...Module 3 The readings for this week offended me as a Mexican American. Racial remarks and accusations will always be made by those who believe there in power. As I was reading Gregorio Cortez, I had the impression that the American Sheriffs blamed Cortez for the “horse-thief”, all simply because the sheriffs didn’t understand Spanish. I believe that if the racial empowerment wasn’t involved then Cortez wouldn’t have been mistreated. “-local authorities in south Texas began searching for a horse thief, described only as a “medium-sized Mexican.” Lawmen confronted Cortez and confusion ensued, since neither the sheriff nor his deputy understood Spanish.” The sheriffs assumed that because they were White American Sheriffs they had the power to accuse an innocent Mexican. But even with this racial remark, Cortez fought to protect his race. Cortez was fearless he wanted the racistism to end. “so now I will surrender, because such things are not right.” Such as in the reading “ The Homeland, Aztlan”. They mistreat Mexicans only because they are in the U.S illegally. The whites again believe they are in higher power therefore led to deportation. When in reality Pedro had his papers, but because he was a Mexican they figured he was in the country illegally. Whites are so quick to judge by the color of your skin. To them you could never be as good as them. My cousin lived her entire life in Minnesota, and when I recently visited her, I quickly became the talk of the neighborhood. Since...
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...The Ballad based from the Mexican folk tale of Gregorio Cortez called, “With His Pistol in His Hand” The ballad was written by an Mexican American Poet, and musician, and folklorist Americo Paredez. (1915-1999) Paredez was from Brownsville Texas, and is known as a respected Mexican American scholar from the 20th century. Americo wrote the ballad in January of 1958. During the time around the time around 1915 in which Paredez was born. there were tensions and often violent events around the Texas Mexican border which occurred as a result from the Mexican Revolution in 1910 through the 1930s. The significant of the time in which this Ballad was created during the late 50s, was because it was during the time of civic unrest, and around the early...
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...Narcocorridos Alexander P. Myers HY 377 Dr. Steven Bunker November 7, 2013 The facets of Mexican life that can be studied through the corrido are practically unlimited, and these ballads can be used as historical documents of important aspects of modern Mexican and Chicano life, as well as of the daily trials and tribulations of the pueblo the popular or common classes. Narcocorridos have and can be a positive to Mexican culture. The same cannot be said about its growing influence in American culture. In respect to historical significance of traditional Mexican corrido influences, narcocorridos provide a view of public/popular opinion not otherwise found in the media or other sources similar to the role of rap music in the U.S. Originally before modern technology or radios, corridos were passed along by word of mouth through family, friends, and traveling workers. Although the subject matter has changed, corridos remain rebellious, political, and an oral form of historical narratives. Corridos are often intensely serious, and they have always mirrored social and political concerns. They serve as repositories of both myth and history for a people not often served by mainstream newspapers and other media. Corridos are deeply ingrained in Mexican and Chicano culture, and are a standard form of marking major events in both public and daily life. In the beginning, Mexican corridos mimicked traditional Austrian and German Polk ballads and also had Spanish roots...
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...LECTURE GUIDE IN SOC 6 WEEK 1—ORIENTATION / INTRODUCTION TO RIZAL COURSE WEEK 2 BACKGROUNDER OF RIZAL’S FAMILY / HISTORICAL BACGROUND OF RIZAL: A. ANCESTRY OF RIZAL. Rizal came from a mixture of races. From his father side, his great grandfather was a Chinese merchant from Amoy, China. In the closing year of the 17th century, Domingo Lamco who assumed the family surname “ Mercado “ in consonance with the decree of Governor General Narciso Claveria to free all Spanish subjects and their children from prejudices associated with having Chinese surnames. Lamco married a wealthy Chinese mestiza, Ines dela Rosa and from Manila, they moved to Binan and became tenants in the Dominican hacienda which those time large portion of the town were owned by Dominican friars. Rizal’s great grandfather was Francisco Mercado, the son of Domingo and Ines dela Rosa, who married a Chinese mestiza Cirila Bernacha, had a son by the name of Juan Mercado, who married a Chinese mestiza Cirila Alejandrino, serving as Riza’s grandfather. Juan and Cirila had 14 children, one of whom was Francisco Mercado, Rizal’s father who married Teodora Alonzo. Rizal’s father was an erudite man. He took courses in Latin and Philosophy at Colegio de San Jose in Manila. For Rizal, his father was a model father because of his honesty, industry and prudence. Rizal inherited from his father self – respect, serenity and poise, seriousness and a deep sense of dignity. On the other hand, from his mother side, Rizal’s...
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...“A Dangerous Life” Characters: Historical Characters • Ruben Rustia - President Ferdinand Marcos, the sitting Philippine president in the film's setting. • Laurice Guillen - Corazon Aquino, the widow of Benigno Aquino Jr. • Tessie Tomas - First Lady Imelda Marcos • Cris Vertido - former Vice-Pres. Salvador "Doy" Laurel • Robert Talabis - Joker Arroyo • Mervyn Samson - Gen. Fabian Ver, AFP Chief 0f Staff • Joonee Gamboa - Senate President Juan Ponce "Johnny" Enrile, at that time Minister of Defense • Ray Ventura - Gen. Fidel "Eddie" Ramos, AFP Vice Chief of Staff • Johnny Delgado - Lt. Col. Eduardo "Red" Kapunan • Rez Cortez - Col. Gregorio "Gringo" Honasan • Rolando Tinio - Jaime Cardinal Sin, Archbishop of Manila • Noel Trinidad - Jimmy Ongpin • Tony Carreon - Ramon Mitra, Jr. • Vic Diaz - Maj. Gen. Prospero Olivas, Chief of the Metropolitan Command (METROCOM) • Amiel Leonardia - Peping Cojuangco, the younger brother of the Cory Aquino • Lea Cabusi - Kris Aquino, the youngest of the Aquino's • Freddie Santos - Butz Aquino, Ninoy's younger brother • Michael Pate - Ambassador Stephen W. Bosworth, US ambassador to the Philippines • Pen Medina - Col. Eduardo Doromal • Felindo Obach - Brig. Gen. Artemio Tadiar • Junix Inocian - Evelio Javier • Odette Khan - June Keithley • Mona Lisa - Francisca Monzon • Joe Gruta - Col. Antonio Sotelo • Benigno Aquino, Jr. as himself (interviewed before his assassination). An uncredited actor plays him during the assassination...
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...Week 6 “Hispanization” of the Natives * The Encomienda System (New World) * Definition of terms: * Encomienda – land trust * Encomendero – land trustee * Repartimientas – Indians granted to the land trustee * It can be traced in American colonies (particularly the South & Central America) which were later turned as Spanish permanent settlements * “New Spain” * Spanish explorers conquered the New World (feudalism) * Modified type of feudalism – encomienda system * It was established on May, 1493 by the Crown in Castle * Crown – had the power to entrust/ remove the land trust to the encomendero * Scope of the encomienda system: land +inhabitants * Spanish authorities justified their dominion over the New World by stating that their main responsibility was to propagate Catholic faith * Law of Burgos * Tribute * They believe that they could bring civilization to the New World * Rampant exploitation and abuse * The estates were still in the possession of inhabitants: an encomendero had no political authority * The Crown reluctant expressed his desire to abolish the encomienda system * It was overruled because the Royal Crown of Spain was threatened of rebellion and anguish cries of the Spaniards in America (New World) * Causes of the degeneration of the encomienda system in America: * Drastic decline of indigenous population * Transition from mercantile economy to industrial economy * The Encomienda System...
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...| | |II-9 | | | |[pic] Print [ II-9 ] S-PSY 30 - THEORIES OF PERSONALITY | | | | | |Room No. : | | | | | |Subject : [ II-9 ] S-PSY 30 - THEORIES OF PERSONALITY | | | | ...
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...SHORT HISTORY OF THE ILOILO PROVINCIAL HIGH SCHOOL The Iloilo National High School (INHS) is a provincial high School located in Iloilo City, Philippines. The history of the Iloilo High School dates back to the later part of 1902 when a school called the Iloilo Normal School was established in a two-storey building in front of and across the street of the present Provincial Building (now Casa Plaza) to meet the future need for Filipino teachers. The minimum requirement for admission was the completion of the elementary education in the old Spanish schools. The first batch of teachers were selected from experienced American teachers. The first principal was Mr. Lutz, who, despite his past sixty years, was a very kind and understanding man. The initial enrolment was about 250 and was divided into 5 sections. By 1903, the school had a very active literary society called Philomathean and had also a strong baseball team. In 1904, Mr. Covell succeeded Mr. Lutz as principal. To accommodate more students, preparatory classes were organized. For the first time Filipino students were selected as government pensionados to continue their studies in the United States. Among those selected were Candido Alcazar, Ambrosio Gison, Delfin Jaranilla, Carlos Lopez, Leon Nava, Balbino Palmares, Graciano Rico, Cirilo Torreblanca and Felix Valencia. In 1905, Mr. Maxson succeeded Mr. Covell as principal. The pensionados then were Geronimo Huising, Isabelo Lagniton, Claro Pendon, and...
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...Universidad Nacional Autónoma de México University of California Institute for Mexico and the United States Review: The Third Generation: Reflections on Recent Chicano Historiography Author(s): David G. Gutiérrez Source: Mexican Studies / Estudios Mexicanos, Vol. 5, No. 2 (Summer, 1989), pp. 281-296 Published by: University of California Press on behalf of the University of California Institute for Mexico and the United States and the Universidad Nacional Autónoma de México Stable URL: http://www.jstor.org/stable/1052091 . Accessed: 01/05/2011 16:00 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=ucal. . Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive....
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...UNIVERSAL PICTURES and EMMETT / FURLA FILMS Present A MARC PLATT Production In Association with OASIS VENTURES ENTERTAINMENT LTD / ENVISION ENTERTAINMENT / HERRICK ENTERTAINMENT / BOOM! STUDIOS A BALTASAR KORMÁKUR Film PAULA PATTON BILL PAXTON JAMES MARSDEN FRED WARD and EDWARD JAMES OLMOS Executive Producers BRANDT ANDERSEN JEFFREY STOTT MOTAZ M. NABULSI JOSHUA SKURLA MARK DAMON Produced by MARC PLATT RANDALL EMMETT NORTON HERRICK ADAM SIEGEL GEORGE FURLA ROSS RICHIE ANDREW COSBY Based on the BOOM! Studios Graphic Novels by STEVEN GRANT Screenplay by BLAKE MASTERS Directed by BALTASAR KORMÁKUR –1– CAST Waitress Margie . . . . . . . . . . . . . . . . . . . . . LINDSEY GORT Roughneck #2 . . . . . . . . . . . . . . . . . HILLEL M. SHARMAN Robert “Bobby” Trench . . . . . . . . . DENZEL WASHINGTON Roughneck #3 . . . . . . . . . . . . . . . . . . . . . . . . AARON ZELL Marcus “Stig” Stigman . . . . . . . . . . . . MARK WAHLBERG Roughneck #4 . . . . . . . . . . . . . . . . . . . . . . . HENRY PENZI Deb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAULA PATTON CREW Earl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BILL PAXTON Admiral Tuwey . . . . . . . . . . . . . . . . . . . . . . . FRED J. WARD Quince . . . . . . . . . . . . . . . . . . . . . . . . . . JAMES MARSDEN Directed by . . . . . . . . . . . . . . . . . BALTASAR KORMÁKUR Papi Greco . . . . . . . . . . . . . . . . . EDWARD JAMES OLMOS Screenplay by . . . . . . . . . . . ...
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...CALIFORNIA CALIFORNIA An Interpretive History TENTH EDITION James J. Rawls Instructor of History Diablo Valley College Walton Bean Late Professor of History University of California, Berkeley TM TM CALIFORNIA: AN INTERPRETIVE HISTORY, TENTH EDITION Published by McGraw-Hill, a business unit of The McGraw-Hill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright © 2012 by The McGraw-Hill Companies, Inc. All rights reserved. Previous editions © 2008, 2003, and 1998. No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written consent of The McGraw-Hill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. Some ancillaries, including electronic and print components, may not be available to customers outside the United States. This book is printed on acid-free paper. 1234567890 QFR/QFR 10987654321 ISBN: 978-0-07-340696-1 MHID: 0-07-340696-1 Vice President & Editor-in-Chief: Michael Ryan Vice President EDP/Central Publishing Services: Kimberly Meriwether David Publisher: Christopher Freitag Sponsoring Editor: Matthew Busbridge Executive Marketing Manager: Pamela S. Cooper Editorial Coordinator: Nikki Weissman Project Manager: Erin Melloy Design Coordinator: Margarite Reynolds Cover Designer: Carole Lawson Cover Image: Albert Bierstadt, American (born...
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