-spacerun: yes;"> </span>Diaz begins by establishing his own feelings towards Doña Marina: she was “one very excellent woman,”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn9" name="_ftnref9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[9]</span></span><!--[endif]--></span></span></a> “good looking and intelligent and without embarrassment.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn10" name="_ftnref10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[10]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>For both historians, Doña Marina’s presence is valuable enough to be noted in the historical record.<span style="mso-spacerun: yes;"> </span>Diaz, however, is going as far as to comment on her personal attributes, a step which signifies a deeper respect for her role in the conquest than Gomara intends.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="text-indent: .5in;">Diaz then presents her story without associating it with her own words.<span style="mso-spacerun: yes;"> </span>He says: “I wish to give some account of Doña Marina…It happened in this way.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn11" name="_ftnref11" style="mso-footnote-id: ftn11;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[11]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Diaz’s history has Doña Marina being raised by parents who were also caciques – spiritual leaders – of Paynala, a town within the Aztec empire.<span style="mso-spacerun: yes;"> </span>Upon her father’s death, Doña Marina’s mother remarried and has a son with her new husband.<span style="mso-spacerun: yes;"> </span>“Her father and mother had a great affection for this one and it was agreed between them that he should succeed their honours when their days were done.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn12" name="_ftnref12" style="mso-footnote-id: ftn12;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[12]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>With this plan in mind, <st1:city><st1:place>Marina</st1:place></st1:city>’s parents gave her to peoples living in Xicalango and then claimed that she had died as to not bring about any suspicion.<span style="mso-spacerun: yes;"> </span>Doña Marina was then given to people in <st1:state><st1:place>Tabasco</st1:place></st1:state>, a city in the Yucutan inhabited by the Maya people.<span style="mso-spacerun: yes;"> </span>With this movement, she was able to speak at least two languages before she was given to Cortés as a slave.<span style="mso-spacerun: yes;"> </span>It is important to note that Diaz never refers to Doña Marina as a slave, but rather she is a person that is constantly being “given.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn13" name="_ftnref13" style="mso-footnote-id: ftn13;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[13]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span><o:p></o:p></div><div class="MsoNormal" style="text-indent: .5in;">Diaz goes on to further detail Doña Marina’s life under Cortés: After Tenochitlan, the Aztec capital, was conquered, Cortés went to <st1:country-region><st1:place>Honduras</st1:place></st1:country-region> to quell an apprising in the area.<span style="mso-spacerun: yes;"> </span>Diaz and Doña Marina accompanied him, and they passed through <st1:city><st1:place>Coatzacoalcos</st1:place></st1:city>, the major town near <st1:city><st1:place>Marina</st1:place></st1:city>’s birthplace.<span style="mso-spacerun: yes;"> </span>Here, her mother and half-brother were jointly ruling as chiefs.<span style="mso-spacerun: yes;"> </span>The expedition sent for them, and Diaz writes that “these relations [relatives] were in great fear of Doña Marina, for they thought that she had sent for them to put them to death, and they were weeping.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn14" name="_ftnref14" style="mso-footnote-id: ftn14;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[14]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Diaz uses this event to establish his statement that “Doña Marina was a person of the great importance and was obeyed without question by the Indians throughout <st1:place>New Spain</st1:place>.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn15" name="_ftnref15" style="mso-footnote-id: ftn15;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[15]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>It is a potent image to have indigenous chiefs cowering in the presence of a woman that was once a slave and was now among the most trusted of Cortés’s group.<span style="mso-spacerun: yes;"> </span>Diaz is giving Doña Marina a powerful position within the conquest which stretches into the time afterwards as well.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div><div class="MsoNormal" style="text-indent: .5in;">Diaz closes his account of Doña Marina by showing a righteous and forgiving side of her – she instantly forgives her mother and half-brother for her life in bondage.<span style="mso-spacerun: yes;"> </span>She gives them gifts of jewels and calms not only their fears but the fears of the readers as well.<span style="mso-spacerun: yes;"> </span>She<o:p></o:p></div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 45.0pt; margin-top: 0in;">Told them that God had been very gracious to her in freeing her from the worship of idols and making her a Christian, and letting her bear a son to her lord and master Cortés and in marrying her to such a gentleman as Juan Jaramillo, who was now her husband.<span style="mso-spacerun: yes;"> </span>That she would rather serve her husband and Cortés than anything else in the world, and would not exchange her place to be Cacica of all the provinces in <st1:place>New Spain</st1:place>.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn16" name="_ftnref16" style="mso-footnote-id: ftn16;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[16]</span></span><!--[endif]--></span></span></a><o:p></o:p></div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 45.0pt; margin-top: 0in;"><br />
</div><div class="MsoNormal">Diaz’s writing claims that these are words she indeed said to her family members, and this gives rise to the idea that Doña Marina – La Malinche – was actively denying her indigenous roots and taking the side of the Spanish.<span style="mso-spacerun: yes;"> </span>Diaz depicts Doña Marina as being grateful for her life of slavery because it resulted in a relationship with the Spanish and with the Christian god.<span style="mso-spacerun: yes;"> </span>This story is one which establishes her role as the betrayer of her people – why else would she so willingly become a Christian, bear a child for Cortés, and marry a Spaniard?<span style="mso-spacerun: yes;"> </span><o:p></o:p></div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span>It is very important to note the disparities between the histories given by Gomara and by Diaz in relation to Doña Marina.<span style="mso-spacerun: yes;"> </span>Both of these histories must be questioned in relation to their goals and the affect they would have on later generations.<span style="mso-spacerun: yes;"> </span>Diaz has many positive things to say about <st1:city><st1:place>Marina</st1:place></st1:city> that in more recent history have been used to demonize her and other women.<span style="mso-spacerun: yes;"> </span>However, the image of Doña Marina that Diaz presents is one which is only positive for the Spanish side of the conquest.<span style="mso-spacerun: yes;"> </span>She willingly – at least as Diaz describes it – accepts Christianity and a Spanish lifestyle.<span style="mso-spacerun: yes;"> </span>Diaz is careful not to call her a slave but Gomara does imply her initial status as one: He writes that Cortés “promised her more than her liberty is she would establish friendship between him and the men of her country.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn17" name="_ftnref17" style="mso-footnote-id: ftn17;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[17]</span></span><!--[endif]--></span></span></a> Her ability to make personal choices is not questioned by the historians of the sixteenth century, but it may be inferred that she accepted Cortés’s proposal in Gomara’s account.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div><div class="MsoNormal" style="text-indent: .5in;">Both historians, however, are writing from a European point of view and do not go on to mention the degree of freedom Doña Marina was granted when she agreed to be Cortés’s translator.<span style="mso-spacerun: yes;"> </span>The issue of La Malinche’s agency cannot be decided one way or another through the brief accounts of her actual life in the histories and is still vital to the discussion of La Malinche in the twentieth century movements which appropriated her image.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div><div class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none; text-indent: .5in;">One of the earlier texts used to reaffirm the position of La Malinche in the Chicano movement of the second half of the twentieth century was Octavio Paz’s essay,<i> </i>“Los Hijos de La Malinche” or “The Sons of La Malinche.”<span style="mso-spacerun: yes;"> </span>In this work, Paz seeks to uncover and name the reasons for <st1:country-region><st1:place>Mexico</st1:place></st1:country-region>’s national identity of being dually submissive and aggressive.<span style="mso-spacerun: yes;"> </span>His work is philosophical and interpretive, attempting to identify what he views as a problem for the Mexican people which can stand to be corrected.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn18" name="_ftnref18" style="mso-footnote-id: ftn18;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[18]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>His work finds that the people of Mexico “<span style="color: black;">struggle with imaginary entities, with vestiges of the past or self-engendered phantasms</span>”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn19" name="_ftnref19" style="mso-footnote-id: ftn19;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[19]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Paz looks back into the history of Mexico, most importantly the conquest, in order to understand the present situation of the Mexican people.<span style="mso-spacerun: yes;"> </span>His work ties the social consciousness and reality to characters of indigenous and Spanish backgrounds.<span style="mso-spacerun: yes;"> </span>He writes: “History helps us to understand certain traits of our characters, provided we are capable of isolating and defining them beforehand.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn20" name="_ftnref20" style="mso-footnote-id: ftn20;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[20]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>The expansion into explaining the Mexican subordinate outlook then spans into the historical images that <st1:country-region><st1:place>Mexico</st1:place></st1:country-region> must contend with: those of the Conquest and the colonial era that followed. <span style="color: black;"><o:p></o:p></span></div><div class="MsoNormal" style="text-indent: .5in;">Paz deconstructs the internal view of Mexicans as ‘los hijos de la chingada’ or ‘the sons of the fucked one’ via the conquest.<span style="mso-spacerun: yes;"> </span>La Malinche is a seminal figure in Mexican history and culture because of her role as ‘la chingada’ or ‘the fucked one.’<span style="mso-spacerun: yes;"> </span>Paz claims: “The <i>Chingada</i> is the mother who has suffered – metaphorically or actually – the corrosive and defaming action implicit in the verb that gives her her name.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn21" name="_ftnref21" style="mso-footnote-id: ftn21;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[21]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>By connecting La Malinche to the act implied by <i>chingada</i> and then resting her entire self-worth on the subject, Paz disconnects La Malinche first from her historical reality and thereby from her agency.<span style="mso-spacerun: yes;"> </span>Most importantly, <i>chingada</i> is feminine and clearly connects to the role of the woman in society in general.<span style="mso-spacerun: yes;"> </span>Paz writes:<o:p></o:p></div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; tab-stops: 255.0pt;">The person who suffers this action is passive, inert and open, in contrast to the active, aggressive and closed person who inflicts it. The <i>chingón</i> is the macho, the male; he rips open the <i>chingada</i>, the female, who is pure passivity, defenseless against the exterior world. The relationship between them is violent, and it is determined by the cynical power of the first and the impotence of the second.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn22" name="_ftnref22" style="mso-footnote-id: ftn22;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[22]</span></span><!--[endif]--></span></span></a><o:p></o:p></div><div class="MsoNormal" style="margin-right: .5in; tab-stops: 255.0pt;"><br />
</div><div class="MsoNormal" style="tab-stops: 255.0pt;">Juxtaposing the role of <i>chingada</i> as woman and the role of <i>chingón </i>as man creates a view of the conquest in which La Malinche is stripped of her agency in her submission to the European conqueror.<span style="mso-spacerun: yes;"> </span>By casting La Malinche in this light, the historical view of her becomes that of a woman without agency or choice in her actions.<span style="mso-spacerun: yes;"> </span>It seems to deny the actual historical description of La Malinche, which must also be questioned as previously demonstrated.<span style="mso-spacerun: yes;"> </span>Paz, however, is setting up La Malinche to be a mythical figure in terms of her lack of agency thus allowing her to image to be at the center of blame for the conquest of <st1:country-region><st1:place>Mexico</st1:place></st1:country-region>.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="tab-stops: .5in 255.0pt;"><span style="mso-tab-count: 1;"> </span>Paz also sets up the word <i>chingada </i>to be forbidden and prohibited, thus making it somehow shameful that La Malinche is referred to as lacking agency but more shameful that the blood-line of the mestizo nation reportedly traces back to her act of submission.<span style="mso-spacerun: yes;"> </span>There is a connection between <i style="mso-bidi-font-style: normal;">la chingada</i> and the Mexican people, but there is a distinct difference between being <i style="mso-bidi-font-style: normal;">los hijos de la chingada</i> and <i style="mso-bidi-font-style: normal;">la chingada</i>.<span style="mso-spacerun: yes;"> </span>While <i style="mso-bidi-font-style: normal;">los hjios</i> feel the shame of the act performed upon the ancestry and internalize this shame, it is left for <i style="mso-bidi-font-style: normal;">la chingada</i> to carry the blame of the act of violation which is performed upon her.<span style="mso-spacerun: yes;"> </span>Thereby, <st1:country-region><st1:place>Mexico</st1:place></st1:country-region> feels submissive and shamed by the act, but they are not still open for conquest in Paz’s time.<span style="mso-spacerun: yes;"> </span>They have learned from the wrongs committed upon <i style="mso-bidi-font-style: normal;">la chingada</i>, but they are <i style="mso-bidi-font-style: normal;">los hijos</i> and thereby have the distance to reject the internalization of <i style="mso-bidi-font-style: normal;">la chingada</i>.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div><div class="MsoNormal" style="text-indent: .5in;">In the larger view of Mexican women in the Chicano movement, Paz’s idea of <i>chingada</i> and the lack of agency is placed upon all women.<span style="mso-spacerun: yes;"> </span>In the introduction to this essay, Paz questions the reality of woman as an ‘other’: <o:p></o:p></div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">Woman is another being who lives apart and is therefore an enigmatic figure…She attracts and repels like men of an alien race or nationality…Woman is a living symbol of the strangeness of the universe and its radical heterogeneity.<span style="mso-spacerun: yes;"> </span>As such, does she bide life within herself, or death?<span style="mso-spacerun: yes;"> </span>What does she think?<span style="mso-spacerun: yes;"> </span>Or does she think?<span style="mso-spacerun: yes;"> </span>Does she truly have feelings?<span style="mso-spacerun: yes;"> </span>Is she the same as we are?<span style="mso-spacerun: yes;"> </span>Sadism begins as a revenge against feminine hermeticism or as a desperate attempt to obtain a response from a body we fear is insensible.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn23" name="_ftnref23" style="mso-footnote-id: ftn23;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[23]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span><o:p></o:p></div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;"><br />
</div><div class="MsoNormal" style="margin-right: -9.0pt;">The path of questioning the overall ability of women to reason and then stripping La Malinche of her own reason in the conquest is clearly delineated in Paz’s work.<span style="mso-spacerun: yes;"> </span>He is questioning women’s ability to be human – if humanity is established through the possession of reason, he is wondering if women have the ability to think at all.<span style="mso-spacerun: yes;"> </span>His over-arching “we” fears that women are insensible.<span style="mso-spacerun: yes;"> </span>This opinion of women, Paz is trying to explain to the reader, finds its roots in the dichotomy between Hernán Cortés and La Malinche and the role of <i>la chingada</i>.<span style="mso-spacerun: yes;"> </span>Paz reaffirms this assertion: “<span style="color: black;">In effect, every woman — even when she gives herself willingly —is torn open by the man, is the <i>Chingada</i>.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn24" name="_ftnref24" style="mso-footnote-id: ftn24;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[24]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Claiming all women to be <i>la chingada</i> sets them up to all be La Malinche. <span style="mso-spacerun: yes;"> </span>There is a fear of betrayal which is reaffirmed by the Judeo-Christian presence of Eve, who performed the ultimate betrayal upon all of humanity.<span style="mso-spacerun: yes;"> </span>La Malinche in turn becomes the Mexican Eve, betraying her people to the Spanish conquistadors via her voice and her body, as a translator and as the mistress of Cortés.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div><div class="MsoNormal" style="margin-right: -9.0pt; text-indent: .5in;"><span style="color: black;">However, the act of betrayal requires the presence of agency, which Paz is constantly denying to <i>la chingada</i> and therefore all women.<span style="mso-spacerun: yes;"> </span><i>La Chingada </i>lacks any form of action: “Her passivity is abject: she does not resist violence, but is an inert heap of bones, blood and dust. Her taint is constitutional and resides…in her sex. This passivity, open to the outside world, causes her to lose her identity…She loses her name; she is no one; she disappears into nothingness; she is Nothingness. And yet she is the cruel incarnation of the feminine condition.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn25" name="_ftnref25" style="mso-footnote-id: ftn25;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[25]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>In this dual vision of <i>la chingada</i> as nothing and as the “incarnation of the feminine condition,” a clear hypocrisy begins to emerge about the view of La Malinche in terms of agency.<span style="mso-spacerun: yes;"> </span>The phrasing of “cruel incarnation of the feminine condition” implies presence of the female and is in clear contrast to the nothingness of <i style="mso-bidi-font-style: normal;">la chingada</i>.<span style="mso-spacerun: yes;"> </span>By assigning any form of condition, Paz gives life to <i style="mso-bidi-font-style: normal;">la chingada</i> and thus negates his assertion of her supposed lack of being.<span style="mso-spacerun: yes;"> </span>Nonetheless, Paz’s image of submissive betrayal articulates the twentieth century national view of La Malinche as the Mexican Eve.<span style="mso-spacerun: yes;"> </span>The Chicano Movement was influenced by the view he is communicating even if every single member of the movement did not read his essay – Paz is most successful in his ability to capture the conscience of the Mexican people in writing.<span style="mso-spacerun: yes;"> </span>This conscience made itself present even in the Chicano Movement centered in the </span><st1:country-region><st1:place><span style="color: black;">United States</span></st1:place></st1:country-region><span style="color: black;">.<o:p></o:p></span></div><div class="MsoNormal" style="text-indent: .5in;"><span style="color: black;">The Chicano Movement in the </span><st1:country-region><st1:place><span style="color: black;">United States</span></st1:place></st1:country-region><span style="color: black;"> cannot be separated from the post-revolutionary feelings Octavio Paz is writing about in “Los Hijos de La Malinche.”<span style="mso-spacerun: yes;"> </span>Though the movement came into fruition in the 1960s, nearly a decade after Paz published his completed essays, the fervor of the movement stood alongside Paz’s examination of Mexican identity.<span style="mso-spacerun: yes;"> </span>The Chicano Movement, inspired dually by the African-American Civil Rights Movement and the United Farm Workers organized by Cesar Chavez, sought to confront the racial and class differences Mexican-Americans faced in the Anglo-dominated United States.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn26" name="_ftnref26" style="mso-footnote-id: ftn26;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[26]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>The movement, like the civil rights movements which came before and after it, targeted institutionalized racism and inequality through many platforms including legislation, community outreach, and scholarly work.<span style="mso-spacerun: yes;"> </span>The movement took on a radical slant after the assimilation attempts of the 1950s.<span style="mso-spacerun: yes;"> </span>In his <i>Chicano Manifesto</i>, Armando Rendon describes his discovery of the Chicano community and its effect in bringing him back to his own race: “I owe my life to my Chicano people. They rescued me from the Anglo kiss of death, the monolingual,<span class="apple-converted-space"> </span><span class="spelle">monocultural</span>, and colorless gringo society. I no longer face a dilemma of identity or direction. That identity and direction have been charted for me by the Chicano.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn27" name="_ftnref27" style="mso-footnote-id: ftn27;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[27]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>The supplicating Mexican-Americans of the post-World War II decade were overrun by radicals, often young people if not students, in an effort to achieve civil rights goals.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div><div class="MsoNormal" style="text-indent: .5in;"><span style="color: black;">The power of the movement and its ties to </span><st1:country-region><st1:place><span style="color: black;">Mexico</span></st1:place></st1:country-region><span style="color: black;"> can be accounted for by the post-war reality of the Mexican-American community.<span style="mso-spacerun: yes;"> </span>The United States Census in 1960 counted approximately 3,842,000 Mexican-Americans living in the country, the majority of which resided in the Southwest.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn28" name="_ftnref28" style="mso-footnote-id: ftn28;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[28]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>This was a fifty-one percent increase from the previous census in 1950.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn29" name="_ftnref29" style="mso-footnote-id: ftn29;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[29]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>At the same time, over eighty-five percent of Mexican-Americans were second-generation, native born to native born parents, meaning that the majority of population increase can be attributed to births and not immigration.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn30" name="_ftnref30" style="mso-footnote-id: ftn30;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[30]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>The Mexican-American community, however, was also replenished by nearly 300,000 legal immigrants during the 1950s and an unknown (but undoubtedly higher) number of illegal immigrants.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn31" name="_ftnref31" style="mso-footnote-id: ftn31;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[31]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>This change in the composition of the Mexican-American population led to a community which was significantly young – the median age of Mexican-Americans being nineteen compared to twenty-eight in the Anglo-community of the Southwest.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn32" name="_ftnref32" style="mso-footnote-id: ftn32;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[32]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>This community was also inextricably tied to its Mexican heritage through segregated communities which relied upon tradition and a common language, Spanish.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn33" name="_ftnref33" style="mso-footnote-id: ftn33;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[33]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div><div class="MsoNormal" style="text-indent: .5in;"><span style="color: black;">These two factors allowed for the Chicano Movement to grow rapidly amongst the Mexican-American population.<span style="mso-spacerun: yes;"> </span>One of the distinctions made in the early days of the movement between those with radical involvement was a change in name – radical, academic-minded activists chose the name Chicano for the movement while the conservative sect of the population continued to rely on the term ‘Mexican-American.’<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn34" name="_ftnref34" style="mso-footnote-id: ftn34;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[34]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Rendon describes this delineation of Chicano as “the one unique word of the Mexican American people. Its derivation is strictly internal; it owes nothing to the Anglo penchant for categorizing ethnic groups.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn35" name="_ftnref35" style="mso-footnote-id: ftn35;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[35]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>With this usage, the Chicano Movement made a conscious choice to separate itself drastically from the dominant culture of the </span><st1:country-region><st1:place><span style="color: black;">United States</span></st1:place></st1:country-region><span style="color: black;">, a step taken in several civil rights movements after assimilation attempts did not spur on instant change.<span style="mso-spacerun: yes;"> </span>Carlos Munoz, Jr. defines the movement as “</span>a quest for a new identity and for political power.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn36" name="_ftnref36" style="mso-footnote-id: ftn36;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[36]</span></span><!--[endif]--></span></span></a><span style="color: black;"><o:p></o:p></span></div><div class="MsoNormal" style="text-indent: .5in;"><span style="color: black;">Simply the focus on the use of the word “Chicano” reveals the disparity in the movement on the issue of women’s rights.<span style="mso-spacerun: yes;"> </span>Like many civil rights movements of the 1960s, the Chicano Movement sought to focus on race and class issues without reflecting on the gender problems within the community.<span style="mso-spacerun: yes;"> </span>The “</span>basis for unity would be their pride in Mexican ethnicity and culture,”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn37" name="_ftnref37" style="mso-footnote-id: ftn37;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[37]</span></span><!--[endif]--></span></span></a> thereby depending on a culture that was historically misogynistic.<span style="mso-spacerun: yes;"> </span>When women in the movement, Chicanas, attempted to seek leadership roles, they were often rejected by the men leading the movement and “were inevitably relegated to subordinate positions, such as secretaries, cooks, and janitors.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn38" name="_ftnref38" style="mso-footnote-id: ftn38;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[38]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Sexual harassment was also a common presence within the movement.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn39" name="_ftnref39" style="mso-footnote-id: ftn39;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[39]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Women reacted to these subservient roles and harassment by pushing for a greater voice within the movement.<span style="mso-spacerun: yes;"> </span>Male leaders confronted this threat by associating women who sought to bring feminism into the movement with La Malinche, Paz’s passive betrayer.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div><div class="MsoNormal" style="text-indent: .5in;"><span style="color: black;">Outspoken feminist thought in the Chicano Movement originated from one of the more radical branches in the movement, the Brown Berets.<span style="mso-spacerun: yes;"> </span>The Berets moved away from a focus on the academic aspect of the Chicano movement and focused on the barrio in which police brutality and drug use were their main concerns, along with a strong awareness of the youth population.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn40" name="_ftnref40" style="mso-footnote-id: ftn40;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[40]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>An anonymous work published from a member of the Orange County Brown Berets in 1971 illustrated the desire of women to participate in the movement: “In order to have a successful Revolution you must have full involvement from both the Chicanos and Chicanas.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn41" name="_ftnref41" style="mso-footnote-id: ftn41;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[41]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>The female Brown Beret member sought to address injustices recently done to women in the Brown Beret division of the movement perpetuated by the “deep-macho hang-ups”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn42" name="_ftnref42" style="mso-footnote-id: ftn42;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[42]</span></span><!--[endif]--></span></span></a> of the culture.<span style="mso-spacerun: yes;"> </span>The article lays out the stereotypes that must immediately be abolished in order to completely involve women in the movement and thereby bring about the most radical change.<span style="mso-spacerun: yes;"> </span>The author presents the following stereotypes: “1.<span style="mso-spacerun: yes;"> </span>‘A woman is only good for making love to.’<span style="mso-spacerun: yes;"> </span>2.<span style="mso-spacerun: yes;"> </span>‘All women should do is stay home, was dishes, cook and clean the house.’<span style="mso-spacerun: yes;"> </span>3.<span style="mso-spacerun: yes;"> </span>‘Women don’t rap as good as men; they aren’t as heavy regarding the movement, and they don’t command the respect of their peers.’<span style="mso-spacerun: yes;"> </span>4.<span style="mso-spacerun: yes;"> </span>‘Women shouldn’t be allowed to do community work; the work should be done by men.’”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn43" name="_ftnref43" style="mso-footnote-id: ftn43;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[43]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>These stereotypes fall in line with those which many feminist groups in the </span><st1:country-region><st1:place><span style="color: black;">United States</span></st1:place></st1:country-region><span style="color: black;"> in the late 1960s and 1970s were trying to confront: The role of women as simply sexual and domestic, without political or social power.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div><div class="MsoNormal" style="text-indent: .5in;"><span style="color: black;">The article clearly demonstrates the disparity between Chicanas and Chicanos in a movement which sought civil rights for an entire ethnic group but continued to delegate women to second-class status.<span style="mso-spacerun: yes;"> </span>The stereotypes involved here were not exclusive to the late-twentieth century </span><st1:country-region><st1:place><span style="color: black;">United States</span></st1:place></st1:country-region><span style="color: black;"> – they found footing in historical and cultural precedents dating back even further than the passive role Octavio Paz assigns to La Malinche, <i style="mso-bidi-font-style: normal;">la chingada</i>.<span style="mso-spacerun: yes;"> </span>They exemplify the woman Octavio Paz returns to time and time again – questionably unthinking, passive, not fit to step outside of submissive roles because of a lack of reason or even humanity.<span style="mso-spacerun: yes;"> </span>They mirror <i style="mso-bidi-font-style: normal;">la chingada</i> in the woman’s ability to only be a sexual object.<span style="mso-spacerun: yes;"> </span>The role is subservient but at the same time is used to hold up the movement, much like Paz’s <i style="mso-bidi-font-style: normal;">chingada</i> has a role in explaining what has gone wrong in the Mexican identity.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div><div class="MsoNormal" style="text-indent: .5in;"><span style="color: black;">The anonymous Brown Beret author concludes that “We don’t blame Chicanos for feeling that women are inferior.<span style="mso-spacerun: yes;"> </span>The Chicano family structure teaches the men to be leaders while the women are taught how to do household chores and to think in terms of the day when they will be married.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn44" name="_ftnref44" style="mso-footnote-id: ftn44;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[44]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>There is an understanding that this view of women is learned, is tied to Paz’s views of the national identity’s dependence on the relationship between superior and inferior peoples.<span style="mso-spacerun: yes;"> </span>The author recognizes the traditions being demonstrated by the Chicano Movement’s treatment of women but also demands a change, if not a completely radical one.<span style="mso-spacerun: yes;"> </span>She still advocates that “Chicanas are needed to stand by their men,” <a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn45" name="_ftnref45" style="mso-footnote-id: ftn45;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[45]</span></span><!--[endif]--></span></span></a> not deviating from the heteronormativity expected in Mexican culture.<span style="mso-spacerun: yes;"> </span>Most significantly, the author makes a clear point of removing these opinions from the concurrent women’s liberation movement: “That’s not ours – that’s a white thing.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn46" name="_ftnref46" style="mso-footnote-id: ftn46;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[46]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>This closing point addresses the fear and distaste that all members of the Chicano Movement, Chicanas included, felt for associations with Anglo institutions and movements.<span style="mso-spacerun: yes;"> </span>The specter of La Malinche hung over those who gravitated towards the power of Anglo movements and it would take Chicanas who willingly self-identified as feminists to free her image from its centuries-long state of demonization.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none; text-indent: .5in;"><span style="color: black;">The framing of feminism outside of the white women’s liberation movement is vital to understanding the fear and rebirth of La Malinche in the late twentieth century.<span style="mso-spacerun: yes;"> </span>La Malinche was prominent in the Chicano Movement because of her role in the conquest of </span><st1:country-region><st1:place><span style="color: black;">Mexico</span></st1:place></st1:country-region><span style="color: black;"> as both Cortés’ translator and mistress – a dual betrayal of indigenous peoples.<span style="mso-spacerun: yes;"> </span>Centuries of historical writing and philosophical thought was dedicating to portraying her as the sole reason for the collapse of the Aztec empire.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none; text-indent: .5in;"><span style="color: black;">It was the appropriation of this image in support of the macho goals of the Chicano movement that sparked the reaction of the Chicana feminists.<span style="mso-spacerun: yes;"> </span>In 1977, Martha Cotera wrote “</span>Encouraged by the Octavio Paz mentality, men have used her [La Malinche] as a club for us, to keep us down.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn47" name="_ftnref47" style="mso-footnote-id: ftn47;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[47]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>This action is associated with La Malinche because women who stepped outside of the boundaries delineated by the men in power were labeled as <i style="mso-bidi-font-style: normal;">malinchistas</i>.<span style="mso-spacerun: yes;"> </span>Paz described the use of <i style="mso-bidi-font-style: normal;">malinchista</i> as a general derogatory term for Mexicans who allowed western culture to penetrate into their society: The “<span style="color: black;">success of the contemptuous adjective malinchista recently put into circulation by the newspapers to denounce all those who have been corrupted by foreign influences. The malinchistas are those who want </span><st1:country-region><st1:place><span style="color: black;">Mexico</span></st1:place></st1:country-region><span style="color: black;"> to open itself to the outside world: the true sons of La Malinche, who is the Chingada in person.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn48" name="_ftnref48" style="mso-footnote-id: ftn48;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[48]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>This use of <i style="mso-bidi-font-style: normal;">malinchista</i> was problematic for the Chicano Movement because their culture was already open to foreign influence – they were, for the most part, </span><st1:country-region><st1:place><span style="color: black;">United States</span></st1:place></st1:country-region><span style="color: black;"> citizens.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Malinchista</i> was therefore redefined for those who stepped outside of the goals of the movement – and those who did so were for the most part women.<span style="mso-spacerun: yes;"> </span>The word <i>malinchista</i> is also distinctly feminine, tying all betrayal to the female form whether said betrayal is committed by men or women: “To be a traitor is by implication to become female, while to be female is to be inherently a potential traitor.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn49" name="_ftnref49" style="mso-footnote-id: ftn49;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[49]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none; text-indent: .5in;"><span style="color: black;">There were several definitions for what stepping outside of the goals of the movement entailed.<span style="mso-spacerun: yes;"> </span>Cherrie Moraga defines one option as that for “</span>the woman who defies her role as subservient to her husband, father, brother, or son by taking control of her sexual destiny.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn50" name="_ftnref50" style="mso-footnote-id: ftn50;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[50]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>This included rejection of heteronormativity either through expression of non-normative sexual desires or the choice not to have children.<span style="mso-spacerun: yes;"> </span>Either stepped outside of the goals of the Chicano movement – lesbians were viewed as inferior because they could no longer even go as far as to support ‘their’ men – the Chicano men were not in control of the woman, it was obvious that the white men were.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn51" name="_ftnref51" style="mso-footnote-id: ftn51;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[51]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Both were connected to Malintzin despite the historical record demonstrating that she engaged in sexual relations with men and bore at least one child.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none; text-indent: .5in;">An even broader application of <i style="mso-bidi-font-style: normal;">malinchista</i> was afforded to women who were involved with Anglo-men or participated in Anglo-institutions and movements, especially that of women’s liberation.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn52" name="_ftnref52" style="mso-footnote-id: ftn52;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[52]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>The second-wave feminist movement in the <st1:country-region><st1:place>United States</st1:place></st1:country-region> was controlled by middle-class white women, there is no doubt in that correlation.<span style="mso-spacerun: yes;"> </span>This led Chicana feminists to shy away from claiming feminism for themselves and gave Chicano men the opportunity to demonize women who related to feminist ideologies.<span style="mso-spacerun: yes;"> </span>Cotera explains: “We didn’t say that we were feminists.<span style="mso-spacerun: yes;"> </span>It was the men who said that.<span style="mso-spacerun: yes;"> </span>They said, ‘Aha!<span style="mso-spacerun: yes;"> </span>Feminista!’ and that was a good reason for not listening to some of the most active women in the community.<span style="mso-spacerun: yes;"> </span>When the men, and even some of the women, in the movement spoke of liberation, you found that they literally meant liberation for men, and they couldn’t care peanuts about you or your little girls or your little sisters, or your own mother.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn53" name="_ftnref53" style="mso-footnote-id: ftn53;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[53]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>It was the rejection of adding the liberation of women to the goals of the Chicano Movement which caused feminists within the movement to walk away and build their own branches which incorporated gender into the fight for civil rights.<span style="mso-spacerun: yes;"> </span>The tag of <i style="mso-bidi-font-style: normal;">malinchista</i> could no longer be accepted as the final word when feminist issues were brought up in Chicano meetings and protests.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div><div class="MsoNormal" style="text-indent: .5in;">Feminists sought to redefine their own roles as well as the role of La Malinche, to bring her out of historical exile and to exalt her from the centuries of blame which had been placed upon her.<span style="mso-spacerun: yes;"> </span>Cypess notes that “the revisionist works of…Chicana writers are significant because they react to the negative presentations of La Malinche as a direct defamation of themselves.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn54" name="_ftnref54" style="mso-footnote-id: ftn54;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[54]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>The Chicano Movement chose to incorporate La Malinche in a negative light.<span style="mso-spacerun: yes;"> </span>Instead of subverting their goals to those of the Chicano leaders, Chicana feminists sought to revise the role of La Malinche within the collective memory of the Chicano/a people.<span style="mso-spacerun: yes;"> </span>Cypess quotes Adelaida Del Castillo: “‘Any denigrations made against her indirectly defame the character of the Mexicana/Chicana female.<span style="mso-spacerun: yes;"> </span>If there is shame for her, there is shame for us; we suffer the effects of these implications.’”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn55" name="_ftnref55" style="mso-footnote-id: ftn55;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[55]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>There would no longer be the acceptance of shame for stepping outside of the patriarchal society among the Chicanas, and the transformation would come about through the reworking of the character of La Malinche.<span style="mso-spacerun: yes;"> </span>Chicana feminists sought to grant La Malinche the agency which Octavio Paz denied.<span style="mso-spacerun: yes;"> </span>They questioned the accountability directed to Malintzin for the destruction of an entire empire, and they even questioned the reality of the empire in itself.<o:p></o:p></div><div class="MsoNormal" style="text-indent: .5in;">Octavio Paz described La Malinche as <i style="mso-bidi-font-style: normal;">la chingada</i>, a figure without any agency and barely even any humanity.<span style="mso-spacerun: yes;"> </span>Chicana feminists reacting to this perpetuated view within the American Chicano Movement sought to not only grant La Malinche her humanity but also her agency.<span style="mso-spacerun: yes;"> </span>They aspired to rework the history and interpretation of La Malinche through various platforms – literature, poetry, philosophical manifestos, and academic essays.<span style="mso-spacerun: yes;"> </span>They relied on what was supplied by the historians – Gomara and Diaz – and on what society accepted within the realm of social memory.<span style="mso-spacerun: yes;"> </span>The shame which Adelaida Del Castillo describes above would be removed through exploration and revision, and La Malinche would no longer be relegated to the realm of historical exile.<span style="mso-spacerun: yes;"> </span>She would join the ranks of feminist heroes for the modern era, taking history and all of its implications out of the hands of men who spent centuries writing and reading history which for the most part only sought to benefit their own gendered norms for society.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div><div class="MsoNormal" style="text-indent: .5in;">The passivity of La Malinche and other women throughout history was challenged by Chicana revisions of popular histories.<span style="mso-spacerun: yes;"> </span>‘Great Man’ histories were challenged by ‘Great Woman’ retellings.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn56" name="_ftnref56" style="mso-footnote-id: ftn56;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[56]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>The process of revising history in order to include accomplished women who were ignored by Chicano historians “dispels damaging and distorting images of Chicanas”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn57" name="_ftnref57" style="mso-footnote-id: ftn57;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[57]</span></span><!--[endif]--></span></span></a> and “provides Chicana students with positive role models.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn58" name="_ftnref58" style="mso-footnote-id: ftn58;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[58]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Alma Garcia’s exploration of the entrance of Chicana women into history does find some things problematic, however.<span style="mso-spacerun: yes;"> </span>She says:<span style="mso-spacerun: yes;"> </span>“Such accounts remain at a basically descriptive level, lacing a theoretical framework with which to analyze the specific experience of such women.<span style="mso-spacerun: yes;"> </span>More importantly, however, this approach fails to analyze the lives of the majority of Mexican women or Chicanas who were the contemporaries of such individuals.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn59" name="_ftnref59" style="mso-footnote-id: ftn59;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[59]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>This analysis of some Chicana histories points out that the interpretation of individual women is not enough; Uncovering the true history of La Malinche, which is both difficult and most likely impossible given the lack of direct account from her, will not obliterate the need for Chicana feminism.<span style="mso-spacerun: yes;"> </span>There is an aspect to this process that craves analysis and social application, which demands redemption from the subordinate position Paz and many others have placed Malinche in.<span style="mso-spacerun: yes;"> </span>Straight facts and history textbooks are not enough to subvert misogynistic culture.<span style="mso-spacerun: yes;"> </span>As Martha Cotera argued, “What we do with our identity is also our own decision, not the decision of men, the universities, ‘herstories’, ‘his-stories’, or anyone else.<span style="mso-spacerun: yes;"> </span>That goes for Malinche and for us today!”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn60" name="_ftnref60" style="mso-footnote-id: ftn60;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[60]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>New identities needed to be formed outside of academic circles, identities which could be applied to all aspects of the community, not just the members who could access higher education.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div><div class="MsoNormal" style="text-indent: .5in;">Artistic interpretation appears to have been the best option for Chicana feminists when it came time to reframe La Malinche.<span style="mso-spacerun: yes;"> </span>The lack of La Malinche’s voice in history created a void which Chicanas rushed to fill in attempts to provide her with agency and reaffirm their own condition.<span style="mso-spacerun: yes;"> </span>In an article entitled “Yo Soy La Malinche,” Mary Louis Pratt examines the various uses of La Malinche and her voice by Chicana feminist artists in the 1970s and 1980s.<span style="mso-spacerun: yes;"> </span>One of the poems she examines, “Trilogy” by Naomi Quinonez, works to subvert the traditional reasoning for La Malinche’s betrayal through examination of feminine archetypes and patriarchal societies.<span style="mso-spacerun: yes;"> </span>Quinonez begins her poem by comparing three mythical female figures who are all viewed as betrayers: “Eve…Malinche…Helen[of <st1:city><st1:place>Troy</st1:place></st1:city>]/Unpredictable hurricanes/sources of destructive power.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn61" name="_ftnref61" style="mso-footnote-id: ftn61;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[61]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>The juxtaposition of these three women, each often blamed for the destruction of their people – though these people are often referred to through androcentric language such as ‘mankind’ – places La Malinche among familiar beings and creates an instant bond with commonplace views of women as betrayers.<span style="mso-spacerun: yes;"> </span>Quinonez is not creating this paradigm, she is defining it in order to explore the centuries of blame La Malinche has faced.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div><div class="MsoNormal" style="text-indent: .5in;">The stanza of the poem Pratt includes which focuses on La Malinche seeks to understand La Malinche’s choices and exalt her from carrying the responsibility for the conquest.<span style="mso-spacerun: yes;"> </span>“The atrocity of Malinche’s sin/as if she had no father/who ingrained in her/absolute obedience/to men/as if he had not given her/to Cortez as a gift./She, obeying men/obeyed her father’s wish/to be given/obeyed Cortez/and gave him Mexico.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn62" name="_ftnref62" style="mso-footnote-id: ftn62;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[62]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Here Quinonez manipulates the role of men and women in traditional indigenous society in order to make a conclusion about the reasons for La Malinche’s betrayal.<span style="mso-spacerun: yes;"> </span>However, she also ignores the history provided by Gomara and Diaz in order to connect La Malinche’s tragic early years to a male figure.<span style="mso-spacerun: yes;"> </span>Malinche “obeyed her father’s wish”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn63" name="_ftnref63" style="mso-footnote-id: ftn63;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[63]</span></span><!--[endif]--></span></span></a> to be given to Cortés while Diaz has demonstrated that Malinche was sold into slavery by her mother and stepfather and given to Cortés by those who were not her actual family members.<span style="mso-spacerun: yes;"> </span>This manipulation of what has been considered historical fact demonstrates the pliability of the La Malinche archetype within her historical exile.<span style="mso-spacerun: yes;"> </span>While for centuries men used the story to place blame for the destruction of indigenous culture upon one woman, Quinonez turns the tables and places blame on the patriarchy – something Chicana feminists heavily identified as a cause of problems within the Chicano movement.<span style="mso-spacerun: yes;"> </span>La Malinche had no choice but to help Cortés in the conquest of <st1:country-region><st1:place>Mexico</st1:place></st1:country-region>, Quinonez’s poem argues, because she had no choice in her birth as a woman.<span style="mso-spacerun: yes;"> </span>She was taught to obey the wishes of men, and so she gave Cortés what he wished for – <st1:country-region><st1:place>Mexico</st1:place></st1:country-region>.<span style="mso-spacerun: yes;"> </span>The analysis of La Malinche through poetry seeks to reestablish not only her agency but also her humanity after centuries of exile, especially after the way she was portrayed in Paz’s essay.<span style="mso-spacerun: yes;"> </span>Quinonez is seeking to displace blame by taking on the patriarchal societies which expect women to obey men and then vilify these same women when they succeed in this task.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div><div class="MsoNormal" style="text-indent: .5in;">In contrast to Quinonez, Carmen Tafolla’s 1978 attempts to raise La Malinche without necessarily shifting the cause of the betrayal away from her.<span style="mso-spacerun: yes;"> </span>Pratt recognizes that poems such as Tafolla’s “La Malinche,” seek “re-cognition of Malintzin’s decisive role in determining the course of the Spanish invasion.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn64" name="_ftnref64" style="mso-footnote-id: ftn64;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[64]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>This avenue for explanation aims to question why La Malinche’s powerful part in the conquest has been so threatening to her historical successors, enough that she was specifically singled out for vilification and thereby historical exile.<span style="mso-spacerun: yes;"> </span>Tafolla assigns La Malinche agency in the following lines: “And <i>you</i> came/My dear Hernán Cortés/to share your ‘civilization’ – to/play god/…….and I began to <i>dream…/I saw</i>/<i>and I acted!</i>”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn65" name="_ftnref65" style="mso-footnote-id: ftn65;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[65]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>The poem endeavors to grant La Malinche agency and even more – power.<span style="mso-spacerun: yes;"> </span>She takes control of the situation she is put in because she believes that the conquest could help her and her people: “I saw our world/And I saw yours/And I saw – /another.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn66" name="_ftnref66" style="mso-footnote-id: ftn66;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[66]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>There is a hint of the formation of the mestizo nation which <st1:country-region><st1:place>Mexico</st1:place></st1:country-region> became, a mix of indigenous and Spanish ancestry which contributes so heavily to Octavio Paz’s definition of Mexican national identity. <o:p></o:p></div><div class="MsoNormal" style="text-indent: .5in;">Tafolla aims to move away from the view of <st1:country-region><st1:place>Mexico</st1:place></st1:country-region>’s birth as coming from a violent act, from the people of <st1:country-region><st1:place>Mexico</st1:place></st1:country-region> being <i>los hijos de la chingada</i>.<span style="mso-spacerun: yes;"> </span>“They could not imagine me dealing on a level with you –/so they said I was raped, used,/<i>chingada</i>.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn67" name="_ftnref67" style="mso-footnote-id: ftn67;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[67]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Tafolla is challenging Paz and the Chicano mentality that La Malinche was at once a helpless victim and an evil betrayer.<span style="mso-spacerun: yes;"> </span>These conflicting views obscure both her agency and her power.<span style="mso-spacerun: yes;"> </span>Why was it that La Malinche was the one singled out for historical exile when thousands of other indigenous peoples, mostly men in the role of warriors, assisted Cortés in overthrowing the so-called Aztec empire?<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn68" name="_ftnref68" style="mso-footnote-id: ftn68;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[68]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>It is very possible that she was just a woman who used the power she was granted, power she had been denied initially when she was sold into slavery, in order to better herself and perhaps her people.<span style="mso-spacerun: yes;"> </span>The historical record does not represent her goals – it barely represents her voice.<span style="mso-spacerun: yes;"> </span>The policing of female power through reference to <i>la malinchista</i> in the Chicano movement depicts a fear of female power being used to fulfill female-centered goals.<span style="mso-spacerun: yes;"> </span>The Chicana writers of the 1970s sought to define those goals for themselves through the use of La Malinche.<span style="mso-spacerun: yes;"> </span>If she could be turned into a positive character, they could not be degraded for seeking more power within their communities and within the <st1:country-region><st1:place>United States</st1:place></st1:country-region>.<o:p></o:p></div><div class="MsoNormal" style="text-indent: .5in;"><span style="color: black;">Why is La Malinche so captivating in her relation to the conquest and her association with Spanish conquistadors?<span style="mso-spacerun: yes;"> </span>Mary Louis Pratt points out that “exploration, imperial invasion, and plunder are endeavors overwhelmingly associated with men.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn69" name="_ftnref69" style="mso-footnote-id: ftn69;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[69]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>La Malinche’s historical presence as an aid to the conquest of a vast society is intriguing because of her status as a female.<span style="mso-spacerun: yes;"> </span>Noble or not, she stepped outside of the boundaries her society allocated to women.<span style="mso-spacerun: yes;"> </span>Whether or not she had the ability to make choices for herself during her life is still in question, but the record presents her as an active individual and that is the ultimate outcome.<span style="mso-spacerun: yes;"> </span>It is rare to see the men who helped Cortés’ conquest being question and singled out as betrayers of their people.<span style="mso-spacerun: yes;"> </span>Therefore, some sort of conclusion can be made about the association between La Malinche’s power and her womanhood.<span style="mso-spacerun: yes;"> </span>There is something threatening about her, or frightening, or simply confusing.<span style="mso-spacerun: yes;"> </span>Centuries have been spent trying to vilify or justify her decisions – she was a slave, she must have been forced, she wanted revenge, she sought to bring about a better world than the one she witnessed – but one conclusive answer has never been reached and may never be reached.<span style="mso-spacerun: yes;"> </span>This is the source of La Malinche’s historical exile.<span style="mso-spacerun: yes;"> </span>She is an enigma, not in the ways Octavio Paz describes women, but in the way that there is no solid historical proof of anything about her, and there may never be.<span style="mso-spacerun: yes;"> </span>Despite spending her life speaking and interpreting the words of others, La Malinche’s words about herself were never recorded in a undoubtedly truthful way.<span style="mso-spacerun: yes;"> </span>She has no voice, and there is irony in that.<span style="mso-spacerun: yes;"> </span></span>“Her very presence contradicts, for example, canonical ideologies of conquest and resistance as masculine heroic enterprises, and reductive visions of the conquest as a straightforward relation between victimizers and victims.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn70" name="_ftnref70" style="mso-footnote-id: ftn70;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[70]</span></span><!--[endif]--></span></span></a></div><div class="MsoNormal"><br />
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</div><div align="center" style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 12.0pt; text-align: center;"><u>Appendix 1<o:p></o:p></u></div><div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 12.0pt;">La Malinche by Carmen Tafolla<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftn71" name="_ftnref71" style="mso-footnote-id: ftn71;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[71]</span></span><!--[endif]--></span></span></a></div><div class="MsoNormal">Yo soy la Malinche.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">My people called Malintzin Tenepal</div><div class="MsoNormal">The Spaniards called me Doña Marina</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">I came to be known as Malinche</div><div class="MsoNormal"><span style="mso-spacerun: yes;"> </span>and Malinche came to mean traitor.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">They called me – chingada</div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>¡Chingada!</div><div class="MsoNormal">(Ha – Chingada!<span style="mso-spacerun: yes;"> </span>Screwed!)</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Of noble ancestry, for whatever that means, I was sold into slavery</div><div class="MsoNormal">by MY ROYAL FAMILY – so that my brother could get my</div><div class="MsoNormal">inheritance</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">…And then the omens began – a god, a new civilization, the</div><div class="MsoNormal">downfall of our empire.</div><div class="MsoNormal"><span style="mso-spacerun: yes;"> </span>And <i>you</i> came.</div><div class="MsoNormal"><span style="mso-spacerun: yes;"> </span>My dear Hernán Cortés, to share your “civilization” – to </div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span>play god,</div><div class="MsoNormal">…….and I began to <i>dream</i>…</div><div class="MsoNormal" style="text-indent: .5in;"><i>I saw<o:p></o:p></i></div><div class="MsoNormal" style="text-indent: .5in;"><span style="mso-spacerun: yes;"> </span>and I <i>acted!<o:p></o:p></i></div><div class="MsoNormal">I saw our world</div><div class="MsoNormal"><span style="mso-spacerun: yes;"> </span>And I saw yours</div><div class="MsoNormal"><span style="mso-spacerun: yes;"> </span>And I saw – </div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>another.</div><div class="MsoNormal">And yes – I helped you – against Emperor Moctezuma Xocoyotzin</div><div class="MsoNormal"><span style="mso-spacerun: yes;"> </span>himself!</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">I became Interpreter, Advisor, <span style="mso-tab-count: 1;"> </span>and lover.</div><div class="MsoNormal"><span style="mso-spacerun: yes;"> </span>They could not imagine me dealing on a level with you – </div><div class="MsoNormal"><span style="mso-spacerun: yes;"> </span>so they said I was raped, used</div><div class="MsoNormal"><span style="mso-tab-count: 5;"> </span><i>chingada</i></div><div class="MsoNormal"><span style="mso-tab-count: 7;"> </span><i>¡Chingada! <o:p></o:p></i></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">But I saw our world</div><div class="MsoNormal"><span style="mso-spacerun: yes;"> </span>and your world</div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span>and another.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">No one else could <i>see!</i></div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span>Beyond one world, none existed.</div><div class="MsoNormal"><span style="mso-spacerun: yes;"> </span>And you yourself cried the night</div><div class="MsoNormal"><span style="mso-spacerun: yes;"> </span>the city burned,</div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span>and burned at your orders.</div><div class="MsoNormal">The most beautiful city on earth</div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>in flames.</div><div class="MsoNormal">You cried broken tears the night you saw your destruction.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">My homeland ached within me</div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>(but I saw <i>another!</i>)</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Another world – </div><div class="MsoNormal" style="text-indent: .5in;">a world yet to be born.</div><div class="MsoNormal">And our child war born…</div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span>And I was immortalized <i>Chingada!</i></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Years later, you took away my child (my sweet mestizo new world </div><div class="MsoNormal">child)</div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span>to raise him in your world.</div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span>You <i>still</i> didn’t see.</div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>You <i>still</i> didn’t see.</div><div class="MsoNormal">And history would call <i>me<o:p></o:p></i></div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>chingada.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">But Chingada I was not.</div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span>Not tricked, not screwed, not traitor.</div><div class="MsoNormal">For I was not traitor to myself – </div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span>I saw a dream</div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>and I <i>reached</i> it.</div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>Another world…….</div><div class="MsoNormal"><span style="mso-tab-count: 2;"> </span><span style="mso-spacerun: yes;"> </span>la raza.</div><div class="MsoNormal"><span style="mso-tab-count: 3;"> </span>la raaaaaaaaa-zaaaaa…….<o:p></o:p></div><div style="margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 12.0pt;"><br />
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</div><div align="center" class="MsoNormal" style="margin-left: .5in; text-align: center; text-indent: -.5in;"><u>Works Cited<o:p></o:p></u></div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-autospace: none; text-indent: -.5in;">Anonymous. “The Adelitas’ Role in El Movimeinto.” In <i>Chicana Feminist Thought: The Basic Historical Writings</i>. Edited by Alma M. Garcia., 118-119. <st1:state><st1:place>New York</st1:place></st1:state>: Routeledge, 1997.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-autospace: none; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-autospace: none; text-indent: -.5in;">Cotera, Martha P. <i>The Chicana Feminist</i>. <st1:place><st1:city>Austin</st1:city>, <st1:state>TX</st1:state></st1:place>: Information Systems Development, 1977.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-autospace: none; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-autospace: none; text-indent: -.5in;">Cypess, Sandra Messinger. <i>La Malinche in Mexican Literature: From History to Myth</i>. <st1:city><st1:place>Austin</st1:place></st1:city>: <st1:place><st1:placetype>University</st1:placetype> of <st1:placename>Austin Press</st1:placename></st1:place>, 1991.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-autospace: none; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-autospace: none; text-indent: -.5in;">Del Castillo, Adelaida R. “Malintzin Tenepal: A Preliminary Look into a New Perspective.” In <i>Chicana Feminist Thought: The Basic Historical Writings</i>. Edited by Alma M. Garcia., 122-126. <st1:state><st1:place>New York</st1:place></st1:state>: Routeledge, 1997.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-autospace: none; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-autospace: none; text-indent: -.5in;">Diaz del Castillo, Bernal. <i>The Discovery and Conquest of </i><st1:country-region><st1:place><i>Mexico</i></st1:place></st1:country-region><i> 1517-1521</i>. Edited by Genaro Garcia. Translated by A.P. Maudslay. <st1:state><st1:place>New York</st1:place></st1:state>: Farrar, Straus, and Giroux, 1956.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-autospace: none; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-autospace: none; text-indent: -.5in;">Garcia, Alma M. “Studying Chicanas: Bringing Women into the Frame of Chicano Studies.” In <i>Chicana voices : intersections of class, race, and gender</i>. Edited by Teresa Córdova., 19-29. <st1:place><st1:city>Alburquerque</st1:city>, <st1:state>NM</st1:state></st1:place>: <st1:place><st1:placetype>University</st1:placetype> of <st1:placename>New Mexico</st1:placename></st1:place> Press, 1993.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-autospace: none; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-autospace: none; text-indent: -.5in;">Gomara, Francisco Lopez. <i>The Life of the Conqueror by His Secretary: 1511-1564</i>. Edited and translated by Lesley Byrd Simpson. <st1:city><st1:place>Berkley</st1:place></st1:city>: <st1:place><st1:placetype>University</st1:placetype> of <st1:placename>California</st1:placename></st1:place> Press, 1964.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-autospace: none; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-autospace: none; text-indent: -.5in;">Gonzales, Manuel G. <i>Mexicanos: The History of Mexicans in the </i><st1:country-region><st1:place><i>United States</i></st1:place></st1:country-region>. <st1:place><st1:city>Bloomington</st1:city>, <st1:state>IN</st1:state></st1:place>: <st1:place><st1:placename>Indiana</st1:placename> <st1:placetype>University</st1:placetype></st1:place> Press, 1999.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-autospace: none; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-autospace: none; text-indent: -.5in;"><st1:city><st1:place>Moraga</st1:place></st1:city>, Cherrie L. <i>Loving in the War Years</i>. 2nd ed. 1983. Reprint, Cambrdige: South End Press, 2000.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-autospace: none; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-autospace: none; text-indent: -.5in;">Munoz, Carlos, Jr. <i>Youth, Identity, Power: The Chicano Movement</i>. 2nd ed. 1989. Reprint, <st1:state><st1:place>New York</st1:place></st1:state>: Verso, 2007.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-autospace: none; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-autospace: none; text-indent: -.5in;">Paz, Octavio. “The Sons of La Malinche.” In <i>The Labyrinthe of Solitude</i> 2nd ed., translated by Lysander Kemp, Yara Milos, and Rachel Phillips Belash, 65-88. 1961. <st1:place><st1:city>Reprint</st1:city>, <st1:state>New York</st1:state></st1:place>: Grove Press, Inc, 1985.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-autospace: none; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-autospace: none; text-indent: -.5in;">Pratt, Mary Louise. “’Yo Soy La Malinche’: Chicana Writers and the Poetics of Ethnonationalism.” <i>Callaloo</i> 16, no. 4 (Fall 1993): 859-873. Accessed <st1:date day="26" month="2" year="2011">February 26, 2011</st1:date>. http://www.jstor.org/stable/2932214.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-autospace: none; text-indent: -.5in;"><br />
</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-autospace: none; text-indent: -.5in;">Rendon, Armando B. <i>Chicano Manifesto: The history and aspirations of the second largest minority in </i><st1:country-region><st1:place><i>America</i></st1:place></st1:country-region>. <st1:city><st1:place>Toronto</st1:place></st1:city>: The Macmillan Company, 1971.</div><div class="MsoNormal" style="margin-left: .5in; mso-pagination: widow-orphan lines-together; text-autospace: none; text-indent: -.5in;"><br />
</div><div class="MsoNormal">Said, Edward W. "Reflections on Exile." In <i>Reflections on exile and other essays</i>, 137-147. <span style="mso-tab-count: 1;"> </span>Cambridge: Harvard University Press, 2000.<span style="color: black;"><o:p></o:p></span></div><div style="mso-element: footnote-list;"><!--[if !supportFootnotes]--><br clear="all" /> <hr align="left" size="1" width="33%" /> <!--[endif]--> <div id="ftn1" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[1]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Adelaida R. Del Castillo, "Malintzin Tenepal: A Preliminary Look into a</span><span class="apple-converted-space"> </span><span class="apple-style-span">New Perspective," in</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>Chicana Feminist Thought: The Basic Historical Writings</i>,</span><span class="apple-converted-space"> </span><span class="apple-style-span">ed. Alma M. Garcia (New York: Routeledge, 1997)</span> 123.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn2" style="mso-element: footnote;"> <div class="MsoNormal"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[2]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 10.0pt;"> The discussion of naming is vital to the examination of this woman’s role in history and social memory.<span style="mso-spacerun: yes;"> </span>This paper will use the name La Malinche most frequently.<span style="mso-spacerun: yes;"> </span>Although it is the name that is most degrading, being irrevocably tied to the process of cultural betrayal, it is the most recognizable.<span style="mso-spacerun: yes;"> </span>The repetition of La Malinche seeks to constantly tie the woman to the name and to the process she is associated with and used within.<span style="mso-spacerun: yes;"> </span>The names Doña Marina and Malintzin will be used to when the referential texts being quoted name her as such.<span style="mso-spacerun: yes;"> </span>They will also be used when these texts are heavily analyzed.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div><div class="MsoFootnoteText"><br />
</div></div><div id="ftn3" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[3]</span></span><!--[endif]--></span></span></a> Edward W. Said, "Reflections on Exile," in <i>Reflections on exile and other essays</i> (Cambridge: Harvard University Press, 2000), 140.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn4" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[4]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Bernal Diaz del Castillo,</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>The Discovery and Conquest of Mexico</i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>1517-1521</i>, ed. Genaro Garcia, trans. A.P. Maudslay (New York: Farrar,</span><span class="apple-converted-space"> </span><span class="apple-style-span">Straus, and Giroux, 1956), </span><o:p></o:p></div></div><div id="ftn5" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[5]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Francisco Lopez Gomara,</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>The Life of the Conqueror by His Secretary:</i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>1511-1564</i>, ed. and trans. Lesley Byrd Simpson (Berkley: University of</span><span class="apple-converted-space"> </span><span class="apple-style-span">California Press, 1964)</span>, 57.<span style="mso-spacerun: yes;"> </span>Her baptism is also mentioned by Bernal Diaz del Castillo on page 63.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn6" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[6]</span></span><!--[endif]--></span></span></a> Ibid.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn7" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[7]</span></span><!--[endif]--></span></span></a> Ibid.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn8" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref8" name="_ftn8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[8]</span></span><!--[endif]--></span></span></a> Ibid., 56.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn9" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref9" name="_ftn9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[9]</span></span><!--[endif]--></span></span></a> Diaz del Castillo, <i>The Discovery and the Conquest, </i>62.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn10" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref10" name="_ftn10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[10]</span></span><!--[endif]--></span></span></a> Ibid., 64.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn11" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref11" name="_ftn11" style="mso-footnote-id: ftn11;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[11]</span></span><!--[endif]--></span></span></a> Ibid., 66.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn12" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref12" name="_ftn12" style="mso-footnote-id: ftn12;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[12]</span></span><!--[endif]--></span></span></a> Ibid., 66.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn13" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref13" name="_ftn13" style="mso-footnote-id: ftn13;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[13]</span></span><!--[endif]--></span></span></a> Ibid., 64.<o:p></o:p></div></div><div id="ftn14" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref14" name="_ftn14" style="mso-footnote-id: ftn14;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[14]</span></span><!--[endif]--></span></span></a> Ibid., 67.<o:p></o:p></div></div><div id="ftn15" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref15" name="_ftn15" style="mso-footnote-id: ftn15;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[15]</span></span><!--[endif]--></span></span></a> Ibid.<o:p></o:p></div></div><div id="ftn16" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref16" name="_ftn16" style="mso-footnote-id: ftn16;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[16]</span></span><!--[endif]--></span></span></a> Ibid., 68.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn17" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref17" name="_ftn17" style="mso-footnote-id: ftn17;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[17]</span></span><!--[endif]--></span></span></a> Gomara, <i>The Life of the Conqueror,</i> 56.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn18" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref18" name="_ftn18" style="mso-footnote-id: ftn18;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[18]</span></span><!--[endif]--></span></span></a> Paz’s work is incredibly philosophical and heavily influenced by historical events that are not all clear at the time.<span style="mso-spacerun: yes;"> </span>The difficulty I had in trying to understand his work also made it very clear to me that some of his intentions may have been misconstrued by following generations as well.<span style="mso-spacerun: yes;"> </span>His heavy-handed discussion of La Malinche seems to pull his work away from his goal of improving the Mexican condition.<span style="mso-spacerun: yes;"> </span>Those who find his work seminal seem less focused on the national identity goals of the essay and often focus more on the dehumanization of La Malinche.<span style="mso-spacerun: yes;"> </span>For example, in her Master’s Thesis, Ella M. Diaz claims: “Paz alleged that the Mexican nationality was too female, and therefore he called for the exclusion of Mexican women in the creation of a strong national identity” (Diaz, Ella M.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">1500 by 1939 by 1998 – These Are the Measurements of Malinche’s Body: An Analysis and Review of Twentieth-Century Interpretations of Nationality; A Master’s Thesis</i>.<span style="mso-spacerun: yes;"> </span><st1:state><st1:place>Virginia</st1:place></st1:state>: <st1:place><st1:placetype>College</st1:placetype> of <st1:placename>William</st1:placename></st1:place> and Mary, 2002.<span style="mso-spacerun: yes;"> </span>39).<span style="mso-spacerun: yes;"> </span>In contrast, Violeta Sanchez claims that “In Paz’s version of events, the <i style="mso-bidi-font-style: normal;">mexicanos</i> are the victims, the ones who have to pay the price for a sexually hungry Spaniard and a weak and passive indigenous woman” (Sanchez, Violeta.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Haciendole Justicia: A Discussion of Contemporary Works Claiming To Do Malinche Justice, A Master’s Thesis.<span style="mso-spacerun: yes;"> </span></i><st1:place><st1:city>Houston</st1:city>, <st1:state>TX</st1:state></st1:place>: <st1:place><st1:placetype>University</st1:placetype> of <st1:placename>Houston</st1:placename></st1:place>, 2007.<span style="mso-spacerun: yes;"> </span>5).<span style="mso-spacerun: yes;"> </span>Mary Louis Pratt views Paz as having written about La Malinche as having “constituted part of a debilitating self-hatred and misogyny that undermined the national psyche.” (Pratt, “Yo Soy La Malinche.”<span style="mso-spacerun: yes;"> </span>860).<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn19" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref19" name="_ftn19" style="mso-footnote-id: ftn19;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[19]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Octavio Paz, "The Sons of La Malinche," in</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>The Labyrinthe of Solitude</i>,</span><span class="apple-converted-space"> </span><span class="apple-style-span">2nd ed., trans. Lysander Kemp, Yara Milos, and Rachel Phillips Belash (1961;</span><span class="apple-converted-space"> </span><span class="apple-style-span">repr., New York: Grove Press, Inc, 1985),</span> 72.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn20" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref20" name="_ftn20" style="mso-footnote-id: ftn20;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[20]</span></span><!--[endif]--></span></span></a> Ibid., 73.<o:p></o:p></div></div><div id="ftn21" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref21" name="_ftn21" style="mso-footnote-id: ftn21;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[21]</span></span><!--[endif]--></span></span></a> Ibid., 75.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn22" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref22" name="_ftn22" style="mso-footnote-id: ftn22;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[22]</span></span><!--[endif]--></span></span></a> Ibid., 77.<o:p></o:p></div></div><div id="ftn23" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref23" name="_ftn23" style="mso-footnote-id: ftn23;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[23]</span></span><!--[endif]--></span></span></a> Ibid., 66.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn24" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref24" name="_ftn24" style="mso-footnote-id: ftn24;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[24]</span></span><!--[endif]--></span></span></a> Ibid., 80.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn25" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref25" name="_ftn25" style="mso-footnote-id: ftn25;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[25]</span></span><!--[endif]--></span></span></a> Ibid., 85-86.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn26" style="mso-element: footnote;"> <div class="MsoFootnoteText" style="margin-top: 12.0pt;"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref26" name="_ftn26" style="mso-footnote-id: ftn26;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[26]</span></span><!--[endif]--></span></span></a> The origins of the Chicano Movement are up for debate.<span style="mso-spacerun: yes;"> </span>While Manuel Gonazales argues that they stem from a combination of influences such as the African-American Civil Rights Movement and the United Farm Workers (197), Carlos Munoz, Jr. contributes the movement heavily to the work of Mexican-American university students (16).<span style="mso-spacerun: yes;"> </span>Armando Rendon ties the movement to country’s population feeling neglected by the federal government, with Mexican-Americans being “dismissed as a regional problem” due to their large numbers in the American Southwest (18).<span style="mso-spacerun: yes;"> </span>I chose to agree with Gonzales’s argument because it seems to encompass the inspiration for the vast majority of groups within the Chicano Movement, coming both from another minority group and from organizations formed decades before to help the Mexican-American population.<o:p></o:p></div></div><div id="ftn27" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref27" name="_ftn27" style="mso-footnote-id: ftn27;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[27]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Armando B. Rendon,</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>Chicano Manifesto: The history and aspirations of</i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>the second largest minority in </i></span><st1:country-region><st1:place><span class="apple-style-span"><i>America</i></span></st1:place></st1:country-region><span class="apple-converted-space"> </span><span class="apple-style-span">(Toronto: The Macmillan Company, 1971), </span>324.<o:p></o:p></div></div><div id="ftn28" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref28" name="_ftn28" style="mso-footnote-id: ftn28;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[28]</span></span><!--[endif]--></span></span></a><span class="apple-style-span">Manuel G. Gonzales,</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>Mexicanos: The History of Mexicans in the </i></span><st1:country-region><st1:place><span class="apple-style-span"><i>United</i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>States</i></span></st1:place></st1:country-region><span class="apple-converted-space"> </span><span class="apple-style-span">(Bloomington, IN: Indiana University Press, 1999), </span>192.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn29" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref29" name="_ftn29" style="mso-footnote-id: ftn29;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[29]</span></span><!--[endif]--></span></span></a> Ibid., 193.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn30" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref30" name="_ftn30" style="mso-footnote-id: ftn30;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[30]</span></span><!--[endif]--></span></span></a> Ibid.<o:p></o:p></div></div><div id="ftn31" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref31" name="_ftn31" style="mso-footnote-id: ftn31;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[31]</span></span><!--[endif]--></span></span></a> Ibid.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn32" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref32" name="_ftn32" style="mso-footnote-id: ftn32;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[32]</span></span><!--[endif]--></span></span></a> Ibid.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn33" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref33" name="_ftn33" style="mso-footnote-id: ftn33;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[33]</span></span><!--[endif]--></span></span></a> Ibid., 192.<o:p></o:p></div></div><div id="ftn34" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref34" name="_ftn34" style="mso-footnote-id: ftn34;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[34]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Sandra Messinger Cypess,</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>La Malinche in Mexican Literature: From</i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>History to Myth</i></span><span class="apple-converted-space"> </span><span class="apple-style-span">(Austin: University of Austin Press, 1991),</span> 4.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn35" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref35" name="_ftn35" style="mso-footnote-id: ftn35;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[35]</span></span><!--[endif]--></span></span></a> Rendon, <i>Chicano Manifesto, </i>325.<o:p></o:p></div></div><div id="ftn36" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref36" name="_ftn36" style="mso-footnote-id: ftn36;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[36]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Carlos Munoz Jr.,</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>Youth, Identity, Power: The Chicano Movement</i>, 2nd ed.</span><span class="apple-converted-space"> </span><span class="apple-style-span">(1989; repr., </span><st1:state><st1:place><span class="apple-style-span">New York</span></st1:place></st1:state><span class="apple-style-span">: Verso, 2007), </span>26.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn37" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref37" name="_ftn37" style="mso-footnote-id: ftn37;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[37]</span></span><!--[endif]--></span></span></a> Ibid., 92.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn38" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref38" name="_ftn38" style="mso-footnote-id: ftn38;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[38]</span></span><!--[endif]--></span></span></a> Gonzales, <i>Mexicanos</i>, 215.<o:p></o:p></div></div><div id="ftn39" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref39" name="_ftn39" style="mso-footnote-id: ftn39;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[39]</span></span><!--[endif]--></span></span></a> Ibid.<o:p></o:p></div></div><div id="ftn40" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref40" name="_ftn40" style="mso-footnote-id: ftn40;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[40]</span></span><!--[endif]--></span></span></a> Ibid., 211.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn41" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref41" name="_ftn41" style="mso-footnote-id: ftn41;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[41]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Anonymous, "The Adelitas’ Role in El Movimeinto," in</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>Chicana Feminist</i></span><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>Thought: The Basic Historical Writings</i>, ed. Alma M. Garcia (New York:</span><span class="apple-converted-space"> </span><span class="apple-style-span">Routeledge, 1997), </span>119.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn42" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref42" name="_ftn42" style="mso-footnote-id: ftn42;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[42]</span></span><!--[endif]--></span></span></a> Ibid.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn43" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref43" name="_ftn43" style="mso-footnote-id: ftn43;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[43]</span></span><!--[endif]--></span></span></a> Ibid.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn44" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref44" name="_ftn44" style="mso-footnote-id: ftn44;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[44]</span></span><!--[endif]--></span></span></a> Ibid. <o:p></o:p></div></div><div id="ftn45" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref45" name="_ftn45" style="mso-footnote-id: ftn45;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[45]</span></span><!--[endif]--></span></span></a> Ibid., 118.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn46" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref46" name="_ftn46" style="mso-footnote-id: ftn46;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[46]</span></span><!--[endif]--></span></span></a> Ibid., 119. <o:p></o:p></div></div><div id="ftn47" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref47" name="_ftn47" style="mso-footnote-id: ftn47;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[47]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Martha P. Cotera,</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>The Chicana Feminist</i></span><span class="apple-converted-space"> </span><span class="apple-style-span">(Austin, TX: Information Systems</span><span class="apple-converted-space"> </span><span class="apple-style-span">Development, 1977), </span>30.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn48" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref48" name="_ftn48" style="mso-footnote-id: ftn48;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[48]</span></span><!--[endif]--></span></span></a> Paz, <i>Labyrinth, </i>86.<o:p></o:p></div></div><div id="ftn49" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref49" name="_ftn49" style="mso-footnote-id: ftn49;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[49]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Mary Louise Pratt, "'Yo Soy La Malinche': Chicana Writers and the</span><span class="apple-converted-space"> </span><span class="apple-style-span">Poetics of Ethnonationalism,"</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>Callaloo</i></span><span class="apple-converted-space"> </span><span class="apple-style-span">16, no. 4 (Fall 1993):</span><span class="apple-converted-space"> </span><span class="apple-style-span">860,</span><span class="apple-converted-space"> </span><span class="apple-style-span">accessed </span><st1:date day="26" month="2" year="2011"><span class="apple-style-span">February 26, 2011</span></st1:date><span class="apple-style-span">, http://www.jstor.org/stable/2932214.</span><o:p></o:p></div></div><div id="ftn50" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref50" name="_ftn50" style="mso-footnote-id: ftn50;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[50]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Cherrie L. Moraga,</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>Loving in the War Years</i>, 2nd ed. (1983; repr.,</span><span class="apple-converted-space"> </span><span class="apple-style-span">Cambrdige: South End Press, 2000),</span><span class="apple-converted-space"> </span><span class="apple-style-span">104</span>.<o:p></o:p></div></div><div id="ftn51" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref51" name="_ftn51" style="mso-footnote-id: ftn51;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[51]</span></span><!--[endif]--></span></span></a> Ibid., 105.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn52" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref52" name="_ftn52" style="mso-footnote-id: ftn52;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[52]</span></span><!--[endif]--></span></span></a> Pratt, “‘Yo Soy La Malinche’”<i>, </i>862.<o:p></o:p></div></div><div id="ftn53" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref53" name="_ftn53" style="mso-footnote-id: ftn53;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[53]</span></span><!--[endif]--></span></span></a> Cotera, <i>The Chicana Feminist</i>,<span style="mso-spacerun: yes;"> </span>31.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn54" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref54" name="_ftn54" style="mso-footnote-id: ftn54;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[54]</span></span><!--[endif]--></span></span></a> Cypess, <i>La Malinche in Mexican Literature,</i> 12.<o:p></o:p></div></div><div id="ftn55" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref55" name="_ftn55" style="mso-footnote-id: ftn55;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[55]</span></span><!--[endif]--></span></span></a> Ibid.<o:p></o:p></div></div><div id="ftn56" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref56" name="_ftn56" style="mso-footnote-id: ftn56;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[56]</span></span><!--[endif]--></span></span></a> <span class="apple-style-span">Alma M. Garcia, "Studying Chicanas: Bringing Women into the Frame of</span><span class="apple-converted-space"> </span><span class="apple-style-span">Chicano Studies," in</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i>Chicana voices : intersections of class, race, and gender</i>,</span><span class="apple-converted-space"> </span><span class="apple-style-span">ed. Teresa Córdova (Alburquerque, NM: University of New Mexico Press, 1993), </span>20.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn57" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref57" name="_ftn57" style="mso-footnote-id: ftn57;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[57]</span></span><!--[endif]--></span></span></a> Ibid.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn58" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref58" name="_ftn58" style="mso-footnote-id: ftn58;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[58]</span></span><!--[endif]--></span></span></a> Ibid.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn59" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref59" name="_ftn59" style="mso-footnote-id: ftn59;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[59]</span></span><!--[endif]--></span></span></a> Ibid., 21.<o:p></o:p></div></div><div id="ftn60" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref60" name="_ftn60" style="mso-footnote-id: ftn60;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[60]</span></span><!--[endif]--></span></span></a> Cotera, <i>The Chicana Feminst,</i> 30.<o:p></o:p></div></div><div id="ftn61" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref61" name="_ftn61" style="mso-footnote-id: ftn61;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[61]</span></span><!--[endif]--></span></span></a> Pratt, “‘Yo Soy La Malinche’”, 865.<span style="mso-spacerun: yes;"> </span>A copy of the original poem could not be obtained in time for examination during the paper writing process due to its rarity, and therefore the stanzas Pratt included had to be relied upon.<span style="mso-spacerun: yes;"> </span>The complete poem can be found in: Quinonez, Naomi.<span style="mso-spacerun: yes;"> </span><i>Sueno de Colibri/Hummingbird Dream</i>.<span style="mso-spacerun: yes;"> </span><st1:city><st1:place>Los Angeles</st1:place></st1:city>: <st1:place>West End</st1:place> Press, 1985.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn62" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref62" name="_ftn62" style="mso-footnote-id: ftn62;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[62]</span></span><!--[endif]--></span></span></a> Ibid., 865-866.<o:p></o:p></div></div><div id="ftn63" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref63" name="_ftn63" style="mso-footnote-id: ftn63;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[63]</span></span><!--[endif]--></span></span></a> Ibid., 866.<o:p></o:p></div></div><div id="ftn64" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref64" name="_ftn64" style="mso-footnote-id: ftn64;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[64]</span></span><!--[endif]--></span></span></a> Ibid., 867.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn65" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref65" name="_ftn65" style="mso-footnote-id: ftn65;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[65]</span></span><!--[endif]--></span></span></a> Ibid.<span style="mso-spacerun: yes;"> </span>Citation refers to version reprinted in Pratt’s piece, poem is also available in the Appendix 1 via my transcription from Pratt’s piece.<o:p></o:p></div></div><div id="ftn66" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref66" name="_ftn66" style="mso-footnote-id: ftn66;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[66]</span></span><!--[endif]--></span></span></a> Ibid.<o:p></o:p></div></div><div id="ftn67" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref67" name="_ftn67" style="mso-footnote-id: ftn67;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[67]</span></span><!--[endif]--></span></span></a> Ibid., 868.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn68" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref68" name="_ftn68" style="mso-footnote-id: ftn68;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[68]</span></span><!--[endif]--></span></span></a> Ibid., 861.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn69" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref69" name="_ftn69" style="mso-footnote-id: ftn69;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[69]</span></span><!--[endif]--></span></span></a> Ibid., 859.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div></div><div id="ftn70" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref70" name="_ftn70" style="mso-footnote-id: ftn70;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[70]</span></span><!--[endif]--></span></span></a> Ibid., 860.<o:p></o:p></div></div><div id="ftn71" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Draft%201.doc#_ftnref71" name="_ftn71" style="mso-footnote-id: ftn71;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[71]</span></span><!--[endif]--></span></span></a> Pratt, “‘Yo Soy La Malinche’”<i>,</i> 867-868.<o:p></o:p></div></div></div>irinahttp://www.blogger.com/profile/03387357358559839487noreply@blogger.com0tag:blogger.com,1999:blog-2366592439733471006.post-38682860363597440362011-05-04T15:58:00.000-07:002011-05-04T15:58:29.467-07:00Oh boy.Jane said that I can start blogging RIGHT NOW. I am very far behind, so I probably should. <br />
<br />
Yesterday, I handed in the first draft of this scary paper to Professor Ewing. We had a five hour course aimed at peer review, so that should be helpful in the near future. Jane is currently sitting next to me and reading my paper which is SCARY. This is a lot like how I felt last night when my peer-review partner was scribbling all over my paper. <br />
<br />
It's like a baby, a little bit, that I put a lot of time and effort into that is now getting torn apart. I know this is all in the name of being helpful and making my work stronger, but review and revision scares me! I barely ever do it (don't hate me, Jane!) There's something about producing a work which makes me never want to look at it again. It's like: "There, I've done what you've asked of me. Can I go now?" But the answer is always no, which is a bit annoying and a bit disappointing. Why can't I be one of those magical people that turns out a perfect essay on the first try?<br />
<br />
The writing process was a lot of things. Tedious and boring but also easy and fast. It went back and forth between "what the hell am I doing?" and "damn, I know my stuff." I kept having to find new sources and eliminate ones that I thought I was going to use heavily. My paper went in strange directions. I forgot that I didn't have a real conclusion until I handed it in, which was obviously an "oh well, too late" moment. I panicked a lot over the whole thing, but somehow it ended up being alright. I was scared 23.5 pages would not be enough but some people showed up with 16. I was happy with how alright-sounding the whole argument went, although I was able to recognize the holes and issues with transition in my paper. And of course, now I have a lot of revision to do. <br />
<br />
I'm not sure what my revision will entail, but I have some ideas. I should not be afraid of clearly and wordily fleshing out my argument. I know that I tend to be vague. Tabetha told me that I should argue with myself about La Malinche's voice not being present in the historical record because her actions <i>are</i> present. This made me think a lot about the power of action and agency, which I had already fleshed out a lot in my Octavio Paz analysis.<br />
<br />
BLARGH. That is how I currently feel.irinahttp://www.blogger.com/profile/03387357358559839487noreply@blogger.com0tag:blogger.com,1999:blog-2366592439733471006.post-27428802947010463912011-04-25T10:40:00.000-07:002011-04-25T10:40:38.897-07:00La Malinche's Historical PresenceBelow is the history section of my slowly growing 25-30 page paper. Awesome? Awesome.<br />
<br />
<a name='more'></a><div class="MsoNormal" style="text-indent: .5in;">La Malinche enters the realm of historical reality through her role in the conquest of the indigenous peoples of present day <st1:country-region><st1:place>Mexico</st1:place></st1:country-region>.<span style="mso-spacerun: yes;"> </span>She plays a distinct role as translator and companion to Hernan Cortes.<span style="mso-spacerun: yes;"> </span>Spanish chroniclers of the conquest vary in their representations of her.<span style="mso-spacerun: yes;"> </span>Francisco Gomara, a Spanish priest hired by Cortes to write about the conquest from his point of view, only briefly mentions La Malinche.<span style="mso-spacerun: yes;"> </span>On the other side is Bernal Diaz del Castillo, whose account of the conquest was written in opposition to Gomara’s version but was only published in the nineteenth century.<span style="mso-spacerun: yes;"> </span>(Maybe cite Diaz writing poorly about Gomara here?)</div><div class="MsoNormal" style="text-indent: .5in;">The two histories spend different lengths on the presence of La Malinche in the conquest, but the most significant part is that they both note her as important to the mission.<span style="mso-spacerun: yes;"> </span>Without these accounts, there would be little or no recorded presence of La Malinche.<span style="mso-spacerun: yes;"> </span>Taking this a step further, without the Diaz accounts, written out of frustration with the official account by Gomara, there would be little known about La Malinche’s life before she encountered Cortes.</div><div class="MsoNormal" style="text-indent: .5in;">Gomara briefly sites La Malinche’s history in a chapter dedicated to her.<span style="mso-spacerun: yes;"> </span>Here we switch to La Malinche’s Christian name, Dona Marina, as both Gomara and Diaz find it important to point out that she was baptized and therefore can only be refereed to as Dona Marina.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>According to Gomara’s account, which are an amalgamation of the testimonies of Cortes and the men who served under him, Dona Marina was born to wealthy parents “who were related to the lord of that country.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Historical%20Presence.doc#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[1]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Gomara then writes that Dona Marina claims that she was “stolen by certain merchants during a war and sold in the market place of Xicalanco.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Historical%20Presence.doc#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[2]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>She was a slave in several areas of the <st1:state><st1:place>Yucatan</st1:place></st1:state> before she was given to Cortes.<span style="mso-spacerun: yes;"> </span>Gomara spends no more than a few sentences recounting Dona Marina’s life story, but he significantly introduces this personal history by using the phrasing “<st1:city><st1:place>Marina</st1:place></st1:city>…answered.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Historical%20Presence.doc#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[3]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Here, Gomara is setting up the background of Dona Marina as a story she tells herself in reply to Cortes’s questioning of her.<span style="mso-spacerun: yes;"> </span>It certainly reads as if this is the true history of Dona Marina from her own words.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="text-indent: .5in;">In contrast, Bernal Diaz del Castillo weaves a story about Dona Marina’s life before the Spanish that spans many years and reads more like a tale of tragedy and redemption than the simple summary Gomara supplies.<span style="mso-spacerun: yes;"> </span>Diaz begins by establishing his own feelings towards Dona Marina: she was “one very excellent woman,”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Historical%20Presence.doc#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[4]</span></span><!--[endif]--></span></span></a> “good looking and intelligent and without embarrassment.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Historical%20Presence.doc#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[5]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Diaz then presents her story without associating it with her own words.<span style="mso-spacerun: yes;"> </span>He says: “I wish to give some account of Dona <st1:city><st1:place>Marina</st1:place></st1:city>…It happened in this way.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Historical%20Presence.doc#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[6]</span></span><!--[endif]--></span></span></a></div><div class="MsoNormal" style="text-indent: .5in;">Diaz’s history has Dona Marina being raised by parents who were also caciques – spiritual leaders – of Paynala.<span style="mso-spacerun: yes;"> </span>Upon her father’s death, Dona Marina’s mother remarried and has a son with her new husband.<span style="mso-spacerun: yes;"> </span>“Her father and mother had a great affection for this one and it was agreed between them that he should succeed their honours when their days were done.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Historical%20Presence.doc#_ftn7" name="_ftnref7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[7]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>With this plan in mind, <st1:city><st1:place>Marina</st1:place></st1:city>’s parents gave her to peoples living in Xicalango and then claimed that she had died as to not bring about any suspicion.<span style="mso-spacerun: yes;"> </span>Dona Marina was then given to people in <st1:state><st1:place>Tabasco</st1:place></st1:state>, and she lived there until she was given to Cortes as a slave.<span style="mso-spacerun: yes;"> </span>It is important to note that Diaz never refers to Dona Marina as a slave, but rather she is a person that is constantly being “given.”<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="text-indent: .5in;">After Tenochitlan was conquered, Cortes went to <st1:country-region><st1:place>Honduras</st1:place></st1:country-region> to quell an apprising in the area.<span style="mso-spacerun: yes;"> </span>Diaz and Dona Marina accompanied him, and they passed through <st1:city><st1:place>Coatzacoalcos</st1:place></st1:city>, the major town near <st1:city><st1:place>Marina</st1:place></st1:city>’s birthplace.<span style="mso-spacerun: yes;"> </span>Here, her mother and half-brother were jointly ruling as chiefs.<span style="mso-spacerun: yes;"> </span>The expedition sent for them, and Diaz writes that “these relations [relatives] were in great fear of Dona Marina, for they thought that she had sent for them to put them to death, and they were weeping.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Historical%20Presence.doc#_ftn8" name="_ftnref8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[8]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Diaz uses this event to establish his statement that “Dona Marina was a person of the great importance and was obeyed without question by the Indians throughout <st1:place>New Spain</st1:place>.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Historical%20Presence.doc#_ftn9" name="_ftnref9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[9]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>It is a potent image to have indigenous chiefs cowering in the presence of a woman that was once a slave and was now among the most trusted of Cortes’s group.<span style="mso-spacerun: yes;"> </span>Diaz is giving Dona Marina a powerful position within the conquest which stretches into the time afterwards as well.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="text-indent: .5in;">Diaz closes his account of Dona Marina by showing a righteous and forgiving side of her – she instantly forgives her mother and half-brother for her life in bondage.<span style="mso-spacerun: yes;"> </span>She gives them gifts of jewels and calms not only their fears but the fears of the readers as well.<span style="mso-spacerun: yes;"> </span>She</div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 45.0pt; margin-top: 0in;">Told them that God had been very gracious to her in freeing her from the worship of idols and making her a Christian, and letting her bear a son to her lord and master Cortes and in marrying her to such a gentleman as Juan Jaramillo, who was now her husband.<span style="mso-spacerun: yes;"> </span>That she would rather serve her husband and Cortes than anything else in the world, and would not exchange her place to be Cacica of all the provinces in <st1:place>New Spain</st1:place>.<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Historical%20Presence.doc#_ftn10" name="_ftnref10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[10]</span></span><!--[endif]--></span></span></a></div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 45.0pt; margin-top: 0in;"><br />
</div><div class="MsoNormal">Diaz’s writing claims that these are words she indeed said to her family members, and this gives rise to the idea that Dona Marina – La Malinche – was actively denying her indigenous roots and taking the side of the Spanish.<span style="mso-spacerun: yes;"> </span>This story is one which establishes her role as the betrayer of her people – why else would she so willingly become a Christian, bear a child for Cortes, and marry a Spaniard?<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span>It is very important to note the disparities between the histories given by Gomara and by Diaz in relation to Dona Marina.<span style="mso-spacerun: yes;"> </span>Both of these histories must be questioned in relation to their goals and the affect they would have on later generations.<span style="mso-spacerun: yes;"> </span>Diaz has many positive things to say about <st1:city><st1:place>Marina</st1:place></st1:city> that in more recent history have been used to demonize her and other women.<span style="mso-spacerun: yes;"> </span>However, the image of Dona Marina that Diaz presents is one which is only positive for the Spanish side of the conquest.<span style="mso-spacerun: yes;"> </span>She willingly – at least as Diaz describes it – accepts Christianity and a Spanish lifestyle.<span style="mso-spacerun: yes;"> </span>Diaz is careful not to call her a slave but Gomara does imply her initial status as one: He writes that Cortes “promised her more than her liberty is she would establish friendship between him and the men of her country.”<a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Historical%20Presence.doc#_ftn11" name="_ftnref11" style="mso-footnote-id: ftn11;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[11]</span></span><!--[endif]--></span></span></a> Her ability to make personal choices is not questioned by the historians of the sixteenth century, but it may be inferred that she accepted Cortes’s proposal in Gomara’s account.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="text-indent: .5in;">Both historians, however, are writing from a European point of view and do not go on to mention the degree of freedom Dona Marina was granted when she agreed to be Cortes’s translator.<span style="mso-spacerun: yes;"> </span>The issue of La Malinche’s agency cannot be decided one way or another through the brief accounts of her actual life in the histories and is still vital to the discussion of La Malinche in the twentieth century movements which appropriated her image.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal">Things to possibly add to this section:</div><ul style="margin-top: 0in;" type="disc"><li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;">Cortes and Malinche’s son – first mestizo</li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;">The house in <st1:city><st1:place>Mexico City</st1:place></st1:city> from the NYT article </li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;">The disappearance of La Malinche in historical record after the conquest</li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;">Native accounts!<span style="mso-spacerun: yes;"> </span></li>
</ul><div style="mso-element: footnote-list;"><!--[if !supportFootnotes]--><br clear="all" /> <hr align="left" size="1" width="33%" /> <!--[endif]--> <div id="ftn1" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Historical%20Presence.doc#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[1]</span></span><!--[endif]--></span></span></a> Gomara 57.<span style="mso-spacerun: yes;"> </span></div></div><div id="ftn2" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Historical%20Presence.doc#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[2]</span></span><!--[endif]--></span></span></a> Gomara 57.<span style="mso-spacerun: yes;"> </span></div></div><div id="ftn3" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Historical%20Presence.doc#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[3]</span></span><!--[endif]--></span></span></a> Gomara 56.<span style="mso-spacerun: yes;"> </span></div></div><div id="ftn4" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Historical%20Presence.doc#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[4]</span></span><!--[endif]--></span></span></a> Diaz 62.<span style="mso-spacerun: yes;"> </span>?</div></div><div id="ftn5" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Historical%20Presence.doc#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[5]</span></span><!--[endif]--></span></span></a> Diaz 64.<span style="mso-spacerun: yes;"> </span></div></div><div id="ftn6" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Historical%20Presence.doc#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[6]</span></span><!--[endif]--></span></span></a> Diaz 66.<span style="mso-spacerun: yes;"> </span>?</div></div><div id="ftn7" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Historical%20Presence.doc#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[7]</span></span><!--[endif]--></span></span></a> Diaz 66.<span style="mso-spacerun: yes;"> </span>?</div></div><div id="ftn8" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Historical%20Presence.doc#_ftnref8" name="_ftn8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[8]</span></span><!--[endif]--></span></span></a> Diaz 68.<span style="mso-spacerun: yes;"> </span>?</div></div><div id="ftn9" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Historical%20Presence.doc#_ftnref9" name="_ftn9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[9]</span></span><!--[endif]--></span></span></a> Diaz 67.<span style="mso-spacerun: yes;"> </span>?</div></div><div id="ftn10" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Historical%20Presence.doc#_ftnref10" name="_ftn10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[10]</span></span><!--[endif]--></span></span></a> Diaz 68.<span style="mso-spacerun: yes;"> </span>?</div></div><div id="ftn11" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Dropbox/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/La%20Malinche%20Paper%20Historical%20Presence.doc#_ftnref11" name="_ftn11" style="mso-footnote-id: ftn11;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[11]</span></span><!--[endif]--></span></span></a> Gomara 56.<span style="mso-spacerun: yes;"> </span></div></div></div>irinahttp://www.blogger.com/profile/03387357358559839487noreply@blogger.com0tag:blogger.com,1999:blog-2366592439733471006.post-91223646092590073322011-04-25T10:39:00.000-07:002011-04-25T10:39:05.772-07:00The Paz Post (Finally!)I'm going to do this in a bit of a strange way. While reading Paz, I took notes on my computer and sporadically reacted to Paz in paragraph form. So there will be many, many quotes in here and eventually some thoughts in between. Oh, and this essay - "Los Hijos de La Malinche" can be found in Octavio Paz's <i><a href="http://www.amazon.com/Labyrinth-Solitude-Mexico-Return-Philanthropic/dp/080215042X">The Labyrinth of Solitude</a></i>. Quotes from Paz are in italics while my own thoughts are in...regular...<br />
<br />
<a name='more'></a><div class="MsoNormal"><i>“Our courtesy may be attractive but our reserve is chilling, and the stranger is always disconcerted by the unforeseen violence that lacerates us, by the solemn or convulsive splendor of our fiestas, by our cult of death”</i></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><i>“They too carry about with them, in rags, a still-living past”</i></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><i>“The Europeans considers <st1:country-region><st1:place>Mexico</st1:place></st1:country-region> to be a country on the margin of universal history, and everything that is distant from the center of his society strikes him as strange and impenetrable. The peasant – remote, conservative, and somewhat archaic in his ways of dressing and speaking, fond of expressing himself in traditional modes and formulas – has always had a certain fascination for the urban man. In every country he represents the most ancient and secret element of society. For everyone but himself he embodies the occult, the hidden, that which surrenders itself only with great difficulty: a buried treasure, a seed that sprouts in the bowels of the earth, an ancient wisdom hiding among the folds of the land” </i></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Here, Paz is working very hard to set up the Mexican as the other to the Euro-centric controlled world.<span style="mso-spacerun: yes;"> </span>The European others the Mexican, and this is a reason for his actions.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><i>“Woman is another being who lives apart and is therefore an enigmatic figure. It would be better to say that she is the Enigma. She attracts and repels like men of an alien race of nationality. She is an image of both fecundity and death…Woman is a living symbol of the strangeness of the universe and its radical heterogeneity. As such, does she bide life within herself, or death? What does she think? Or does she think? Does she truly have feelings? Is she the same as we are? Sadism begins as a revenge against feminine hermeticism or as a desperate attempt to obtain a response from a body we fear is insensible”</i></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Paz moves on the other women.<span style="mso-spacerun: yes;"> </span>They are not only “men of an alien race” but all women all the time.<span style="mso-spacerun: yes;"> </span>He questions their ability to be human – if humanity is established through the possession of reason, he is wondering if women have the ability to think.<span style="mso-spacerun: yes;"> </span>His over-arching “we” fears that women are insensible.<span style="mso-spacerun: yes;"> </span>This opinion of women, Paz is trying to explain to the reader, finds its roots in the dichotomy between Hernan Cortes and La Malinche.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Paz speaks a lot about capitalism and the proletariat and the individuality of the working (or lack thereof).<span style="mso-spacerun: yes;"> </span>Why?<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><i>“Everyone becomes an accomplice and the guilt feeling spread through the whole society” </i></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Paz is talking about totalitarian regimes here, but there is something to be said for having this opinion about the modern era and not the conquest of <st1:country-region><st1:place>Mexico</st1:place></st1:country-region>.<span style="mso-spacerun: yes;"> </span>Were not those groups opposed to Montezuma the same as those described above?<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><i>“We are enigmatic not only to strangers but also to ourselves”</i></div><div class="MsoNormal"><i>“The character of the Mexican is a product of the social circumstances that prevail in our country, and the history of <st1:country-region><st1:place>Mexico</st1:place></st1:country-region>, which is the history of these circumstances, contains the answer to every question. The situation that prevailed during the colonial period would thus be the source of our closed, unstable attitude. Our history as an independent nation would contribute to perpetuating and strengthening this servant psychology, for we have not succeeded in overcoming the misery of the common people and our exasperating social differences, despite a century and a half of struggle and constitutional experience”</i></div><div class="MsoNormal"><i> </i></div><div class="MsoNormal" style="tab-stops: 255.0pt;"><i>“Our attitude towards life is not conditioned by historical events, at least not in the rigorous manner in which the velocity or trajectory of a missile is determined by a set of known facts. Our living attitude – the factor we can never know completely, since change and indetermination are the only constants of our existence – is history also. This is to say that historical events are something more than events because they are colored by humanity, which is always problematical. And they are not merely the result of other events, but rather of a single will that is capable, within certain limits, of ruling their outcome…Historical circumstances explain our character to the extent that our character explains those circumstances. Both are the same. Thus any purely historical explanation is insufficient…which is nt the same as saying it is false.”</i><span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="tab-stops: 255.0pt;"><br />
</div><div class="MsoNormal" style="tab-stops: 255.0pt;">Here Paz is making a point which is probably going to be the justification for everything I attempt to do for my senior project – history cannot be clearly separated from the present and the future and the present and the future cannot be separated from history.<span style="mso-spacerun: yes;"> </span>They all use and abuse one another to form a bigger sense of the reality of humanity.<span style="mso-spacerun: yes;"> </span>And historians cannot delineate history as a science and discount the enormous impact of the social memory – societies will view the causes and effects of history in the ways they are taught, often those that favor the dominant power of a society.<span style="mso-spacerun: yes;"> </span>People and groups will always use history to justify their own means, and therefore these histories must constantly be questioned and revised to reflect factuality within the understand of why people wish to view history in one specific way.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="tab-stops: 255.0pt;"><br />
</div><div class="MsoNormal"><i>“We, however, struggle with imaginary entities, with vestiges of the past or self-engendered phantasms. These vestiges and phantasms are real, at least to us. Their reality is of a subtle and cruel order, because it is a phantasmagoric reality. They are impalpable and invincible because they are not outside us but within us. In the struggle which our will-to-be carries on against them, they are supported by a secret and powerful ally, our fear of being. Everything that makes up the present-day Mexican, as we have seen, can be reduced to this: the Mexican does not want or does not dare to be himself.”</i></div><div class="MsoNormal" style="tab-stops: 255.0pt;"><br />
</div><div class="MsoNormal" style="tab-stops: 255.0pt;">What is it about Mexican nationhood that makes Paz see the national identity in this way?<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="tab-stops: 255.0pt;"><br />
</div><div class="MsoNormal"><i>“In many instances these phantasms are vestiges of past realities. Their origins are in the Conquest, the Colonial period, the <st1:city><st1:place>Independence</st1:place></st1:city> periods or the wars fought against the <st1:country-region><st1:place>United States</st1:place></st1:country-region> and <st1:country-region><st1:place>France</st1:place></st1:country-region>.”</i></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><i>“History helps us to understand certain straights of our characters, provided we are capable of isolating and defining them beforehand. We are the only persons who can answer the questions asked us by reality and our own being.”</i></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><i>“When we shout this cry on the fifteenth of September, the anniversary of our independence, we affirm ourselves in front of, against and in spite of the ‘others.’ Who are the ‘others’? They are the hijos de la chingada: strangers, bad Mexicans, our enemies, our rivals. In any case, the ‘others,’ that is, all those who are not as we are. And these ‘others’ are not defined except as the sons of a mother as vague and indeterminate as themselves.” </i></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><i>“Who is the Chingada? Above all, she is the Mother. Not a Mother of flesh and blood but a mythical figure. The Chingada is one of the Mexican representations of Maternity, like La Llorona or the ‘long-suffering Mexican mother’ we celebrate on the tenth of May. The Chingada is the mother who has suffered – metaphorically or actually – the corrosive and defaming action implicit in the verb that gives her her name.”</i></div><div class="MsoNormal" style="tab-stops: 255.0pt;"><br />
</div><div class="MsoNormal" style="tab-stops: 255.0pt;">chingada in Spanish and ties to alcohol</div><div class="MsoNormal" style="tab-stops: 255.0pt;"><br />
</div><div class="MsoNormal"><i>“Chingar also implies the idea of failure…Almost everywhere chingarse means to be made a fool of, to be involved in a fiasco…It is always an aggressive verb.”</i></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><i>“In this plurality of meanings the ultimate meaning always contains the idea of aggression, whether it is the simple act of molesting, pricking or censuring, or the violent act of wounding or killing. The verb denotes violence, an emergence from oneself to penetrate another by force. It also means to injure, lacerate, to violate – bodies, souls, objects – and to destroy…</i></div><div class="MsoNormal"><i>The Idea of breaking, of ripping open, appears in a great many of these expressions. The word has sexual connotations but it is not a synonym for the sexual act: one may chingar a woman without actually possessing her. And when it does allude to the sexual act, violation or deception gives it a particular shading. The man who commits it never does so with the consent of the chingada. Chingar, then, is to do violence to another. The verb is masculine, active, cruel; it stings, wounds, gashes, stains. And it provokes a bitter, resentful satisfaction.</i></div><div class="MsoNormal"><i>The person who suffers this action is passive, inert and open, in contrast to the active, aggressive and closed person who inflicts it. The chingón is the macho, the male; he rips open the chingada, the female, who is pure passivity, defenseless against the exterior world. The relationship between them is violent, and it is determined by the cynical power of the first and the impotence of the second. The idea of violence rules darkly over all the meanings of the word, and the dialectic of the "closed" and the "open" thus fulfills itself with an almost ferocious precision.”</i></div><div class="MsoNormal" style="tab-stops: 255.0pt;"><br />
</div><div class="MsoNormal" style="tab-stops: 255.0pt;">What does this language signify in relation to La Malinche?<span style="mso-spacerun: yes;"> </span>The role of the <i>chingada</i>, according to Paz, is completely submissive and passive, without agency.<span style="mso-spacerun: yes;"> </span>By casting La Malinche in this light, the historical view of her becomes that of a woman without agency or choice in her actions.<span style="mso-spacerun: yes;"> </span>It seems to deny the actual historical description of La Malinche, which must also be questioned as previously demonstrated.<span style="mso-spacerun: yes;"> </span>Paz, however, is setting up La Malinche to be a mythical figure in terms of her lack of agency thus allowing her to image to be at the center of blame for the conquest of <st1:country-region><st1:place>Mexico</st1:place></st1:country-region>.<span style="mso-spacerun: yes;"> </span>Paz also sets up the word to be forbidden and prohibited, thus making it somehow shameful that La Malinche is referred to as lacking agency but more shameful that the blood-line of the mestizo nation reportedly traces back to her act of submission.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="tab-stops: 255.0pt;"><br />
</div><div class="MsoNormal"><i>“<span style="color: black;">To theMexican there are only two possibilities in life: either he inflicts the actions implied by chingar on others, or else he suffers them himself at the hands of others. This conception of social life as combat fatally divides society into the strong and the weak.”<o:p></o:p></span></i></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="color: black;"><i>“The only thing of value is manliness, personal strength, a capacity for imposing oneself on others.”<o:p></o:p></i></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="color: black;"><i>““What is the Chingada?" The Chingada is the Mother forcibly opened, violated or deceived. The hijo de la Chingada is the offspring of violation, abduction or deceit. If we compare this expression with the Spanish hijo de puta (son of a whore), the difference is immediately obvious. To the Spaniard, dishonor consists in being the son of a woman who voluntarily surrenders herself: a prostitute. To the Mexican it consists in being the fruit of a violation.”<o:p></o:p></i></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="color: black;"><i>“In effect, every woman — even when she gives herself willingly —is torn open by the man, is the Chingada. In a certain sense all of us, by the simple fact of being born of woman, are hijos de la Chingada, sons of Eve. But the singularity of the Mexican resides, I believe, in his violent, sarcastic humiliation of the Mother and his no less violent affirmation of the Father. A woman friend of mine (women are more aware of the strangeness of this situation) has made me see that this admiration for the Father—who is a symbol of the closed, the aggressive — expresses itself very dearly in a saying we use when we want to demonstrate our superiority: "I am your father." The question of origins, then, is the central secret of our anxiety and anguish.”</i><o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none;"><br />
</div><div class="MsoNormal"><span style="color: black;"><i>“This aspect — angry Jehovah, God of wrath, or Saturn, or Zeus the violator of women —is the one that appears almost exclusively in Mexican representations of manly power. The macho represents the masculine pole of life. The phrase "I am your father" has no paternal flavor and is not said in order to protect or to guide another, but rather to impose one's superiority, that is, to humiliate. Its real meaning is no different from that of the verb chingar and its derivatives. The macho is the gran chingón. One word sums up the aggressiveness, insensitivity, invulnerability and other attributes of the macho: power. It is force without the discipline of any notion of order: arbitrary power, the will without reins and without a set course.”<o:p></o:p></i></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="color: black;"><i>“A psychologist would say that resentment is the basis of his character.”</i><o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none;"><br />
</div><div class="MsoNormal"><span style="color: black;"><i>“But whatever may be the origin of these attitudes, the fact is that the essential attribute of the macho — power — almost always reveals itself as a capacity for wounding, humiliating, annihilating. Nothing is more natural, therefore, than his indifference toward the offspring he engenders. He is not the founder of a people; he is not a patriarch who exercises patria potestas; he is not a king or a judge or the chieftain of a clan. He is power isolated in its own potency, without relationship or compromise with the outside world. He is pure incommunication, a solitude that devours itself and everything it touches. He does not pertain to our world; he is not from our city; he does not live in our neighborhood. He comes from far away: he is always far away. He is the Stranger. It is impossible not to notice the resemblance between the figure of the macho and that of the Spanish conquistador. This is the model — more mythical than real — that determines the images the Mexican people form of men in power: caciques, feudal lords, hacienda owners, politicians, generals, captains of industry. They are all machos, chingones.”</i><o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none;"><span style="color: black;">Is Paz saying that the Spanish conquistador is now the model for the Mexican man?<span style="mso-spacerun: yes;"> </span>What about the violation?<span style="mso-spacerun: yes;"> </span>Is machoism a performance of suffered violations?<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none;"><br />
</div><div class="MsoNormal"><i>“<span style="color: black;">The Chingada is even more<o:p></o:p></span></i></div><div class="MsoNormal"><span style="color: black;"><i>passive. Her passivity is abject: she does not resist violence, but is an inert heap of<o:p></o:p></i></span></div><div class="MsoNormal"><span style="color: black;"><i>bones, blood and dust. Her taint is constitutional and resides, as we said earlier, in her<o:p></o:p></i></span></div><div class="MsoNormal"><span style="color: black;"><i>sex. This passivity, open to the outside world, causes her to lose her identity: she is the</i></span></div><div class="MsoNormal"><span style="color: black;"><i>Chingada. She loses her name; she is no one; she disappears into nothingness; she is<o:p></o:p></i></span></div><div class="MsoNormal"><span style="color: black;"><i>Nothingness. And yet she is the cruel incarnation of the feminine condition.”<o:p></o:p></i></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none;"><span style="color: black;">And Chicana feminists wrote against all of this stripping away of agency that Paz claiming.<span style="mso-spacerun: yes;"> </span>La Malinche was not forced to be a translator according to the texts.<span style="mso-spacerun: yes;"> </span>She does not appear to have been forced to bear Cortes a child, though this is up to question because of the lack of a historical record of her own voice.<span style="mso-spacerun: yes;"> </span>But she is not this passive bag of bones that Paz illustrates, and this is the idea that the Chicano movement attempted to put on their women.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none;"><br />
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</div>irinahttp://www.blogger.com/profile/03387357358559839487noreply@blogger.com0tag:blogger.com,1999:blog-2366592439733471006.post-56936221863081211852011-04-18T20:46:00.000-07:002011-04-18T20:46:21.531-07:00(This is not the post it's supposed to be on Octavio Paz. Forgive me, Jane!)Today, Casey talked me down from slight panic over my 25-30 page paper by forcing me to write an outline and e-mail it to him before he got back to New Haven. He also wants me to write each section of the paper in mini-versions, one or two of which he wants to see by Wednesday. Thinking of it all in mini-form is actually really helping me, and he liked my outline, which I will now post as a blog entry because I'm a rebel.<br />
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<a name='more'></a><div class="MsoNormal">La Malinche Paper Outline</div><div class="MsoNormal"><br />
</div><ol start="1" style="margin-top: 0in;" type="A"><li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;">Introduction – discuss how the variations in name (Dona Marina, La Malinche, Malintzin) also give way to variations in her role in the formation of Mexican nationality?</li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;">Historical Presence</li>
<ol start="1" style="margin-top: 0in;" type="a"><li class="MsoNormal" style="mso-list: l0 level2 lfo1; tab-stops: list 1.0in;">Entrance into conquest via slavery, given as a gift to Cortes in the <st1:state><st1:place>Yucatan</st1:place></st1:state></li>
<li class="MsoNormal" style="mso-list: l0 level2 lfo1; tab-stops: list 1.0in;">Multiple languages give her the role of translator, along with Aguilar.<span style="mso-spacerun: yes;"> </span>Maybe discuss how the difference in gender between her and Aguilar may affect interpretations of her later on</li>
<li class="MsoNormal" style="mso-list: l0 level2 lfo1; tab-stops: list 1.0in;">Her story is presented by European men – Diaz, Cortes, Gomara </li>
<li class="MsoNormal" style="mso-list: l0 level2 lfo1; tab-stops: list 1.0in;">Role as Cortes’s mistress and birth of her son – the “first mestizo”</li>
<li class="MsoNormal" style="mso-list: l0 level2 lfo1; tab-stops: list 1.0in;">Disappearance from the historical record after conquest is complete</li>
</ol></ol><div class="MsoNormal"><br />
</div><ol start="3" style="margin-top: 0in;" type="A"><li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="mso-spacerun: yes;"> </span>Role During Spanish Colonial Era</li>
<ol start="1" style="margin-top: 0in;" type="a"><li class="MsoNormal" style="mso-list: l0 level2 lfo1; tab-stops: list 1.0in;">Idea of her as the Virgin Mother – mother of the mestizo nation </li>
<li class="MsoNormal" style="mso-list: l0 level2 lfo1; tab-stops: list 1.0in;">How does this positive view of her tie into imperial goals?</li>
</ol><li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;">Role During the Mexican Revolution and Chicano Movement</li>
<ol start="1" style="margin-top: 0in;" type="a"><li class="MsoNormal" style="mso-list: l0 level2 lfo1; tab-stops: list 1.0in;">Need to disassociate from Spanish colonial thinking, leading to the need to vilify La Malinche and her role in the conquest</li>
<li class="MsoNormal" style="mso-list: l0 level2 lfo1; tab-stops: list 1.0in;">Shaping as the Mexican Eve – betrayal of her people for the white man</li>
<li class="MsoNormal" style="mso-list: l0 level2 lfo1; tab-stops: list 1.0in;">Use of <i>la chingada</i> and <i>la malinchista</i> to secure the gender binary in the Chicano movement in the United States – how should I shift to the United States after talking about Mexico for so long?<span style="mso-spacerun: yes;"> </span>Talking about Mexican-American War?</li>
<li class="MsoNormal" style="mso-list: l0 level2 lfo1; tab-stops: list 1.0in;">Octavio Paz and his ideas on Mexican identity as subservient and the role of La Malinche in the formation of this identity</li>
<li class="MsoNormal" style="mso-list: l0 level2 lfo1; tab-stops: list 1.0in;">Artworks and poetry that tie La Malinche first to Cortes – <i>la chingada</i> – and take away her agency but then blame her for the conquest of <st1:country-region><st1:place>Mexico</st1:place></st1:country-region> and assign her complete agency (this may take many, many pages to explain and may be unnecessary?)</li>
<li class="MsoNormal" style="mso-list: l0 level2 lfo1; tab-stops: list 1.0in;">Chicano use of La Malinche to discourage women from seeking powerful positions in the movement, keeping then in traditionally female roles and out of interaction with white society – i.e. discouraging feminism by associating it with the second-wave U.S. movement which for the large part involved middle-class white women</li>
</ol><li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="mso-spacerun: yes;"> </span>Role During the Rise of the Chicana Feminist Movement </li>
<ol start="1" style="margin-top: 0in;" type="a"><li class="MsoNormal" style="mso-list: l0 level2 lfo1; tab-stops: list 1.0in;">Assigning agency to La Malinche – what does this do for common power structure in the movement and in Mexican-American society?</li>
<li class="MsoNormal" style="mso-list: l0 level2 lfo1; tab-stops: list 1.0in;">Is it revisionist to assign this role to her?<span style="mso-spacerun: yes;"> </span></li>
<li class="MsoNormal" style="mso-list: l0 level2 lfo1; tab-stops: list 1.0in;">How did the role of betrayer limit the women of the movement and how did they overcome it?<span style="mso-spacerun: yes;"> </span>(This is the part of my paper that has not been researched enough.)</li>
<li class="MsoNormal" style="mso-list: l0 level2 lfo1; tab-stops: list 1.0in;">Some more stuff about Chicana feminists and La Malinche once I do the reading.<span style="mso-spacerun: yes;"> </span></li>
</ol><li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;">Conclusion.<span style="mso-spacerun: yes;"> </span></li>
</ol><div class="MsoNormal" style="margin-left: .25in;"><br />
</div>irinahttp://www.blogger.com/profile/03387357358559839487noreply@blogger.com0tag:blogger.com,1999:blog-2366592439733471006.post-31536751244981733512011-04-17T12:15:00.000-07:002011-04-17T12:15:37.128-07:00Step 4: State of the Question PaperI don't really have all that much to say about this thing. I'm really distanced from it now. Pretty much, Tabetha assigned this and I don't know if I did it right but I did it. The end. Am currently working on Octavio Paz!<br />
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<a name='more'></a><div align="center" class="MsoNormal" style="text-align: center;"><u>Understanding Historical Exile through the Role of La Malinche in Myth and Literature<o:p></o:p></u></div><div class="MsoNormal" style="text-indent: .5in;">Exploring the presence of La Malinche in myth is difficult without also exploring her role in historical moments.<span style="mso-spacerun: yes;"> </span>Since myth and art are often connected to and inspired by historical circumstances, it is important to understand the events that have created the artworks one will be exploring.<span style="mso-spacerun: yes;"> </span>This assignment will be analyzing the following three texts in connection with the myth of La Malinche: <i>La Malinche in Mexican Literature: From History to Myth</i> by Sandra Messinger Cypess, <i>Feminism, Nation, and Myth: La Malinche</i> edited by Rolando Romero and Amanda Nolacea Harris, and “‘Yo Soy La Malinche’: Chicana Writers and the Poetics of Ethnonationalism” by Mary Louise Pratt.<span style="mso-spacerun: yes;"> </span>The three texts use various forms of art to explore the role of La Malinche in Mexican history, generally focusing on the post-revolutionary period from 1910 through the 1990s.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="text-indent: .5in;">In <i>La Malinche in Mexican Literature</i>, Sandra Messinger Cypess is aiming to explore the evolution of views on La Malinche from the conquest to the modern period: Of the secondary source works so far explored for this research paper, hers is the most broad.<span style="mso-spacerun: yes;"> </span>From the work one has done in reference sources, she also seems to be one of the most prominent scholars in the current field of researching La Malinche and other Mexican female historical figures.<span style="mso-spacerun: yes;"> </span>In <i>La Malinche in Mexican Literature</i>, Cypess identifies the transformations La Malinche has had throughout her five hundred years in the realms of history and literature.<span style="mso-spacerun: yes;"> </span>Cypess claims that “the invasion constituted a clash of cultures involving archetypal patterns that have formed a myth more consequential than the historical reality.”<a href="file:///C:/Users/irina/Documents/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/State%20of%20the%20Question%20Paper.doc#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[1]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>In the Spanish-dominated society of the pre-revolutionary period, La Malinche was viewed as a Virgin Mary-like mother figure, creating the nation by helping Hernan Cortes to conquer the Mexica in the early sixteenth century.<span style="mso-spacerun: yes;"> </span>La Malinche solidified this view of herself as the mother of Mexico when she bore Cortes a son, often viewed as the first <i>mestizo</i> – or mixed race – child of the Spanish and native populations.<span style="mso-spacerun: yes;"> </span>Spanish texts acknowledge this great transformation in Malinche at the point of baptism, where she becomes Dona Marina.<a href="file:///C:/Users/irina/Documents/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/State%20of%20the%20Question%20Paper.doc#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[2]</span></span><!--[endif]--></span></span></a></div><div class="MsoNormal" style="text-indent: .5in;">From this Spanish view, Cypess moves on to explore how La Malinche was used by the Mexicans to take on the Spanish and gain sovereignty.<span style="mso-spacerun: yes;"> </span>“To wrest control of the land from <st1:country-region><st1:place>Spain</st1:place></st1:country-region> meant dominating the images formed within a Spanish context.”<a href="file:///C:/Users/irina/Documents/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/State%20of%20the%20Question%20Paper.doc#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[3]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Here, Cypess begins to survey the place of Malinche as a historical and literary weapon in the struggle of independence in <st1:country-region><st1:place>Mexico</st1:place></st1:country-region>.<span style="mso-spacerun: yes;"> </span>To overturn the Spanish, Malinche had to be overturned.<span style="mso-spacerun: yes;"> </span>Malinche’s positive role in the formation of the <i>mestizo</i> nation was turned on its head, and Malinche was “reincarnated as Desirable Whore/Terrible Mother.”<a href="file:///C:/Users/irina/Documents/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/State%20of%20the%20Question%20Paper.doc#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[4]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>The former biblical image of her as the Virgin Mother was removed and she was now both Eve and the serpent, working together to bring an end to the indigenous populations and promote the dominance of the Spanish.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="text-indent: .5in;">Cypess then investigates the writers of the early and mid-twentieth century who used this negative view of Malinche in the formation of Mexican identity after the end of the revolution in 1910.<span style="mso-spacerun: yes;"> </span>A more concise study of post-revolutionary writers can be found in Romero and Harris’s <i>Feminism, Nation, and Myth.<span style="mso-spacerun: yes;"> </span></i>Romero and Harris have put together a collection of essays and poetry aimed at constructing and deconstructing the Malinche myth in terms of the Chicano movement of the mid to late-twentieth century.<span style="mso-spacerun: yes;"> </span>This collection explores Malinche from a more historical and political view, focusing on how post-independence depictions of Malinche as a traitor were used to keep women in the Chicano movement from incorporating feminism into their revolutionary goals.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="text-indent: .5in;">As Harris explains it in the introduction to the text, <span class="apple-style-span">after the end of the Mexican Revolution in 1910, Mexican Americans began the fight for civil rights. There was somewhat of a division between those who called themselves ‘Mexican American’ and those who were identified as ‘<a href="http://en.wikipedia.org/wiki/Chicano"><span style="color: windowtext; text-decoration: none; text-underline: none;">Chicanos/as</span></a>.’ As Sandra Cypess explains it, the split fell along political lines: while Mexican-Americans were conservative, Chicanos were more radical and often expressed their views in academic and artistic settings.</span><a href="file:///C:/Users/irina/Documents/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/State%20of%20the%20Question%20Paper.doc#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[5]</span></span><!--[endif]--></span></span></a><span class="apple-style-span"><span style="mso-spacerun: yes;"> </span>The</span><span class="apple-converted-space"> </span><span class="apple-style-span"><a href="http://en.wikipedia.org/wiki/Chicano_Movement"><span style="color: windowtext; text-decoration: none; text-underline: none;">Chicano Movement</span></a></span><span class="apple-converted-space"> </span><span class="apple-style-span">involved an exploration of Mexican origin as well as some sort of revolutionary planning. Chicanos appropriated the image of Malinche as a traitor, a woman who led her people into servitude, and actually used her image to suppress the women in their own movement. In</span><span class="apple-converted-space"> </span><span class="apple-style-span"><i><a href="http://www.amazon.com/Feminism-Nation-Myth-Rolando-Romero/dp/1558854401"><span style="color: windowtext; text-decoration: none; text-underline: none;">Feminism, Nation and Myth: La Malinche</span></a></i>, Amanda Nolacea Harris discusses how the derogatory ideas behind Malinche were used to discourage Chicanas (women in the movement) from attempting to step outside tradition gender norms: “The Movement assigned limited roles to women; the Chicana as faithful follower and sexual partner or nurturing mother figure to the Chicano revolutionary – or ‘the three f’s’ as Cherrie Moaraga articulates it…:’feeding, fighting, and fucking.’”</span><a href="file:///C:/Users/irina/Documents/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/State%20of%20the%20Question%20Paper.doc#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[6]</span></span><!--[endif]--></span></span></a><span class="apple-style-span"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div><div class="MsoNormal" style="text-indent: .5in;"><span class="apple-style-span">However crude, <i>Feminism, Nation and Myth</i> does a great deal of work in deconstructing the use of La Malinche in this significant movement in Mexican American history.<span style="mso-spacerun: yes;"> </span>The role of women is well explored in the text, noting the roles that female figures often play in history and ideology while women in the revolution were not allowed to take up high-ranking positions.<span style="mso-spacerun: yes;"> </span>The main point of the compilation appears after a preliminary reading to be the amount of agency assigned to the character of Malinche and how that agency translates in the lives of women in the movement over four hundred years later.<span style="mso-spacerun: yes;"> </span>The historical and mythical demonization of Malinche seems to stretch into two directions: either she is the <i>chingada</i>, the screwed one, who was used by Cortes to conquer her own people or she is the serpent, knowingly plotting to bring down her people in some sort of revenge scheme.<span style="mso-spacerun: yes;"> </span>By assigning negativity to the role of Malinche and then giving that name to any women who stepped outside of the Chicano movement – for instance, those involved in relationships with white men, those seeking to gain an education in white academic settings, or those attempting to join the second-wave feminist movement, largely controlled by middle-class white women – the movement was able to hold on to traditional gender roles in a civil rights movement.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div><div class="MsoNormal" style="text-indent: .5in;"><span class="apple-style-span">The role of feminists in the Chicano movement is further explored in <i>Feminism, Nation, and Myth</i>.<span style="mso-spacerun: yes;"> </span>The Chicana feminists worked to lift La Malinche out of her assigned role and to assign agency and power to a woman who had been swatted around by men writing history in order to achieve particular goals.<span style="mso-spacerun: yes;"> </span>A deeper exploration of the Chicana feminist literature is provided by Mary Louise Pratt in “‘Yo Soy La Malinche’: Chicana Writers and the Poetics of Ethnonationalism.”<span style="mso-spacerun: yes;"> </span>Pratt claims that Malinche’s “very presence contradicts…canonical ideologies of conquest and resistance as masculine heroic enterprises, and reductive visions of the conquest as a straightforward relation between victimizers and victims.”</span><a href="file:///C:/Users/irina/Documents/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/State%20of%20the%20Question%20Paper.doc#_ftn7" name="_ftnref7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[7]</span></span><!--[endif]--></span></span></a><span class="apple-style-span"><span style="mso-spacerun: yes;"> </span>Pratt speaks to the idea that there is a great contradiction in the way the Chicano movement represented La Malinche: both as the <i>chingada</i> and as the traitor.<span style="mso-spacerun: yes;"> </span>By assigning the role of the screwed one, tricked by a man into surrendering her nation, blame is put upon a character that completely lacks power and therefore cannot actually be blamed for the downfall of an entire empire.<span style="mso-spacerun: yes;"> </span>Pratt writes: <o:p></o:p></span></div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;"><span class="apple-style-span">The hostility directed at the figure of La Malinche is seen as a mystification of the fact that the Aztec empire was on the whole overthrown from within.<span style="mso-spacerun: yes;"> </span>Obviously Malintzin was only one of tens of thousands of indigenous inhabitants of </span><st1:country-region><st1:place><span class="apple-style-span">Mexico</span></st1:place></st1:country-region><span class="apple-style-span"> who collaborated with the Spanish…blaming it all on La Malinche provides a way of leaving intact a manichean…myth of noble Aztec warriors victimized by ruthless Spanish warriors, a myth that proved useful to Mexican nationalism as it developed following the revolution of 1910.</span><a href="file:///C:/Users/irina/Documents/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/State%20of%20the%20Question%20Paper.doc#_ftn8" name="_ftnref8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[8]</span></span><!--[endif]--></span></span></a><span class="apple-style-span"><o:p></o:p></span></div><div class="MsoNormal"><span style="mso-tab-count: 1;"> </span></div><div class="MsoNormal">The Chicana feminist movement sought to explore Malinche as a character with greater agency and less blame.<span style="mso-spacerun: yes;"> </span>Pratt’s piece analyzes the poetry of the movement and how it established La Malinche as a human being with the ability to reason.<span style="mso-spacerun: yes;"> </span>The poetry explored often sets up a dichotomy between Malinche and a man – her father or brother or Cortes – and uses this juxtaposition to justify her role in the conquest.<span style="mso-spacerun: yes;"> </span>Some of the work directly confronts the idea of La Malinche as a woman used simply to defeat an empire and gives her the power to decide the fate of her own people.</div><div class="MsoNormal" style="text-indent: .5in;">The state of the question of the proposed research paper is: How has the historical exile of La Malinche been significant at certain moments in Mexican-American history?<span style="mso-spacerun: yes;"> </span>This exile is mainly expressed through myth and art, often literature, by varying groups and peoples involved in the movement of their time.<span style="mso-spacerun: yes;"> </span>The last point in the discussion of Pratt above is particularly important to the proposed paper’s exploration of the historical significance of La Malinche.<span style="mso-spacerun: yes;"> </span>In the primary source research in the previous paper - Haniel Long’s <i>La Malinche (Dona Marina) – </i>the role between Malinche and man took on an interesting dependence on the idea of agency.<span style="mso-spacerun: yes;"> </span>How does assigning or removing agency from Malinche’s actions affect the portrayal of her and her historical exile?<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>What points in Mexican-American history and identity require the addition or removal of agency from a historical, but also mythical character, which encompasses all of these roles?<span style="mso-spacerun: yes;"> </span>Malinche is the Virgin Mother, Eve, the serpent, Helen of Troy; the list goes on and on.<span style="mso-spacerun: yes;"> </span>How does establishing her just as she is, just Malinche or Malintzin or Dona <st1:city><st1:place>Marina</st1:place></st1:city>, affect the portrayal of her?<span style="mso-spacerun: yes;"> </span>Does she need to be compared to other mythic women in order to carry significance in a historical scope?<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="text-indent: .5in;">The issue of historical exile and literary exile seem to overlap.<span style="mso-spacerun: yes;"> </span>As Cypess says, “La Malinche has been the subject of biographical, fictional, pictorial, and symbolic interpretation.”<a href="file:///C:/Users/irina/Documents/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/State%20of%20the%20Question%20Paper.doc#_ftn9" name="_ftnref9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[9]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>The intersection of these various forms of interpretation develops a character that crosses over several disciplines to become a rounded figure in the collective conscious of a specific group of individuals.<span style="mso-spacerun: yes;"> </span>Throughout the primary sources available, the place of agency seems to form the character of Malinche and is closely tied to the contemporary historical events.<span style="mso-spacerun: yes;"> </span>By aiming to explore these various historical points and the use or misuse of La Malinche in these moments, the paper will aim to understand the politics of historical exile.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div><div style="mso-element: footnote-list;"><!--[if !supportFootnotes]--><br clear="all" /> <hr align="left" size="1" width="33%" /> <!--[endif]--> <div id="ftn1" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Documents/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/State%20of%20the%20Question%20Paper.doc#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[1]</span></span><!--[endif]--></span></span></a> Sandra Messinger Cypess, <i>La Malinche in Mexican Literature: From History to Myth, </i>(Austin, TX: University of Austin Press, 1991,) 1.<span style="mso-spacerun: yes;"> </span></div></div><div id="ftn2" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Documents/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/State%20of%20the%20Question%20Paper.doc#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[2]</span></span><!--[endif]--></span></span></a> Ibid., 9.<span style="mso-spacerun: yes;"> </span></div></div><div id="ftn3" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Documents/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/State%20of%20the%20Question%20Paper.doc#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[3]</span></span><!--[endif]--></span></span></a> Ibid.<span style="mso-spacerun: yes;"> </span></div></div><div id="ftn4" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Documents/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/State%20of%20the%20Question%20Paper.doc#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[4]</span></span><!--[endif]--></span></span></a> Ibid.</div></div><div id="ftn5" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Documents/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/State%20of%20the%20Question%20Paper.doc#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[5]</span></span><!--[endif]--></span></span></a> Ibid., 4. </div></div><div id="ftn6" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Documents/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/State%20of%20the%20Question%20Paper.doc#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[6]</span></span><!--[endif]--></span></span></a> Rolando Romero and Amanda Nolacea Harris, eds., <i>Feminism, Nation, and Myth: La Malinche</i>, (<st1:place><st1:city>Houston</st1:city>, <st1:state>TX</st1:state></st1:place>: Arte Publico Press, 2005), x.<span style="mso-spacerun: yes;"> </span></div></div><div id="ftn7" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Documents/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/State%20of%20the%20Question%20Paper.doc#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[7]</span></span><!--[endif]--></span></span></a> Mary Louise Pratt, “‘Yo Soy La Malinche’: Chicana Writers and the Poetircs of Ethnonationalism,” in <i>Callaloo </i>16:4 (Autumn 1993): 859-873, http://www.jstor.org/stable/2932214 (accessed <st1:date day="26" month="2" year="2011">February 26, 2011</st1:date>), 860.<span style="mso-spacerun: yes;"> </span></div></div><div id="ftn8" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Documents/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/State%20of%20the%20Question%20Paper.doc#_ftnref8" name="_ftn8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[8]</span></span><!--[endif]--></span></span></a> Ibid., 861.<span style="mso-spacerun: yes;"> </span></div></div><div id="ftn9" style="mso-element: footnote;"> <div class="MsoFootnoteText"><a href="file:///C:/Users/irina/Documents/Bard/Spring%202011/Fugitives,%20Exile,%20and%20Extradition/State%20of%20the%20Question%20Paper.doc#_ftnref9" name="_ftn9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[9]</span></span><!--[endif]--></span></span></a> Cypess., <i>La Malinche in Mexican Literature, </i>2.<span style="mso-spacerun: yes;"> </span></div></div></div>irinahttp://www.blogger.com/profile/03387357358559839487noreply@blogger.com0tag:blogger.com,1999:blog-2366592439733471006.post-80527982850148307992011-03-23T18:45:00.000-07:002011-03-23T20:57:00.393-07:00Step 3: Secondary Source Analysis (A.K.A. Irina Word Vomits For the Length of Three Posts)<div class="MsoNormal"><span style="font-family: Arial;">Time to respond to some of the awesome (and hard!) things Jane posited in her reply to my last post about the very strange Haniel Long. She said:<o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: Arial;"><a href="http://www.blogger.com/goog_1750328580">“</a></span><span class="apple-style-span"><span style="font-family: Arial; font-size: 13pt;"><a href="http://thealtlibrarian.blogspot.com/2011/03/step-2-primary-source-analysis.html#comments">Your observation about Long’s inability to represent Malinche as an entity distinct from Cortes is terrific. Perhaps you could explore these ideas in your next post? What’s so weird about the way Long imagines Malinche?”</a><o:p></o:p></span></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span class="apple-style-span"><span style="font-family: Arial; font-size: 13pt;">I’ve been reading a lot about views of Malinche in myth and literature this week (more work for Professor Ewing!) I actually was in the <a href="http://www.blogger.com/goog_1750328585">research library on </a></span></span><st1:street><st1:address><span class="apple-style-span"><span style="font-family: Arial; font-size: 13pt;"><a href="http://www.nypl.org/locations/schwarzman">5th Ave</a></span></span></st1:address></st1:street><span class="apple-style-span"><span style="font-family: Arial; font-size: 13pt;"> today feeling very studious (and sick) while thinking a lot about Malinche and the Chicana feminist movement. I have a feeling my next few posts will talk about the Chicano/a movement a lot, so I will explain it briefly.<o:p></o:p></span></span></div><div class="MsoNormal"><br />
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<div class="MsoNormal"><span class="apple-style-span"><span style="font-family: Arial; font-size: 13pt;">This is all stuff I’ve picked up from just my Malinche readings, so this may not be the whole story. As I understand it, after the end of the Mexican Revolution in 1910, Mexican Americans began the fight for Mexican American Civil Rights. There was somewhat of a division between those who called themselves “Mexican American” and those who preferred to be identified as “<a href="http://en.wikipedia.org/wiki/Chicano">Chicanos/as</a>.” Chicanos were considered to be more radical according to what I’ve read in <a href="http://www.amazon.com/Malinche-Mexican-Literature-History-American/dp/0292751346">Sandra Messinger Cypess’s <i>La Malinche in Mexican Literature</i></a>. The <a href="http://en.wikipedia.org/wiki/Chicano_Movement">Chicano Movement</a> involved an exploration of Mexican origin as well as some sort of revolutionary planning. Chicanos appropriated the image of Malinche as a traitor, a woman who led her people into servitude, and actually used her image to suppress the women in their own movement. In <i><a href="http://www.amazon.com/Feminism-Nation-Myth-Rolando-Romero/dp/1558854401">Feminism, Nation and Myth: La Malinche</a></i>, Amanda Nolacea Harris discusses how the derogatory ideas behind Malinche were used to discourage Chicanas (women in the movement) from attempting to step outside tradition gender norms: “The Movement assigned limited roles to women; the Chicana as faithful follower and sexual partner or nurturing mother figure to the Chicano revolutionary – or ‘the three f’s’ as Cherrie Moaraga articulates it…:’feeding, fighting, and fucking’” (x). <o:p></o:p></span></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span class="apple-style-span"><span style="font-family: Arial; font-size: 13pt;">However crude, the view of women in this movement really helped me to understand the view that Mexican history has taken of Malinche. The dual view of her as a traitor and a tool seems to negate her role. How can she have betrayed her people if she was merely being used and was in her place? Many Chicana feminists took up this cause: while Chicanos were labeling those women in the movement as “Malinchistas” if they took an Anglo-American partner, entered into a relationship which would not result in breeding (such as with a same-sex partner), or sought higher education in Anglo-American institutions. Even feminism was viewed as an Anglo-American institution (which is not necessarily an incorrect view, given how the second-wave feminist movement of the 1960s and 1970s was spurred on by middle-class white women and was for the most part concerned with their own problems as women – housewifery, birth control, job opportunities – that poor women, minority women, and lesbians did not often have the privilege of caring about) and many Chicanas refused to label of “feminist” while fighting for the cause. <o:p></o:p></span></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span class="apple-style-span"><span style="font-family: Arial; font-size: 13pt;">So! Getting to the point! These Chicana <s>feminists</s> women decided to take on the myth of Malinche. Why did she have to be a traitor or a whore or a chingada (the fucked one)? Why did these labels have to be negative? Chicana work usually takes one of two angles: Malinche as justified in her assistance to Cortes or Malinche as a woman with agency working in a system that assigns her none. This gets all sorts of crazy!<o:p></o:p></span></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span class="apple-style-span"><span style="font-family: Arial; font-size: 13pt;">Deena J. Gonzales writes: “Malinche, to Chicano/a nationalists, is a traffic figure, a woman duped by the great white man…To view Malintzin’s time with Cortes, or even her interests in Cortes, is not so much a question of ‘was she a whore?’…but rather requires a leap of faith that perhaps she knew what she was doing, perhaps she was using Cortes, perhaps women simply, plainly, as we say in lesbian-feminist discourse, are appropriating semen, agency of the worst kind” <a href="http://www.amazon.com/Feminism-Nation-Myth-Rolando-Romero/dp/1558854401">(<i>Romero and Harris</i> 11)</a>. What Gonazales means by “lesbian-feminist discourse” could take up a whole different post…probably on a different blog. The important thing that comes out of her discussion is the varied views of Malinche and what they mean to both the Chicano Movement and the Chicana feminist revolt. <o:p></o:p></span></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span class="apple-style-span"><span style="font-family: Arial; font-size: 13pt;">Now I will attempt the amazing feat of winding this all back around to Haniel Long! Stand back!<o:p></o:p></span></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span class="apple-style-span"><span style="font-family: Arial; font-size: 13pt;">Haniel Long writes Malinche as a woman who is at once completely devoted to Cortes but also doubts his actions and what they mean for her. And even though I was very doubtful about this whole interpretation, after reading some secondary texts I am starting to understand where this is all coming from. There is a need to deny agency to Malinche and grant her this agency at the same time no matter how one intends to use her. For the Chicano Movement, Malinche’s agency allowed them to convince women to deny their own agency and stay in their traditional roles despite the revolt occurring around them. But! They also needed to blame the death of indigenous Mexico/the “Aztec” empire on the presence of Europeans/white men. And this could only depend on claiming that Malinche was forced into helping Cortes. <o:p></o:p></span></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span class="apple-style-span"><span style="font-family: Arial; font-size: 13pt;">Still with me? I’m barely with me.<o:p></o:p></span></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span class="apple-style-span"><span style="font-family: Arial; font-size: 13pt;">Chicana feminists, on the other hand, grant agency to Malinche in attempting to illustrate her role in history as a powerful woman who got revenge on her people/family (who apparently sold her into slavery. This needs further investigation, though Diaz does go on and on about it. I should read the Diaz) by destroying the empire/people that forced her into slavery. The denial of agency actually is rare in Chicana feminist work, but it often involves her inability to stop Cortes from taking her son to </span></span><st1:country-region><st1:place><span class="apple-style-span"><span style="font-family: Arial; font-size: 13pt;">Spain</span></span></st1:place></st1:country-region><span class="apple-style-span"><span style="font-family: Arial; font-size: 13pt;"> and Europeanizing (let’s pretend that’s a real thing) him. <o:p></o:p></span></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span class="apple-style-span"><span style="font-family: Arial; font-size: 13pt;">Okay one more time, back to the Long!<o:p></o:p></span></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span class="apple-style-span"><span style="font-family: Arial; font-size: 13pt;">Haniel Long denies Malinche agency when he irrevocably ties her entire story to Cortes, only allowing her thoughts to spring from his actions. But! He also grants her an amazing amount of agency without (in my opinion) really meaning to. Malinche is constantly saying things like “I am helping Cortes destroy my land, and kill and torture my people” (30). Her recognition of her role is agency in itself, even though Long is attempting to muddle this. The next lines read: “But if I do not help him, my land will destroy Cortes. I have had to choose. I give my life to Cortes…” (30). This seems like an impossible choice, but the entire point is that there is a choice present. It is undeniable. In his later analysis, Long writes “The story is hers, not Cortes’, and she will take her bow from posterity for it” (56). Despite Long’s need to constantly tie Malinche to Cortes, he is able to recognize that the story he has written is an attempt to give a voice to the voiceless. Earlier in his analysis, Long characterizes Malinche as a “heroine who symbolizes an all-round relation with man” (49). Long seems confused (and I feel pretty confused as well) but I cannot get away from the astounding amount of agency I find in his novel now that I have read a bit of the philosophical thought surrounding the Chicana movement. <o:p></o:p></span></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span class="apple-style-span"><span style="font-family: Arial; font-size: 13pt;">And this post has turned into the length of three! Which is what I had left to do for this week! Even though I have a lot more to say. But I need to read a bit more before I can go on. I also have a lot I need to think about when it comes to Malinche and her name – which one do I use here? In my paper? Ah! More to come, eventually. </span></span><span style="font-family: Arial; font-size: 13pt;"><o:p></o:p></span></div>irinahttp://www.blogger.com/profile/03387357358559839487noreply@blogger.com2tag:blogger.com,1999:blog-2366592439733471006.post-48063251147758884832011-03-20T19:17:00.001-07:002011-03-20T19:20:06.252-07:00Step 2: Primary Source Analysis.<span class="Apple-style-span" style="color: white; font-family: inherit;">So Professor Ewing keeps assigning work that matches up perfectly with what Jane and I are trying to accomplish in our tutorial. How fascinating! My next step, after the bibliography from my last post, was to analyze one of my primary source documents. I actually went a little wild and crazy and decided that Haniel Long's 1939<span class="apple-converted-space"> </span><i>La Malinche (Dona Marina)</i> totally counted as a primary source:<o:p></o:p></span><br />
<div style="margin-bottom: .0001pt; margin: 0in;"><span class="Apple-style-span" style="color: white; font-family: inherit;"><br />
</span></div><div style="margin-bottom: .0001pt; margin: 0in;"><span style="color: white; font-family: inherit;">"Both parts of<span class="apple-converted-space"> </span><i>La Malinche</i><span class="apple-converted-space"> </span>speak to the main goal of my research paper, to analyze the historical exile of Malintzin: Long is at once an interpreter of history and a literary writer and therefore supplies an important view of Malintzin in two seemingly separate scholarly spheres. <span class="apple-converted-space"> </span><b>Long’s opinions on Malintzin certainly must be viewed as historical evidence and not as a secondary source</b>: They illustrate a view of Malintzin not during her own time, but in a time when she was being remembered by history for very specific reasons."<o:p></o:p></span></div><div style="margin-bottom: .0001pt; margin: 0in;"><span class="Apple-style-span" style="color: white; font-family: inherit;"><br />
</span></div><div style="margin-bottom: .0001pt; margin: 0in;"><span style="color: white; font-family: inherit;">(A quote from the paper I handed in.)<o:p></o:p></span></div><div style="margin-bottom: .0001pt; margin: 0in;"><span class="Apple-style-span" style="color: white; font-family: inherit;"><br />
</span></div><div style="margin-bottom: .0001pt; margin: 0in;"><span style="color: white; font-family: inherit;">I'm currently having a lot of issues with Long, and I think that is because I can't seem to separate the feeling of weirdness about the book from my analysis of it. I found it during one of those preliminary searches in the Bard Library catalog. "Malinche" being in the title brought me to a hidden section somewhere on the second or third floor of the library where I pulled out a very tiny, old book. I was pulling a lot of books off the shelf, so I payed little mind to it as I continued my search. I figured it might be a short analysis of Malintzin in history, considering how little I knew about her. When I finally got to sit down with the book - in Jane's presence, actually - I realizes that it was a short novel. It astounded me. I didn't really know what to do with it. What was this novel doing in the library and why had it been written? I started to explore Malintzin's role in fields outside of history, and realized how much more prominent she is in literature and art. This somewhat led me to my current endeavor to explore her place in literature and myth. But that's kind of a different story for my secondary source paper.<o:p></o:p></span></div><div style="margin-bottom: .0001pt; margin: 0in;"><span class="Apple-style-span" style="color: white; font-family: inherit;"><br />
</span></div><div style="margin-bottom: .0001pt; margin: 0in;"><span class="Apple-style-span" style="color: white; font-family: inherit;">The main thing I got from Long's book is his apparent inability to seperate Malintzin from Cortes. I'm very interested in the connection he makes between women and men and what that means to the myth of Malinche. </span><br />
</div>irinahttp://www.blogger.com/profile/03387357358559839487noreply@blogger.com3tag:blogger.com,1999:blog-2366592439733471006.post-46267852680112005062011-03-19T18:32:00.000-07:002011-03-19T18:32:55.207-07:00Step 1: Bibliography.(So I am very behind on posts. And I decided to dedicate my spring break to catching up...and archives! And of course the moment I get home, I get sick! But I am going to soldier on!)<br />
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Below I'm posting my working bibliography for the paper I've been working on this semester for Tabetha Ewing's "Fugitives, Exile, and Extradition" class. La Malinche has pretty much taken over my life. My last blog post was written during the process of putting together the bibliography below. I essentially devoted five days (about 2-3 hours a day, I do have other classes,) to digging through the Bard Library and online catalogs. I used a lot of different search methods, starting from the most basic (which actually helped me not only have a jumping off point but also gave me one of my most valuable primary sources.) Professor Ewing wanted each of us in the class to physically enter the library and search through reference sources. I did this after I already started my basic research, but the process still was helpful in confirming who the specialists were in the field I was researching. The process of creating a bibliography was actually really exciting for me (see: why I should be a librarian.) It might be my favorite part of the whole process so far. But don't tell Haniel Long that. And here it is:<br />
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<div align="center" class="MsoNormal" style="text-align: center;"><u>Working Bibliography<o:p></o:p></u></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><u>Reference Sources</u><br />
<u></u>Baudot, Georges. “Malintzin: An Overview.” In <i>The </i><st1:city><st1:place><i>Oxford</i></st1:place></st1:city><i> Encyclopedia of Mesoamerican Cultures: The Civilizations of </i><st1:country-region><st1:place><i>Mexico</i></st1:place></st1:country-region><i> and </i><st1:place><i>Central America</i></st1:place>, Vol. 2, Edited by David Carrasco, 156-157. <st1:state><st1:place>New York</st1:place></st1:state>: <st1:place><st1:placename>Oxford</st1:placename> <st1:placetype>University</st1:placetype></st1:place> Press, 2001. [BARD LIB]</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Beezley, William H. and Michael C. Meyer, eds. <i>The </i><st1:city><st1:place><i>Oxford</i></st1:place></st1:city><i> History of </i><st1:country-region><st1:place><i>Mexico</i></st1:place></st1:country-region><i>.</i> <st1:state><st1:place>New York</st1:place></st1:state>: <st1:place><st1:placename>Oxford</st1:placename> <st1:placetype>University</st1:placetype></st1:place> Press, 2000. [BARD LIB]</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Cypess, Sandra Messinger. “Meaning and Reception of La Malinche.” In <i>The </i><st1:city><st1:place><i>Oxford</i></st1:place></st1:city><i> Encyclopedia of Mesoamerican Cultures: The Civilizations of </i><st1:country-region><st1:place><i>Mexico</i></st1:place></st1:country-region><i> and </i><st1:place><i>Central America</i></st1:place>, Vol. 2, Edited by David Carrasco, 157-159. <st1:state><st1:place>New York</st1:place></st1:state>: <st1:place><st1:placename>Oxford</st1:placename> <st1:placetype>University</st1:placetype></st1:place> Press, 2001. [BARD LIB]</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Rabasa, Jose. “Malinche.” In <i>Encyclopedia of Latin American History and Culture</i>, Vol. 3, Edited by Barabara A. Tenenbaum, 501-502. <st1:state><st1:place>New York</st1:place></st1:state>: Charles Scribner’s Sons, 1996. [BARD LIB]</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Read, Kay Almere and Jason J. Gonzalez. <i>Handbook of Mesoamerican Mythology</i>. <st1:place><st1:city>Santa Barbara</st1:city>, <st1:state>CA</st1:state></st1:place>: ABC-CLIO, Inc., 2000. [BARD LIB]</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><u>Primary Sources</u></div><div class="MsoNormal">Cortes, Hernan. <i>Letters From </i><st1:country-region><st1:place><i>Mexico</i></st1:place></st1:country-region>. 1519-1526. Edited and translated by Anthony Pagden. 2<sup>nd</sup> Edition. <st1:place><st1:city>New Haven</st1:city>, <st1:state>CT</st1:state></st1:place>: <st1:place><st1:placename>Yale</st1:placename> <st1:placetype>University</st1:placetype></st1:place> Press, 1986. [BARD LIB]</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Diaz, Bernal. <i>The True Story of the Conquest of </i><st1:country-region><st1:place><i>Mexico</i></st1:place></st1:country-region><i>.</i> Translated and Edited by Albert Idell. <st1:state><st1:place>New York</st1:place></st1:state>: Doubleday & Company, Inc., 1957. [CONNECT NY]</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Gomara, Francisco Lopez. <i>Cortes: The Life of the Conquerer by His Secretary.</i> 1511-1564. Translated and edited by Lesley Byrd Simpson. <st1:place><st1:city>Berkeley</st1:city>, <st1:state>CA</st1:state></st1:place>: <st1:place><st1:placetype>University</st1:placetype> of <st1:placename>California</st1:placename></st1:place> Press, 1964. [CONNECT NY*]<o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><u> </u>. <i>The Conquest of </i><st1:place><i>West India</i></st1:place>. 1578. Translated by Herbert Ingram Priestley. <st1:state><st1:place>New York</st1:place></st1:state>: Scholars’ Facsimiles & Reprints, 1940. [CONNECT NY*]<o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Leon-Portilla, Miguel, ed. <i>The Broken Spears: The Aztec Account of the Conquest of </i><st1:country-region><st1:place><i>Mexico</i></st1:place></st1:country-region><i>. </i><st1:place><st1:city>Boston</st1:city>, <st1:state>MA</st1:state></st1:place>: Beacon Press, 1990. [BARD LIB]<o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><u>Secondary Sources</u></div><div class="MsoNormal">Candelaria, Cordelia. “La Malinche, Feminist Prototype.” <i>Frontiers: A Journal of Women Studies </i>5:2 (Summer 1980): 1-6. http://www.jstor.org/stable/3346027 (accessed <st1:date day="26" month="2" year="2011">February 26, 2011</st1:date>). [JSTOR]</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Carman, Glen. <i>Rhetorical Conquests: Cortes, Gomara, and Renaissance Imperialism. </i><st1:place><st1:city>West Lafayette</st1:city>, <st1:state>IN</st1:state></st1:place>: <st1:place><st1:placename>Purdue</st1:placename> <st1:placetype>University</st1:placetype></st1:place>, 2006. [CONNECT NY]</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Chaison, Joanne Danaher. “Mysterious Malinche: A Case of Mistaken Identity.” <i>The </i><st1:country-region><st1:place><i>Americas</i></st1:place></st1:country-region> 32:4 (April 1976): 514-523. http://www.jstor.org/stable/979828 (accessed <st1:date day="26" month="2" year="2011">February 26, 2011</st1:date>). [JSTOR]<o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Cypess, Sandra Messinger. <i>La Malinche in Mexican Literature: From History to Myth. </i><st1:place><st1:city>Austin, </st1:city><st1:state>TX</st1:state></st1:place>: <st1:place><st1:placetype>University</st1:placetype> of <st1:placename>Austin Press</st1:placename></st1:place>, 1991. [BARD LIB]</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Delaney, Partty Harrington. “Jose Limon’s ‘La Malinche’.” <i>Dance Chronicle</i> 26:3 (2003): 279-309. http://www.jstor.org/stable/1568198 (accessed <st1:date day="26" month="2" year="2011">February 26, 2011</st1:date>). [JSTOR]</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Downs, Kristina. "Mirrored Archetypes.” <i>Western Folklore</i> 67:4 (Fall 2008): 397-414. <i>Historical Abstracts</i>, EBSCO<i>host</i> (accessed <st1:date day="26" month="2" year="2011">February 26, 2011</st1:date>). [HIST AB]</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Jaffrey, Nora E., Edward W. Osowski, and Susie S. Porters, eds. <i>Mexican History: A Primary Source Reader. </i><st1:place><st1:city>Boulder</st1:city>, <st1:state>CO</st1:state></st1:place>: Westview Press, 2010. [BARD LIB]</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><st1:place><st1:city>Kartunnen</st1:city>, <st1:country-region>Frances</st1:country-region></st1:place>. “Rethinking Malinche.” In <i>Indian Women of Early </i><st1:country-region><st1:place><i>Mexico</i></st1:place></st1:country-region>. Edited by Susan Schroeder, Stephanie Wood, and Robert Haskett. <st1:place><st1:city>Norman</st1:city>, <st1:state>OK</st1:state></st1:place>: <st1:place><st1:placetype>University</st1:placetype> of <st1:placename>Oklahoma</st1:placename></st1:place> Press, 1997. [CONNECT NY]</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Kidwell, Clara Sue. "Indian women as cultural mediators." <i>Ethnohistory</i> 39: 2 (Spring 1992): 97. <i>Historical Abstracts</i>, EBSCO<i>host</i> (accessed <st1:date day="26" month="2" year="2011">February 26, 2011</st1:date>). [HIST AB]</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Lanyon, Anna. <i>Malinche’s Conquest.</i> <st1:country-region><st1:place>Australia</st1:place></st1:country-region>: Allen & Unwin, 1999. [BARD LIB]</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Long, Haniel. <i>Malinche (Dona Marina</i>). <st1:place><st1:city>Santa Fe</st1:city>, <st1:state>NM</st1:state></st1:place>: The Rydal Press, 1939. [BARD LIB]</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Olcott, Jocelyn Harrison. "Las Hijas de la Malinche: Women's Organizing and State Formation in Postrevolutionary Mexico, 1934-1940." Dissertation Abstracts International, 2000. <i>Historical Abstracts</i>, EBSCO<i>host</i> (accessed <st1:date day="26" month="2" year="2011">February 26, 2011</st1:date>). [HIST AB]<o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Paz, Octavio. “The Sons of La Malinche.” In <i>The Labyrinthe of Solitude</i>. Translated by Lysander Kemp, Yara Milos, and Rachel Phillips Belash. <st1:state><st1:place>New York</st1:place></st1:state>: Grove Press, Inc., 1985. [BARD LIB]<o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Pratt, Mary Louise. “‘Yo Soy La Malinche’: Chicana Writers and the Poetircs of Ethnonationalism.” <i>Callaloo </i>16:4 (Autumn 1993): 859-873. http://www.jstor.org/stable/2932214 (accessed <st1:date day="26" month="2" year="2011">February 26, 2011</st1:date>). [JSTOR]</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Romero, Rolando and Amanda Nolacea Harris, eds. <i>Feminism, Nation, and Myth: La Malinche</i>. <st1:place><st1:city>Houston</st1:city>, <st1:state>TX</st1:state></st1:place>: Arte Publico Press, 2005. [CONNECT NY]<o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Schwartz, Stuart B., ed. <i>Victors and Vanquished: Spanish and Nahua Views of the Conquest of </i><st1:country-region><st1:place><i>Mexico</i></st1:place></st1:country-region><i>. </i><st1:state><st1:place>New York</st1:place></st1:state>: Bedford/St. Martin’s, 2000. [KING]</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Taylor, Analisa. “Malinche and Matriarchal Utopia: Gendered Visions of Indigeneity in <st1:country-region><st1:place>Mexico</st1:place></st1:country-region>.” <i>Signs</i> 31:3 (Spring 2006): 815-840. http://www.jstor.org/stable/10.1086/499209 (accessed <st1:date day="26" month="2" year="2011">February 26, 2011</st1:date>). [JSTOR]</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Townsend, Camilla. <i>Malintzin’s Choices</i>: AN Indian Woman in the Conquest of Mexico. <st1:place><st1:city>Albuquerque</st1:city>, <st1:state>NM</st1:state></st1:place>: <st1:place><st1:placetype>University</st1:placetype> of <st1:placename>New Mexico</st1:placename></st1:place> Press, 2006. [CONNECT NY*]<o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">West, Rebecca. <i>Survivors in </i><st1:country-region><st1:place><i>Mexico</i></st1:place></st1:country-region>. Edited by Bernard Schweizer. <st1:place><st1:city>New Haven</st1:city>, <st1:state>CT</st1:state></st1:place>: Yale University Press, 2003. [BARD LIB]<o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><u>Key<o:p></o:p></u></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">[KING] – Book originally read for Casey King’s “Early Modern Atlantic World” course.</div><div class="MsoNormal">[HIST AB] – Historical Abstracts found at: http://web.ebscohost.com/ehost/search/basic?hid=14&sid=ed0ef636-3bce-40b1-b2d4-1186e4f91ddc%40sessionmgr10&vid=1</div><div class="MsoNormal">[*] – Book ordered but has not arrived at time of submission of bibliography.</div>irinahttp://www.blogger.com/profile/03387357358559839487noreply@blogger.com0tag:blogger.com,1999:blog-2366592439733471006.post-68389999304002698652011-02-27T15:11:00.000-08:002011-02-27T15:11:54.434-08:00Ah, the beauty of inspiration.So this week I've been able to dive head first into what made me want to become a librarian in the first place: the art of research. There's something I enjoy so much about having a specific topic, going to the library, and pulling dozens of books off the shelf (without having to pay for anything!) And concentrating on one topic really makes it so easy. That eureka moment when you're so unsure of what you could possibly write twenty-five pages about and then bam! Everything makes sense. <br />
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So how did I manage to lasso such an awesome moment this week? Well first I have to thank Casey King for spending lots of time on the conquest of Mexico in the last few weeks. While talking about Cortes, we came across the figure of La Malinche or Dona Marina (her baptized name). Malinche was a Nahua woman given to Cortes as a slave in the Yucutan. Her knowledge of both Nahuatl and Mayan allowed her to become a translator for Cortes, as well as his mistress. History has assigned many roles to La Malinche, but the majority of them fall into two categories: the harlot/traitor figure or the mother/heroin figure. These distinct views on La Malinche in history inspired me to think about writing about her Tabetha Ewing's "Fugitives, Exile, and Extradition" class.<br />
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And this is where Jane comes in! I came to Jane with a very preliminary idea: La Malinche was physically an exile, sold into slavery and given to the other, the Spanish. But she is also a historical exile: Her image has been demonized by centuries of art and literature. She is a betrayer of her own people, the word "malinche" actually means something along the lines of "traitor." So how is her historical portrayal significant, especially to the nation of Mexico? At what points in time has La Malinche been reviled and when were attempts made to reinstate her as a positive character? Why is she singled out in the blame-game when hundreds of thousands of native soldiers fought alongside Cortes in the conquest? <br />
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I've spent this weekend in the library and have checked out more books than I know what to do with. La Malinche is kind of haunting me. There are no accounts that I've been able to find which give any chronicle of the woman's own words - and she was a translator, a woman who spent her life speaking for others. Why is it so difficult to find out things about her as a historical figure? And how have literary images of her enveloped her realistic presence in history with their portrayals? I have so many questions to ask and barely any answers! irinahttp://www.blogger.com/profile/03387357358559839487noreply@blogger.com2tag:blogger.com,1999:blog-2366592439733471006.post-74794303540862409362011-02-16T14:27:00.000-08:002011-02-16T14:27:13.003-08:00Examining the Role of Historians...Through a Historical Lense.I am currently swimming in a sea of print-outs (see: Bard allows me to kill many trees, for essentially no money. I still feel bad about it.) in the library, trying very hard to focus on "The limits of historical knowledge" from John Tosh's <i>The Pursuit of History</i>. He wants me to ask myself if historians can be objective. I'm going to simply say no and instead thumb through my newly arrived copy (thank you ConnectNY and Vassar) of <a href="http://en.wikipedia.org/wiki/Diego_Dur%C3%A1n">Diego </a><a href="http://en.wikipedia.org/wiki/Diego_Dur%C3%A1n"><span style="font-size: small;">Durán</span></a><a href="http://en.wikipedia.org/wiki/Diego_Dur%C3%A1n">'s</a> <i>The History of the Indies of New Spain</i>. I think we can all agree that I have reached a new low (or high?) of historical geeky-ness. <br />
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Wikipedia* tells me that <span style="font-size: small;">Durán</span>'s book <a href="http://en.wikipedia.org/wiki/Diego_Dur%C3%A1n">"was much criticized in his lifetime for helping the 'heathen' maintain their culture."</a> Now we all know how trustworthy Wikipedia can be, but way before I read any of that I wanted to look into <span style="font-size: small;">Durán</span> as a historian contemporary to the time period I am interested in. Why did he write such a lengthy history of a population of people that had already been conquered and converted? What was so significant about his work that made it so threatening to the powers that be? Who in sixteenth century Spain and in the colonies had a vested interest in keeping certain histories forgotten? Wikipedia is also telling me that <span style="font-size: small;">Durán</span>'s book was not published until the nineteenth century - why? Can we connect that with the previously asked questions?<br />
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I can't say too much quite yet about this work, however. I haven't really read it (and I feel like I may not get through all of it in the three weeks time the library has allotted me. I can say that since starting this semester, I've taken a new interest in the process of historical writing and its significance to...everything? Thanks, Jane! Now I can barely resist the urge to check out as many histories as I can carry.<br />
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Speaking of checking out more histories, I read quite a few excerpts from <a href="http://en.wikipedia.org/wiki/Bernal_D%C3%ADaz_del_Castillo">Bernal Díaz del Castillo</a> last weekend. The thing I really got out of his history (which is, at best, tedious) is his rivalry with Francisco López de Gómara. Gómara was hired by Cortés to write a history of New Spain. As I understand it, Bernal Díaz<b> </b>took issue with this history because Gómara himself never travelled to the New World while Díaz had been a foot soldier under Cortés. Can you say drama? I would be interested in comparing the two histories. Is it even possible to determine which one is more accurate? It must take a lot of frustration for someone to sit down years after the fact and repute the stories of others just to make one's point.<br />
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All in all, I think I have a lot of reading to do. <br />
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<a href="http://www.nytimes.com/2011/01/31/business/media/31link.html?_r=1&src=tptw">*Oh, yesterday I learned that approximately 85% of Wikipedia entries are written by men. Let's let the implications of that one sit with us for a moment.</a>irinahttp://www.blogger.com/profile/03387357358559839487noreply@blogger.com2tag:blogger.com,1999:blog-2366592439733471006.post-19503519853786372862011-02-13T19:50:00.000-08:002011-02-13T19:50:48.414-08:00A Couple Definitions/Explanantions.Jane wants me to talk about senior project and what that means. And I wanted to talk about some of my classes this semester now that I've been in them for about three weeks or so.<br />
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So senior project: Essentially, this is a senior thesis (about 70 pages for history majors like myself) written on any topic in my field (the early modern Atlantic world) over the course of a year (the senior one, specifically.) This is a super daunting task! I will be starting it in the fall, which is terrifying, and also means that I have to have a topic picked out by the end of this semester. I used to have a topic (see: <a href="http://virginiaofthreekingdoms.wordpress.com/2010/05/24/senior-project-senior-smojects/">blog left in the dust</a>), but that idea is boring to me now. I think I would like to write about women. Or race relations? Or historiography. I guess I'll figure it out eventually.<br />
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On to my classes! This semester I am taking The Early Modern Atlantic World with Casey King; Sex, Power, and Politics with Verity Smith; Fugitives, Exile, and Extradition with Tabetha Ewing; and Introduction to American Studies with Geoff Sanborn. And of course my Historical Research Methods tutorial with Jane! Yay Jane! (Jane celebration blog, anyone?)<br />
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Casey King's class is right up my alley, obviously. While I've taken a couple higher level history classes focusing on the Atlantic world, I needed something broad to make sure I knew the basics. This class is working out pretty well so far, and Casey is my temporary adviser while I wait with baited breath for the return of Christian Crouch. We've only focused on Columbus and Cortes so far, which is a bit outside of my interests - I seem to really like the 17th century English colonies. But! I am really into it, still, and the heavy use of primary sources in a lot of our readings is helping me think about history in a different way.<br />
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Verity Smith's class moves away from my concentration and towards my own personal passions - mainly, feminism. You could say I'm a fan. I don't really know how I can tie this to my senior thesis since we're starting our historical conversation on women with the first wave, but I'm sure I will find something to talk about nonetheless.<br />
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Tabetha Ewing's class is a bit of a mystery to me at the moment. I will get back to you on that one.<br />
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Geoff Sanborn's class so far has taught me that I have no clue what falls under the heading of "American Studies." I've mostly just read a lot about malls and big box stores and state fairs. Oh, and tea. I also went on a field trip <i>to</i> the mall. You're jealous, I know. This is another class which I am going to allow to lead me where it may.<br />
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And now it is late and I haven't even gotten around to talking about enclosed cosmography. Ah, another day! irinahttp://www.blogger.com/profile/03387357358559839487noreply@blogger.com0tag:blogger.com,1999:blog-2366592439733471006.post-12078267087536051302011-02-05T16:52:00.000-08:002011-02-05T16:52:13.289-08:00Another Day, Another Blog.Hello world! (And by world, I mean Jane. Hi Jane!)<br />
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This is my new blog. Can you tell? The emptiness should give it away. I'm starting this blog as a companion to the work I will be doing in my Historical Research Methods tutorial this semester at Bard College. As a second semester junior, I've started thinking about 1) my senior project and 2) graduate school. While number one is up in the air, I think I would like to attend a library and information sciences program in graduate school with the end goal of becoming a research librarian. I have all sorts of goals! Maybe. <br />
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I will write about actual important things later, but for now I think I'm going to try to get some reading on malls done. All in a day's work. irinahttp://www.blogger.com/profile/03387357358559839487noreply@blogger.com1