Like Sara, I also found the most intriguing aspect of this week's readings to be in Alicia Arrizon's "Chicano Identity and Performance: Beyond Chicanisdmo". Indeed, language construction in both the written and oral forms in the Romance languages has subjugated women to a subsidiary role to that of their male counterpart. It's curious to note that "nosotras", "ellas" and "vosotras" (used only in Spain) are pronouns that refer to "we", "them", and "you all", respectively. From a linguistic point of view, it's worth noting that the only difference between using "nosotras"- the female conjugation of "we"- versus "nosotros"- the male conjugation- is the presence of one single man. That is to say that if a woman were speaking or writing about, let's say, 10,000 women gathered in a single space, "nosotras" would be used to describe "us", a group of females. However, if only one man were present in that same space, the entire construction would have to be altered to "nosotros". It is bizarre to note the dominant male presence in language construction cemented in history. The implications of this insubordination have been far-reaching and extreme. How has this linguistic inequality permeated into the works we've read so far? What are the implications within a work with a female protagonist, for example, in a Spanish production?