Secondly, Louie is now stranded in the Pacific Ocean and is defiant to the thought of giving up on himself and the others that are stranded. In this example, Phil shows how defiant he is in Louie. Out of all the crewman on the plane, Phil portrayed that Zamperini was the man he wanted beside him on the raft. Unlike Mac, whose actions indicated weakness. Additionally, the quote is showing us that Mac was a pushover compared to Louie’s heroic actions.
He was one of the only survivors in the plane crash and was what literature calls a dynamic character. A dynamic character is a character in a story that changed from what they were in the beginning. Phil went from a tough soldier to a scared-for-his-life prisoner of war. He remains confident and good-spirited on the raft. Despite not bearing any responsibility for the crash, Phil’s strong moral conscience makes him feel guilt for the dead crewmen (LitCharts, int.).
Ballio treats his slaves very badly. Phoenicium is being sold to a Macedonian soldier which obviously upsets Calidorus greatly. Calidorus seeks the help of his slave Pseudolus. Pseudolus is a cunning, intelligent and cheeky slave. Pseudolus devises an elaborate scheme to swindle Ballio out of both his money and Phoenicium.
The works of Aaron Copland, like the pieces by George Gershwin, were “created with the language of musical emotions” (Aaron) and also tried to speak of his ideals. Copland, a composer who believed in music that exists not only for its own sake, but which was composed for some specific purpose, also called Gebrauchsmusik, tried to give America its own language that described true freedom with his music. Copland believed in basic human rights, freedom of speech, freedom of worship, and he represented them in his compositions. His views of music through his observations consisted of using difficult stylistic and formal devices that would speak to his audience. The melodic, slow changing rhythms in his music became the typical representation of the sound of America music because it resembled the land and its people.
At first Piri speaks of cultural pride, but he does not act on his own advice until reaching maturity. When fighting with José, Piri tells Pops that “there’s pride galore in being a Negro,” but he still feels ashamed and alternates accepting and rejecting his African heritage (Thomas 151). In street arguments, he pretends that he is as white as his siblings and mother, but in the South he embraces the bold masculinity that he feels accompanies being a black man. When he is released from prison, though, Piri realizes that he has been suppressing his true identity, responding to adversity by hiding behind societal ideals instead of showing confidence as an Afro-Latino man. When he sees his reflection after “making the scene” with his old friends, he feels “as though [he has] found a hole in [his] face and out of it [are] pouring all the different masks that [his] cara-palo face had fought so hard to keep hidden” (Thomas 321).
People thirsty for the pearl had burned Juana and Kino’s hut leaving them with nothing, but the pearl, Coyotito and themselves. Kino had a brother, Juan Tomás, that allowed them to hide out in his hut, until they were ready to leave and go live somewhere they could be safe. On the way to their safe place, trackers who are looking for the pearl and Kino are following them. Kino decides that he needs to divert the trackers away from his wife and son so he takes off running another direction away from his family. While Juana and a crying Coyotito are hiding in a cave, one of the trackers hear his cries believing that he is a baby coyote.
In the poem “You bring out the Mexican in me” by Sandra Cisneros, she begins to create a close relation with the reader by addressing the nameless lover as “you”. As Cisneros begins to utilize amplification by repeating “you” in every stanza; she makes an emphasis of the importance that the nameless lover has over her. To begin, by reading the title “You bring out the Mexican in me,” it can be interpreted that the deep emotions of passion that are perhaps hidden, are inevitably brought out to the light by the nameless lover. In the first stanza the word in italics “lagrimas” written in Spanish, translation in English for “tears,” makes the emphasis on the emotional aspect of crying for love.
After giving up hope on a marriage, Kino was finally able to see his rich marriage in a church with his wife, Juana and child, Coyotito. Kino heard the sounds of Coyotito studying and reading his books, making him feel happy for Coyotito to have a life he did not. Kino saw how his family was dressed in new skirts, instead of old shawls and he imagined himself with a
Don Quixote is a novel by Miguel de Cervantes that follows the adventures of the self-created knight-errant, Don Quixote, and his loyal squire, Sancho Panza, as they travel through Spain during the time period of the seventeenth century. As the play goes on, the audience comes to realize that the relationship between Don Quixote and Sancho Panza is a really important one because Sancho brings out the realism out Don Quixote. The relationship between Don Quixote and Sancho Panza is a really important one because it also puts a spotlight over the topic of social leveling, specifically social prejudice and how social prejudice acts caused characters to treat Don Quixote and Sancho Panza differently. The relationship between Don Quixote and Sancho Panza is a really important one because their friendship is depicted across social class lines in Spain during the 17th century, where strict social orders were in place.
When we think of Old Hollywood musicals, what comes to mind? One of the best musical classics is the 1952 Singin’ in the Rain movie which showcase characters in a transitional environment. Now, La La Land brings us two main characters, Mia and Sebastian, on the verge of a drastic transition. Both characters go through a transformation that at the end brings them a bittersweet joy to their lives. We will examine the writer’s decisions for the dialogue used while taking note of specific leading scenes.
“How We Listen To Music” Aaron Copland The essay "How We Listen," by Aaron Copland was published in New York, both an individual attitude and the aim attitude occur in each separate plane that is being described. The individual attitude is where everything is taking place in the listeners mind, where as they are unaffected by the world around them. Aaron Copeland stated we all listen to on three separate planes which are; the sensuous plane, the expressive plane and the sheerly musical plane.
Fado is a music genre which can be traced to the 1820s in Portugal, but probably with much earlier origins. Fado historian and scholar Rui Vieira Nery states that "the only reliable information on the history of Fado was orally transmitted and goes back to the 1820s and 1830s at best. But even that information was frequently modified within the generational transmission process that made it reach us today." Although the origins are difficult to trace, today fado is commonly regarded as simply a form of song which can be about anything, but must follow a certain traditional structure.
It is interesting to know why we believe in what we believe; there must be something which pulls us towards these certain beliefs. These can be obtained from our own personal life experiences, lessons which we acquire from those around us, and also through cultural materials which transmit information. Hence, this can be part of an ideology, but one cannot restrict its limits upon an individual. Furthermore, ideologies which can be associated with culture and archetypes, are something which keep on evolving with history and can be seen to respond to circumstances which are societal. Gramsci believes that all human beings are able to make sense of their lives and their experience through, what can be referred to, as the ‘common sense of popular culture’.
As with every story focused on war, oppression, or subjects of the same gravity, there are always two perspectives to consider. In this case, the Spanish perspective of the story, and the Filipino counterpart. Though by simply having these two perspectives, we can initially say that each side may tend to be biased and may put unnecessary
In the contemporary living of the humankind in the 21st century, the popular culture plays a vital role in our own lives especially in youth. Hence, we future teachers and all adults must be more acquainted and involved in advancing our critical understanding to everything we read, watch and hear in all sorts of media than the youth to guide them properly in attaining more accurate and holistic knowledge inside or outside the classroom. As a student of Developments in education, I realized the advantage of how proper understanding Philippine cultures can contribute to effective teaching, because someday we will be in contact with Filipino children who will grow into adults of tomorrow. It will become essential for us, future teachers to have
