Written by Gloria Anzaldua, “How to Tame a Wild Tongue”, is an opinion easy , a retrospection of her past and a story about identity and recognition of a wild tongue. The following is a rhetorical analysis and personal response of this easy . My analysis will be divided into 4 separate parts including intended audience, main claim, purpose and situation. (a) Intended audience : The first thing that anyone who even skims through this easy would notice is Anzaldua’s multi-lingual language use.
Throughout the reading by Gloria Anzaldua, we as readers, get to view the way she lived and to relate with the text. Gloria was born in Rio Grande Valley of South Texas in 1942. When Gloria was at a young age, she was shamed and embarrassed for the way her voice sounded. Growing up, she was told, “If you want to be American, speak American, if you do not like it, go back to Mexico where you belong” (Anzaldua 2). When she was told this it made her very upset.
Rio de Janeiro is the capital of Brazil where Samba originated. Samba was firstly evolved in Rio, Brazil and it became a new and unique genre in the early twentieth century. The blacks would come together to form a group and play different kinds of percussive instruments such as surdos, caixas, tamborins, cuica, reco-reco and agogo and dance. There are no proper written notations for Samba music as many devotees say, “It’s something that runs in my veins, it’s in my blood.” This is what makes Samba music unique, as it is clear that Samba music comes purely from the heart and it is a form of expression.
Carmen Calvo is one of the most creative, influential, and eccentric contemporary artists of today's Hispanic culture. With works such as No es lo que parace ("It's not what it looks"), Calvo has certainly earned the right to call herself a true artist. With early influences of Post-Minimalism as well as Pop Art, Calvo has managed to establish her own distinctive identity via the usage of visual language. What makes her work so eccentric is her ability to take one object that generally has very deep associations with history and manipulate it using mixed media, or multiple mediums, to have a completely different meaning. In one of her paintings, for example, there is a boy reading a book.
Mariachi is a musical style that dates back to 19th century Western Mexico. From the 19th to 20th century, it moved from rural areas into cities such as Guadalajara and Mexico City, along with the Mexican government's cultural promotion gradually re-labeled it as Son style, mariachi becoming the word for the urban term. The name Mariachi was given to the 3 or more-piece secular music groups native to the western states of Jalisco, Colima Nayarit, Mitchoacan and Guerrero. The musicians would dress in white pants and shirts that the peasant farmers of the 18th century traditionally wore. Present day bands wear ‘charro’ suits.
Lazarillo de Tormes is an anonymously written pseudo-autobiographical novel that details the calamitous events of a young, poor boy’s journey to maturity, the plot of which provides a stage for Lazarillo’s moral rise and decline to be set. Said by many, including Franciso Márquez Villanueva to be a entirely a sharp social satire, “ferozmente sacrástico y pesimista por sistema,” this interpretation is diametrically opposed to Marcel Bataillon’s interpretation that the work is “un livre pour rire, de burlas,” that is, a novel that falls short of the acerbic satire of later picaresque novels and instead prioritises humanity and individuality, especially in the case of Lazarillo. I will apply these two conflicting viewpoints to the events and themes
In the article “La Adjetivación de la Violencia del Narcotráfico en la Cultura de México: Religión, Arquitectura, Música y Literatura,” María Eugenia de la O Martínez discusses the transformation of message in corridos by conducting a textual analysis. The author writes its research by treating narcocorridos as the modern form of the traditional folk ballad, or corrido, currently often associated with Mexican drug culture. The author uses books and songs, narcocorridos to understand the cultural meaning of violence, fear, and pain in Mexico, as well as the social circumstances that legitimized the narco-trafficking. De La O Martínez analyses the topic through three thematic lenses: architecture, music, and literature. Due to the topic of my
MICHOACAN History of Michoacán The history of Michoacan has been studied by archaeological vestiges and other historical resources, such as the literary work of Michoacán, written in 1542, and it is known that the first settlers of the state were several Chichimecas tribes that arrived in different years, and consequently evolved in a different way. The archaeological zones that have been found in the state, and that have helped to clarify the history of the birth and development of the ethnicities that gave inheritance and essence to the cultural configuration of Michoacán, date from the formative period or Preclassic (1500 a. C. to 200 to . C.), from the classic (200 a. C. A 800) and Postclassic (800 to 1000), and among them are: El Opeño,
Claudio Monteverdi was born in 1567 and died in 1643. Born with an italian nationality. Discovered the most important development of a new genre, such as opera. He also brought a “ modern” spirit into church music, cantatas and madrigals. Two main initial teachers: the director of music at Cremona cathedral and Luca Marenzio, a great Italian madrigalist.
Costa Rica is such a diverse country. With an array of different ecosystems and a mixture of people with roots from all over, it is no surprise that the music has just as much diversity. Costa Rica has plenty of influences on their music: Indigenous, European, African, Western, and other Latin American countries. Therefore, music in Costa Rica stems from various genres because of the many influences from other cultures. Traditional Costa Rican music relies heavily on the indigenous, European, and African influences that are shown within Costa Rica’s own demographics.