Introduction
Chicano/a Movement & Chicano/a Literature
As there are some people who have never heard the term Chicano/a, it is of utmost importance to start out with a definition. Chicanos are people of Mexican descent who live in the United States. They were either born there or immigrated with their families. Therefore a Chicano may seem like a Mexican-American. The difference is that the first term implies cultural awareness, whereas the other is rather neutral.
In Chicano/a writing the essence not only is that the author is a Chicano/a, he or she even plants Chicano characters into a Chicano environment who use Chicano speech patterns. The first pieces of Chicano literature were produced after the Mexican War (1848), so that this is actually a rather young field of research. The origins, however, already lie in the late 16th century, when the Spaniards spread their language and religion, etc. From that background folktales and legends evolved, among them La Llorona, the weeping woman. In fact, many Chicano works of fiction revolve around her.
Historically important here is the Treaty of Guadelupe-Hidalgo from 1848. After the so-called Mexican War (1846-1848), Mexico had to cede large parts of its land, much of the Mexican Southwest (Texas, New Mexico, Arizona, Colorado, California), to the U.S., and in the short run those Mexicans who lived there had to choose between either Mexican or American citizenship. It is their descendants who later developed poetry, narratives and corri-dos. Corridos are ballads in Spanish, altogether forming a cultural history. Up to the present day, they have not ceased to exist.
By 1900, Chicano literature played a role in the United States. Since many Mexican-Americans spoke Spanish and were catholic, those two were its first features. Around the same time also the first novels and stories were published. Things changed in 1945 at the latest, with the appearance of Josephina Niggli′s Mexican Village. Influenced by the Civil Rights Movement in the 1960s (also the time of the so-called Chicano Movement [1965-1975]), Chicano publishing houses were founded. Only then could the literary field spread its wings and make way for movies and plays. A more recent development is the emergence of strong Chicana writing, aiming at voices of Mexican or Mexican-American women finally being heard and thus among others dealing with Mexican icons such as La Malinché, the Virgin of Guadelupe and the aforementioned La Llorona.
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Table of Contents
INTRODUCTION
CHICANO/A MOVEMENT & CHICANO/A LITERATURE
"MEXICAN VILLAGE"
JOSEPHINA NIGGLI
BIOGRAPHY
MEXICO VS. USA
MEXICAN VILLAGE
THE QUARRY: BOB WEBSTER
THE RIVER ROAD
WOMEN’S STATUS: MARÍA VS. EVITA
THE MEXICAN REVOLUTION
THE STREET OF THE FORGOTTEN ANGEL
THE CASTILLO FAMILY
ROBERTO ORTEGA MENÉNDEZ Y CASTILLO, FORMERLY KNOWN AS "BOB WEBSTER"
SUMMARY
Objectives and Key Topics
This paper examines Josephina Niggli’s novel "Mexican Village" as a significant example of Chicana writing. The primary research focus is to analyze how Niggli utilizes the setting of Hidalgo and its inhabitants to bridge American and Mexican cultural perspectives, address the impact of the Mexican Revolution, and explore the construction of identity within a bicultural framework.
- Evolution and definition of Chicano/a literature and ideology.
- Biographical influences of Josephina Niggli on her literary work.
- The interplay between Mexican and American identity and cultural representation.
- Social structures, gender roles, and the status of women in the Sabinas Valley.
- The historical and literary significance of the Mexican Revolution within the narrative.
Excerpt from the Book
The Quarry: Bob Webster
The Quarry is the first story in Mexican Village. It introduces the main character Bob Webster who has just arrived in the Sabinas Valley in search of his own identity. Born and raised by a Mexican mother, he went to see his American father after her death and was rejected by him. Therefore, he left for Europe and fought in World War I. Due to feelings of inclination to pay a visit to his native country, Bob has accepted a job offer in Hidalgo and eventually not only meets many people but every now and then also travels back in time to his early childhood days.
Bob Webster is a Mexican-American who has to construct an identity out of elements of two cultures, although his father’s reaction hurt him very much and he started to resent American features. At first he only wants to stay a year and save enough money enabling him to open an aviation business with a friend in South America. For exactly those reasons he does not want to be involved in the village affairs and prefers to be the stranger, the outlander who does not care about his reputation.
Summary of Chapters
INTRODUCTION: This section defines Chicano/a identity and literature, contextualizing the historical importance of the Treaty of Guadelupe-Hidalgo and the emergence of Chicana writing.
CHICANO/A MOVEMENT & CHICANO/A LITERATURE: This chapter traces the evolution of Chicano literature from the Mexican War to the influence of the Civil Rights Movement and the rise of Chicana voices.
"MEXICAN VILLAGE": The author introduces the novel as a key text for analysis, highlighting Niggli’s intention to convey authentic Mexican culture to American readers.
BIOGRAPHY: This chapter provides an overview of Josephina Niggli’s life, her bicultural upbringing, and her academic and professional background.
MEXICO VS. USA: This part discusses Niggli's perspective on the differences between Mexican and American societies and her attempt to challenge prevailing stereotypes.
MEXICAN VILLAGE: This section serves as an analytical anchor for the subsequent detailed examination of the novel's stories.
THE QUARRY: BOB WEBSTER: The chapter examines the journey of the protagonist Bob Webster and his struggle to integrate his dual cultural heritage.
THE RIVER ROAD: The focus here is on the love story of Alejandro and María and the societal tensions during the Mexican Revolution.
WOMEN’S STATUS: MARÍA VS. EVITA: This chapter explores the gender dynamics and the limited agency of women within the rigid structures of Mexican village life.
THE MEXICAN REVOLUTION: This section analyzes how the Revolution serves as a backdrop and catalyst for change within the narrative and the Sabinas Valley.
THE STREET OF THE FORGOTTEN ANGEL: The final story is analyzed in the context of the resolution of Bob’s identity conflict.
THE CASTILLO FAMILY: This chapter discusses the decline of the aristocratic order and the changing power dynamics within the family.
ROBERTO ORTEGA MENÉNDEZ Y CASTILLO, FORMERLY KNOWN AS "BOB WEBSTER": The section explores the final transformation of the protagonist and his acceptance of his indigenous roots.
SUMMARY: The conclusion synthesizes the findings, confirming Niggli’s role as a pedagogical voice attempting to foster cross-cultural understanding.
Keywords
Chicana writing, Josephina Niggli, Mexican Village, Mexican Revolution, Identity, Bob Webster, Sabinas Valley, Biculturalism, Cultural representation, Gender roles, Hidalgo, Mestizo, Folklore, Patriotism, Social change.
Frequently Asked Questions
What is the primary subject of this paper?
The paper provides a literary analysis of Josephina Niggli’s 1945 novel "Mexican Village," focusing on how the stories reflect the cultural, social, and political landscapes of Mexico during the 1920s and 1930s.
What are the central themes explored in the work?
Key themes include the search for personal identity in a bicultural context, the impact of the Mexican Revolution on social structures, gender disparities, and the challenge of representing an "authentic" Mexican culture to an American audience.
What is the main research objective?
The objective is to examine how Niggli’s background and narrative techniques allow her to act as a cultural translator, bridging the gap between American perceptions and the reality of Mexican life.
Which methodology is applied in the research?
The paper uses a descriptive and analytical literary approach, examining specific characters and stories from the novel to illustrate broader social and historical arguments.
What does the main body of the paper cover?
It provides an in-depth reading of selected stories from the novel, analyzing characters like Bob Webster and María de las Garzas, while situating the text within the broader context of Chicano/a literature.
How can the work be characterized by its keywords?
The work is defined by concepts such as bicultural identity, cultural translation, the legacy of the Mexican Revolution, and the struggle for social agency among marginalized groups in the Sabinas Valley.
How does the author interpret the role of "magic" in the novel?
The author views elements of witchcraft and local folklore not merely as narrative devices, but as symbols of the "nostalgia of the blood" that draw the protagonist closer to his indigenous roots.
What is the significance of the protagonist's name change from Bob Webster to Roberto Ortega?
The change signifies the protagonist's completion of his identity quest, moving from an alienated Anglo-American outsider to a fully accepted member of his ancestral community in Hidalgo.
- Quote paper
- Silke-Katrin Kunze (Author), 2002, Josephina Niggli - Mexican Village, Munich, GRIN Verlag, https://www.grin.com/document/4289
