Chicano literature chronicles the lives and experiences of Mexican Americans in the United States, and is used as a cultural education tool to keep the Chicano heritage alive through text. Although there have been many different Chicano authors, most Chicano literature revolves around themes of culture and Mexican history and issues with identity and cultural discrimination. Many Chicano authors have used writing as a vehicle to express themselves and have a sense of representation that they would not normally be entitled to. In Luis Omar Salinas’ poem Aztec Angel, he uses vivid imagery to paint a picture of what his socio-political complaint is all about. Before delving into Aztec Angel, closer examination of Chicano literature will serve as an excellent primer for understanding how Salinas felt when writing the piece.
There are many connections between Shadows at Dawn and the course, including the influence of European contact on the indigenous population as well as the deconstruction of stereotypes that have existed in the national history of the United States and Mexico. Jacoby believes that perspective influences how an event is seen, including historical narrative. Political power influences the selection of memories when choosing historical narrative. Jacoby's thesis matters because in order to truly understand an event all sides of the story must be explored and understood. Shadows at Dawn shows how an event is remembered can be influenced by who wrote the history of it.
Argument/Summary on “Cultural Memory and Chicanidad: Detecting History, Past and Present, in Lucha Corpi’s Gloria Damasco Series” Ralph E. Rodriguez in “Cultural Memory and Chicanidad: Detecting History, Past and Present, in Lucha Corpi’s Gloria Damasco Series” examines Lucha Corpi’s series and what they expose about the development of Chicano identity and the spread of Chicano history. An example of the author’s thesis is when he explains that he examining Lucha Corpi because “she investigates the various historical shifts and constructions of Chicanidad since the Chicana/o movement…more systematically than her Chicano counterparts writing in the detective genre” (Rodriguez). Rodriguez further supports his claim with a number of examples from Lucha Corpi’s Gloria Damasco series. First, Rodriguez states, “Throughout the Damasco series, Gloria’s memories challenge traditional understandings of U.S history and shape-shift into her own construction of Chicana/o identity and community” (Rodriguez). Second, Rodriguez says, “Corpi seeks to build a causally linear narrative about the development of the Chicana/o community, a linearity consistent with the epistemology of the detective novel” (Rodriguez).
The Columbian Orator, a collection of political essays, poems, and dialogues, was widely used in American in the first quarter of the nineteenth century to teach reading and speaking. Of all the pieces in The Columbian Orator, Douglass focuses on the master‑slave dialogue and the speech on behalf of Catholic emancipation. “They gave tongue to interesting thoughts of my own soul, which had frequently flashed through my mind, and died away for want of utterance. The moral which I gained from the dialogue was the power of truth over the conscience over a slaveholder” (50). These pieces help Douglass to understand why slavery is wrong, both philosophically and politically.
Ethos Pathos Logos Sonia Nazario, the author of Enrique’s Journey, uses great writing skills in the form of ethos, pathos, and logos. Sonia Nazario is a Journalist for a Los Angeles newspaper who researched the story of an illegal immigrant from Honduras. Throughout the story Nazario takes the reader through the emotional journey of Enrique and his family. She does this while giving dates and locations, and also proving her credibility. Sonia Nazario shows good argument for ethos in Enrique’s Journey in several key points.
This text is a collection of letters that are written by people from Texas and Mexico, and they are all asking for some sort of help. Through the use of Baldwin and Cisneros' texts, it can be shown that language reveals the speaker. One major topic Baldwin discusses is the idea that different languages create barriers between different people’s interpretations. This idea can be supported by Baldwin when he says, “Blacks came to the United States chained to each other, but from different tribes: Neither could speak the other’s language” (Baldwin 264). Baldwin is claiming that if two people speak two different languages, they cannot communicate effectively and will not be able to understand each other.
He was also the leader of the constitutionalist and he established a headquarter in Veracruz. With all these issues going on that Huerta wanted to get back to Mexico. Carranza was becoming worried because of the fact that Huerta was becoming so popular. He organized a rebellion not only to overthrow the dictatorship of Huerta, but the old ways of the politics, social and the economy in Mexico. He was capable of winning the support of the other factors and also to stabilize the situation in Mexico.
The cultural iconography of the film lone star cannot be mistaken. It is however the exact type of iconography that Jose Limon speaks of in his essay, a shift of the social relations between Anglos and Mexicans during a specific time frame in the southwest. From a generalist’s perspective, lone star is the story of a man on the search for the answer to a mystery and in the process discovers more of his own personal history. Inside this story however John Sayles seamlessly weaves in little tidbits of others lives into the grand scheme of the story. The most important detail in understanding these tidbits is to understand that almost all of them in some form or another revolve around history, the history of a family, friends, a town, and a relationship.
Captivating a first-hand experience like the directors and converting it into a film is a great way of bringing diverse people closer to each other by having different societies around the world see what other countries and societies act like. Sergei Eisenstein and Orson Welles’ in Que Viva Mexico and It’s All True, take their understanding of Latin America and project it how it truly is. Welles worked with the U.S. government to try and develop good foreign relations with Brazil and took a very enthusiastic approach by trying to justify peace between the United States and Brazil while Eisenstein was more interested in actually learning about the Mexican culture and to attempt to improve the film industry in Russia. They both showed different religious ceremonies about the sacred way they honored their deceased. Although they were very different rituals, one they are related was that they exceedingly respected the process of death as if they all mended into a big
The pain and suffering in her life served as the main source for her inspritation. Frida artistically engaged in reviving her cultural identity by emphasizing her Mexican heritage. She included her beliefs and ideas in her work. Frida’s career will be compared and analyzed through the Holland’s Theory of Personalities in Work Environments and in order to do that, her life events must be examined and one must understand her family, her childhood, her accident, her stormy marriage to Diego Rivera, all key elements in her career. Her Family Frida’s father, Guillermo Kahlo (1872-1941) was born Carl Wilhelm Kahlo in Germany.