...accented English to collide with the sawedtwenty years. off consonants. I tell him that will be fi ne, that I’m familiar with 3 Barrientos was born in Guatethe conversational setup, and yes, I’ve studied a bit mala and raised of Spanish in the past. He asks for my name and I in El Paso, Texas. Her first novel, Frontera Street, was supply it, rolling the double r in Barrientos like a pro. published in 2002, and her second, That’s when I hear the silent snag, the momentary Family Resemblance, was pubhesitation I’ve come to expect at this part of the exlished in 2003. Her column “Unchange. Should I go into it again? Should I explain, conventional Wisdom” runs every the way I have to half a dozen others, that I am Guaweek in the Inquirer. This essay originally appeared in the collectemalan by birth but pura gringa by circumstance? tion Border-Line Personalities: A Do I add the humble little laugh I usually attach New Generation of Latinas Dish to the end of my sentence to let him know that of on Sex, Sass & Cultural Shifting. course I see the irony in the situation? We selected this reading because This will be the sixth...
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...and definition and independence. Walker (95) argues that I Know Why the Cage Bird Sings is characterized by thematic unity, which is achieved using the structure adopted in the text that takes more of a thematic form rather than a chronological form. In addition, Angelou managed to emphasize on the universal ideas in her literary work irrespective of its periodic quality. In I Know Why the Caged Bird Sings, Maya Angelou used the major characters of the book to facilitate its thematic development identity, racism and literacy throughout the text. Basing on this assertion, this essay uses evidence from the book to affirm the role that the major characters played in the development of the major themes in the book. The first major theme in I Know Why the Caged Bird Sings is identity. In the course of the text, Maya is depicted as symbolic character representing every African American girl growing in America. Maya is depicted as...
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...environment and people at which we are speaking too. Whenever a character enters an unfamiliar environment, they experiment with language to find themselves and understand reality. For immigrants, language is a means to retain one’s identity; however, as they become more assimilated in their new communities their language no longer reflects that of their identity but of their new cultural surroundings. When an immigrant, immigrates to a new country they become marginalized, they’re alienated from common cultural practices, social ritual, and scripted behavior. It’s not without intercultural communication and negotiation do immigrants conform to new surroundings. In “Drown,” the title story of his narrative collection, Junot Diaz enumerates the story of a Hispanic youth growing up in New Jersey. Though Diaz explores issues of queerness, shamelessness, and familial relations within this selection, it is his use of language that proves most intriguing. Rather than simply describing the struggles of adapting to a new language or customs, Diaz portrays how, at an early age, he manipulated language as a tool to makes sense of his new hybrid identity. The use of language in Junot Diaz’s Drown is spare and unadorned, often rendered in "Spanglish," an unpredictable mixture of both English and Spanish. Diaz uses Spanish words in the midst of standard English sentences to fortify the differences between Dominican and American cultures. Although, the integration of street slang with Spanish...
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...Toshiba Watson Tonja McCurdy-Jennings ENG115221VA016-1132-001 English Composition 12 February 2013 In the essay, Se Habla Espanol writer Tanya Barrientos writes a memoir about a Guatemalan born Latina brought to the United States as a child but failed to learn about her native culture. Now as an adult, she fights to regain her Latino identity and acceptance. Barrientos was brought to the United States at a very young age by her parents who absorbed her into the American culture by speaking only Spanish. This was to serve the purpose of blending her more readily into her new society and thus, ensuring her success. She describes how Americans during that time were not culturally tolerant and expected foreigners who entered the country to “leave their cultural baggage at the border”. As a result of her parents decision Barrientos embraces to her new culture and rejects her old one. She took pride in not being able to speak Spanish; and furthermore, she took pride in her American peers saying that she did not seem Mexican. Barrientos states that those comments “made me feel superior. It made me feel American. It made me feel white.” Once her father realized how she felt about her native culture he set out to change her feelings. He sent her to spend time in Mexico City and his plan worked. She returned to the United States with a new appreciation for her Latino roots. She continues on to state that as she became more accepting of her native culture so had American society...
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...Global Cold War tensions increased as political turmoil turned to violent conflict in developing Third World nations. Responding to all of this, cinema became politicized on a scale not seen since World War II. The Third World was at the forefront of revolutionary cinema as filmmakers in those countries treated cinema as a tool of social change and a weapon of political liberation. This use of film as a social and political force emerged first in Latin America and spread to Africa and China, while also emerging in the First World countries including the U.S.S.R. and United States. The counterculture and the New Left were examples of an international politics of youth that focused on opposition to American involvement in Vietnam, critique of post-World War II capitalist society, and social-protest movements focused on equality of diverse groups. Eventually, radical leftism declined in the mid-1970s, but engaged filmmaking remained central to the micropolitics of the era. A June 1979 alternative-cinema conference in New York assembled over 400 political activists working in film and video in the United States. In some countries, government liberalization led to funding for militant film. The new Labour government in Britain assisted Liberation Film and Cinema Action, while the regional Maisons de la Culture allotted money for local media groups in France. Some parallel distribution and exhibition circuits proved successful in promoting films about nuclear power, day care...
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...Lower East Side Memories : A Jewish Place in America By HASIA R. DINER The Lower East Side and American Jewish Memory I'm Jewish because love my family matzoh ball soup. I'm Jewish because my fathers mothers uncles grandmothers said "Jewish," all the way back to Vitebsk & Kaminetz-Podolska via Lvov. Jewish because reading Dostoyevsky at 13 I write poems at restaurant tables Lower East Side, perfect delicatessen intellectual. —Allen Ginsberg, "Yiddishe Kopf" The poet Allen Ginsberg, born and raised in Newark, New Jersey, returned in his later years to a narrative style of expression, shifting gears from the anger and fire of his early career. In this poem from 1991 he also touched down again, after a long hiatus spent exploring Buddhism and Eastern philosophy, upon some Jewish themes, as a way of remembering the world of his youth. He described that world in one poem, "Yiddishe Kopf," literally, a Jewish head, but more broadly, a highly distinctive Jewish way of thinking, based on insight, cleverness, and finesse. That world for him stood upon two zones of remembrance. The world of eastern Europe, of Vitebsk, Lvov, and Kamenets-Podolski gave him one anchor for his Jewishness. Thai space of memory gave him a focus for continuity and inherited identity, tied down by the weight of the past, by family in particular. The other, the Lower East Side, nurtured and...
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...University of Tennessee, Knoxville Trace: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2010 Bharati Mukherjee and the American Immigrant: Reimaging the Nation in a Global Context Leah Rang University of Tennessee - Knoxville, lrang@utk.edu Recommended Citation Rang, Leah, "Bharati Mukherjee and the American Immigrant: Reimaging the Nation in a Global Context. " Master's Thesis, University of Tennessee, 2010. http://trace.tennessee.edu/utk_gradthes/655 This Thesis is brought to you for free and open access by the Graduate School at Trace: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of Trace: Tennessee Research and Creative Exchange. For more information, please contact trace@utk.edu. To the Graduate Council: I am submitting herewith a thesis written by Leah Rang entitled "Bharati Mukherjee and the American Immigrant: Reimaging the Nation in a Global Context." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in English. Urmila Seshagiri, Major Professor We have read this thesis and recommend its acceptance: Lisi Schoenbach, Bill Hardwig Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official student records.) To the Graduate Council:...
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...Middlesex on its own was just a very all around out of the ordinary story of a person raised as a girl with male biological traits, not to mention all of the events that take place in their life. Cal’s life was anything but normal beginning with the past of his ancestors. His grandparents were brother and sister, his parents were cousins, and his brother was only known as “Chapter Eleven”. Of course Cal’s growing up experience was also definitely out of the ordinary during the understanding of his intersex gender, especially when he is sent to his specialist in New York, who put Cal in very unusual and uncomfortable situations in assessing his gender. The plot surely takes a twist when Cal makes the decision to run away from home, and hitchhikes all of the way to San Francisco where he meets the queerest character of all in terms of non normative, Bob Presto. When we learn that Cal begins working for Bob’s strip club called the Sixty-Niners, and swims naked in a pool where people can watch him through peepholes. At the club Cal is referred to as “Hermaphroditus”, and befriends the other workers there that all are dealing with other sexuality issues...
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...form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. The author has made an online version of this work available under a Creative Commons Attribution-Noncommercial 3.0 License. It can be accessed through the author’s Web site at http:www.itofisher.com/mito. Yale University Press books may be purchased in quantity for educational, business, or promotional use. For information, please e-mail sales.press @ yale.edu (U.S. office) or sales @ yaleup.co.uk (U.K. office). Designed by James J. Johnson Set in Janson Roman and Helvetica type by Westchester Book Group, Danbury, CT Printed in the United States of America [[CIP info to come]] A catalogue record for this book is available from the British Library. This paper meets the requirements of ANSI/NISO Z39.48-1992 (Permanence of Paper). 10 9 8 7 6 5 4 3 2 1 Chapter 2, “Database Animals,” is excerpted from Otaku: Japan’s Database Animals by Hiroki Azuma, translated by Jonathan E. Abel and Shion Kono (Minneapolis: University of Minnesota Press, 2009), pp. 25– 62. Originally published in Japa nese as Dobutsuka suru posutomodan: otaku kara mita nihon shakai (Tokyo: Kodansha Gendai Shinsho, 2001). Copyright 2001 by...
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...author, embraces culture, community, and background through her short story “The Lesson”. She has the main character Miss Moore discuss the struggles African Americans have with Caucasians involving social class, poverty, and equality. For many years after the abolition of slavery, African Americans were still looked down upon and considered a lower social class in certain societies. Bambara uses language as a powerful tool for describing America during the 1960s through the eyes of a young girl named Sylvia, a proud, sensitive, tough girl who is far too smart to ignore the realities around her. Bambara uses language to establish a cultural setting and Miss Moore to teach her students how to be successful, no matter their race. This story reflects Bambara’s ethnic background and pride by using the same dialect that she used growing up in Harlem, New York. According to Bambara, she spoke African American Vernacular English (AAVE), a trait that imparts to Sylvia. African American Vernacular English adds realism and humor to Sylvia's narrative because it describes her ethnicity without directly expressing what it is. It is common for African-American writers to use AAVE to emphasize their political and social commentary, so it is appropriate for Sylvia to be speaking the dialect because the story takes place in the ghetto of New York where Sylvia spends her childhood as a working class African American child. In this particular story, AAVE effectively conveys the characters' strong...
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...org/page/info/about/policies/terms.jsp . 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. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. . University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Asian Survey. http://www.jstor.org W i l l i a m a . Ca l l a h a n China’s Strategic Futures Debating the Post-American World Order a b S t r aC t This essay examines how China’s “harmonious world†foreign policy has unintentionally created opportunities for citizens to challenge elite discussions of foreign policy. Although they are relative outsiders, the essay argues that citizen intellectuals are a growing influence as a source of ideas about China’s future—and the world’s. K e y W o r d S : China, foreign policy, strategy, public intellectual, civil society Although we did not recognize it at the time, Beijing’s current assertive foreign policy started in September 2005 when Chinese President Hu Jintao delivered a major speech to a global audience at the United Nations. From the podium of the General Assembly, Hu introduced “Harmonious World†as a new concept of global politics, explaining that his goal was to “build a harmonious world of lasting peace and...
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...enthusiastic reviews from critics and readers all over the world, nominating him the unofficial title of ―American Tolkien‖ [9]. In 2007 Martin agreed to collaborate with cable network HBO‘s writer-producers David Banioff and Daniel B. Weiss on the adaptation of his epic novel series to TV under the name Game of Thrones (GoT) [14]. Its narrative features the medieval fantasy world of Westeros, in which five noble families struggle to seize the all governing Iron Throne, and, with a complete broadcast of three seasons, the result has led TV critics to hail the show as one of the pinnacles of quality television narrative [21]. The show has also obtained an exceptionally broad and international fandom. The series has won numerous awards and nominations. It is the most recent big-budget media franchise to have contributed to the popularity of epic fantasy genre in mainstream TV. This essay will analyze the transmedia storytelling strategies applied to promote the TV series Game of Thrones. Transmedia storytelling is understood as a story told throughout numerous media platforms, with special content pointing back to the main narrative, working as a potential new audience entry-point. ―In which way transmedia storytelling is involved in Game of Thrones commercial success?‖ is the research question proposed. To answer this question, I intend to refer to the concepts of paratexts in relation to core text, as it is essential for transmedia storytelling. It is worth mentioning...
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...During the post-emancipation era, black women would often use various chemicals to straighten or slick back their hair in order to assimilate into white America. While the practice became somewhat unpopular during the black power movement, it revisited the black community shortly thereafter. Growing up, I was never particularly fond of my hair, as aforementioned. So as a result, I would perm and flat iron it often, often resulting in damage. I was constantly kept under the impression that flat ironed hair was nice and professional-like. In fact, many black women are convinced that they need to keep their hair straight, as if that makes them seem more acceptable. Luckily, within the past couple of years, the natural hair movement has taken off. Women with 4c, 3c, 4b, 4a, etc., are letting their hair flourish. However, the natural hair movement isn’t all innocent. One would notice that a women with 3c or 3b hair is typically the face of the natural hair movement, while...
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...development of the 19th century and a reaction to the rapid social change of the industrial revolution and rapid urbanization. Prior to 1800, governments maintained order by a variety of means, local and national. One of the key historical debates concerns the effectiveness of these approaches and the degree of continuity between the premodern and modern police models. Around 1800 a small number of distinctively different types of police institution emerged. The French, under Napoleon, instituted the Gendarmerie, a state military police model. It evolved from the “Marechaussee,” which had had a dual military and civil function since the 16th century. The model was exported across Europe by Napoleon. The British developed two models. The first, set up to answer similar challenges to the Gendarmerie in France, was the Royal Irish Constabulary model. It was close to the state military model, but distinctively styled as part of the civil power of the state and subordinated to the Magistracy. The Irish model was subsequently exported to Britain’s colonies and became the basis of forces such as the Indian Police Service. The Metropolitan Police was consciously created as a local force with a uniform that was deliberately different from the military and a mission that focused on prevention of crime rather than the repression of disorder. This state civilian model became the basis for all UK forces on the mainland and the principal influence on the development of East Coast US policing in the...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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