Analysis Of Nosotros Los Pobres Film Studies Essay

Analysis Of Nosotros Los Pobres Film Studies Essay In the 1948 film Nosotros Los Pobres the representation of maternal and paternal figures confirm Octavio Paz theories of the Mexican identity crisis as well as ascribe to the stereotypes described by Monsivà ¡is. Octavio Paz states the Mexican race is subject to gsuspicion, dissimulation, irony, the courtesy that shuts us away from the stranger, all the psychic oscillations with which, in eluding a strange glace, we elude ourselvesh. To Paz the Mexican race is an oppressed one, a servant race hiding behind masks and smiles. The Mexican is of the subservient worker mentality, he/she always thinks of being brought down by external forces. These forces are not external gthey are impalpable and invincible because they are not outside us but within ush. For Paz the totality of the Mexican existence is that gonly when they are alone, during the great moments of life do they dare to show themselves as they really areh. To both Paz and Monsivà ¡is the Mexican (male) is a person of many con tradictions a person who is sensitive, angry, arrogant, wise, ignorant, dedicated, womanizing, distant, and emotional. The Mexican holds all of these things in himself at once and in extreme moments bursts out. Monsivà ¡is makes the connection between the poor and the need for drama or melodrama; gthe audience could forget its own economic woes with the discovery that so many shared its own misfortuneh. For the Mexican female and male, the world and life makes the most sense when they are suffering. There is probably no better representation of this suffering, the trials of life, the melodrama, the extreme emotional contradictions of the Mexican than in Nosotros Los Pobres. By isolating the paternal figure to the character Pepe, we can examine how he is a textbook representation of the contradictory Mexican male in an identity crisis. Pedro Infante as Pepe comes to be the archetypical Mexican male. Monsivais describes this male as alternatively and simultaneously brave, generous, cruel, rakish, romantic, obscene, able to make the greatest sacrifice, family-oriented and a friend until death. Pepe as a father is a both times generous and cruel, this is evident throughout the film in various scenes with his daughter. Pepes dedicated paternalism comes out any time he has to console his daughter and reassure her that he will never replace her mother. His sweetness comes out in the scene in which he apologetically croons his daughter with a birthday song. His crooning for his daughter just comes after one of his cruelest moments in the film in which he slaps his daughter in response to her accusing him of killing her mother. In slapping his daughter Pepe lit erallizes Paz quote, his daughter becomes the person who suffers this action is passive, inert, and open, in contrast to the active, aggressive and closed person who inflicts it. Pepe is of course arrogant, prideful and closed, all because he wants to spare his daughter of the shame of knowing who her real mother is, by slapping his daughter Pepe all at once trying to protect is daughter and suffers from a moment of emotional outburst where he in Paz terms becomes the chingà ³n. To say whether Pepe is a chingà ³n is a paper topic in and of itself, for now his moments of being a chingà ³n can be considered as part of himself, part of the bigger whole that is the Mexican identity, just one more part of the contradictory Mexican. Pepes chingà ³n comes out in one other scene, the scene in which his sister reveals herself as the girls mother (to the audience) and begs for Pepes forgiveness. As presented his sister doesnt seem to deserve the hatred and unforgiving emotional torment th at Pepe heaps on her. It is as if his own pride, arrogance, and all-around Mexican identity keeps him from forgiving his sister. Pepes unforgiving of his sister can be chalked up to serving the melodrama of the film. The Mexican romantic in Pepe comes out in any scene Pedro Infante shares the screen with the many women who adore him. Pedro Infantes natural talent of singing comes into play as well. The whistling scene between him and his sweet innocent pure love interest Celia Pepe at his most romantic. Pepe reveals himself to be a man of honor and dedication when resists the advances of La Que Se Levanta Tarde, sometimes Pepes verbal sparring borders on cruel. The scene in which La Que Se Levanta Tarde forces Pepes face into her bosom through comic action is of course played for laughs. The last facet and stereotype of the Mexican male is that of machismo. Pepe displays this machismo in the films later half which shows Pepe in prison and literally fighting for his life. Pepe violently beats the criminal responsible for the crime Pepe was accused of. Although this resolution is simplistic, it nonetheless serves the purpose of the melodrama, Pepe proves his innocence by beating the crap out of the other guy. By showing all these facets of the Mexican identity and male, Pepe fits the stereotypes suggested by Paz and Monsivà ¡. Pepe through all his contradictions and variety as a man, he comes to represent the whole of the Mexican identity crisis. The female that comes to represent maternity and the female stereotypes is the character of Celia. Celia is all at once pure, sweet, vulnerable and mistreated. To Paz, Celia comes to present the chingada, female, who is pure passivity, defenseless against the exterior world. Celias passivity comes out in a small scale in two scenes. The scene in which her father forbids her from seeing Pepe or being courted by Pepe, her response is of course emotional openness which makes her vulnerable and ineffective against her father who holds power over her. The other scene in which Celia is passive and open is the scene in which she confront Pepe for the truth. Again, Pepe shows his emotional contradictions in this scene, as Celia through her love and openness is simply trying to get Pepe to tell the truth of Chanchitas mother Pepe in turn treats Celia cruelty. She is vulnerable and once again Pepe is a chingà ³n, prefers to be in solitude rather than be open and vulnerable to Celia, and Celia is the one suffer from it, she even throughly expresses her love and care for Pepe, who in turn in only unreceptive not because he is because he is trying to save Celia as well. Through his emotional cruelty Pepe is saving Celia from being with him, sparing her of being with the complex man who would rather be anyone but himself. Both Pepe and Celia come to represent a sketched portrait of a people: generous, prejudiced, and more emotional than rational; pious and fanatic; an enemy of bigotry and more liberal than it seemed; inhibited by Lord and Master. The people of Nosotros Los Pobres, whose nicknames define their personality traits, are people of a community suffering from the Mexican identities, all these facets at one. It comes as now surprise why Nosotros Los Pobres is considered on the best Mexican films of all time. It is a representation of universal truths specific to the Mexican and one of the finest examples of the Golden Age of Mexican Cinema.

Wisdom and Foolishness in Shakespeares King Lear :: essays research papers

Tragedies are dominated by contrasts and conflicts between various entities such as, good and evil, legitimate and illegitimate, appearance and reality and so on. Another contrast is between wisdom and foolishness. If one associates foolishness with madmen and fools one will be surprised to find that in a tragedy such as King Lear this is not the case. Shakespeare portrays, the sane characters such as Kent and Cordelia as fools by virtue of loyalty, love and their willingness to speak the truth. On the otherhand, the Madman, Tom o’Bedlam and the fool are depicted as the true figures of wisdom. Moreover mirroring all this is King Lear’s transition from foolish behaviour through madness achieving wisdom. Cordelia and Kent may classify as sane characters but still their behaviour is foolish. Cordelia and Kent speak the truth which Lear does not want to hear. Their behaviour is foolish as they confront Lear, a mighty fortress of pride, in their willingness to be true and loyal to a father and to a king. Cordelia cannot heave her heart into her mouth and speaks plain, â€Å"I love your majesty according to my bond no more nor less†. In doing this she risks displeasing her father, furthermore she continues to displease him when she tries to make him realize his foolish behaviour. In the end she is willing to give her life for a father who has wronged her (when she returns to rescue him). Likewise Kent is also wronged when he confronts Lear with the true reality of things. In doing this he sacrifices his identity as Earl. Kent again risks his life when in disguise he returns to serve Lear again. In the end there are suggestions that he will follow Lear, his master, to the grave. Therefore, if the sane characters commit foolish actions, obeying the same paradox, the implications are that Tom o’Bedlam and the fool have to be wise. The role of the fool in the play is to remind Lear of his foolish behaviour in giving everything to his two daughters and in banishing Cordelia. The audience can get much insight in the words of the fool. This was not new to the Elizabethan audience as it was a theatrical convention that the fool would speak the truth. Likewise is poor Tom o’Bedlam (Edgar in disguise). In him Lear finds reason and calls him philosopher. Wisdom and Foolishness in Shakespeare's King Lear :: essays research papers Tragedies are dominated by contrasts and conflicts between various entities such as, good and evil, legitimate and illegitimate, appearance and reality and so on. Another contrast is between wisdom and foolishness. If one associates foolishness with madmen and fools one will be surprised to find that in a tragedy such as King Lear this is not the case. Shakespeare portrays, the sane characters such as Kent and Cordelia as fools by virtue of loyalty, love and their willingness to speak the truth. On the otherhand, the Madman, Tom o’Bedlam and the fool are depicted as the true figures of wisdom. Moreover mirroring all this is King Lear’s transition from foolish behaviour through madness achieving wisdom. Cordelia and Kent may classify as sane characters but still their behaviour is foolish. Cordelia and Kent speak the truth which Lear does not want to hear. Their behaviour is foolish as they confront Lear, a mighty fortress of pride, in their willingness to be true and loyal to a father and to a king. Cordelia cannot heave her heart into her mouth and speaks plain, â€Å"I love your majesty according to my bond no more nor less†. In doing this she risks displeasing her father, furthermore she continues to displease him when she tries to make him realize his foolish behaviour. In the end she is willing to give her life for a father who has wronged her (when she returns to rescue him). Likewise Kent is also wronged when he confronts Lear with the true reality of things. In doing this he sacrifices his identity as Earl. Kent again risks his life when in disguise he returns to serve Lear again. In the end there are suggestions that he will follow Lear, his master, to the grave. Therefore, if the sane characters commit foolish actions, obeying the same paradox, the implications are that Tom o’Bedlam and the fool have to be wise. The role of the fool in the play is to remind Lear of his foolish behaviour in giving everything to his two daughters and in banishing Cordelia. The audience can get much insight in the words of the fool. This was not new to the Elizabethan audience as it was a theatrical convention that the fool would speak the truth. Likewise is poor Tom o’Bedlam (Edgar in disguise). In him Lear finds reason and calls him philosopher.

Book Review on “Fat Girl” Essay

Book Review Obesity is an upcoming and extremely prevalent phenomenon in America today. Author, Judith Moore of the book â€Å"Fat Girl† discusses some of the issues fat girls face. Her book is less about every stereo-typed fat girl and more about her story individually. Judith Moore chooses to take a different route, instead of complaining continuously about being fat, she explains in depth why she believes she is fat. She is not lazy; she expresses her knowledge of diets and her experiences of strenuous work outs but ends with little to no results. ‘My flesh resists loss. My fat holds on for dear life, holds on under my bratwurst arms and between my clabber thighs. † Food is a fuel, but to some food may be a pain reliever. For Judith, she had to face an unhappy family life early on. Judith had always been a fat girl and her father a fat man weighing close to 300 pounds. Her family was secluded and each individual only cared for themselves. Clearly her family was an unhappy one; they used food as source of pleasure and hoped it would cure the pain. At the age of four, Judith’s parents divorced. After the divorce, Judith was shipped back and forth between her mom’s mother’s farm and her mom’s apartment in Brooklyn. These trips back and forth only created more emotional scaring for Judith. Her Grandmother had a strong hatred for her father, and being that Judith was a spitting image of him, she received the backlash. Grandma fed Judiths needs literally and figuratively speaking. Each time she visited her Grandmothers farm she was fed extremely fattening comfort foods, and with that she grew larger. Her Grandmother would make comments over how large she was and how she was growing, breaking her down each time. This led to Judith’s reach for food to fill the hole created by her dysfunctional family. The love of food steamed from her unloving family. Her continuous pattern of eating to fulfill an emotional need led to Judith’s weight gain. Judith proceeds to explain more emotional traumatizing events in her life that are male influenced. She discloses information that a man once told her she was too fat to get in bed with, and her experience of being manipulated into giving oral head to a man who she thought was a kind person, while his friends watched and laughed. Not once throughout her book did Judith play the victim for being fat. Because Judith proceeds to tell the readers events in her life and why they make her who she is today, this book consider would be considered an autobiography. The book gives another perspective on another persons’ life. Judith’s obvious intention for this book was not to complain about being fat, but to state the events of her life that made her who she is. She did not stereo-type every fat girl, she simply told her story and ways other fat girls could relate. This autobiography presents an issue of correlation with our society and obesity. It suggests that obesity can come from emotional pain or distress. I would suggest this book to my friends, it explains that everyone has a story of why they are the way they are.

The Role Of Mentee And The Mentor Recognize Their...

1.Mentoring helps both the mentee and the mentor recognize their abilities and limitations, thus highlighting areas for future development. It helps prompt thought about career development and come to a realistic conclusion about their career potential. It can help increase the motivation of both the mentee and the mentor. The mentee gains a new direction or perspective while the mentor feels a sense of achievement when their mentee succeeds. It will develop communication skills. As well as the obvious listening/questioning skills, we will gain experience of talking to a younger or older colleague. We will be grooming future allies. Within the same company this could help with internal promotion prospects for both the mentee - gaining a†¦show more content†¦There are many benefits to do assignment in-group such as getting different ideas, knowing more about yourself, increased productivity and performance and develop stronger communication skills. Lecturer should allow stude nts to choose themselves for group assignment. Edit entry #1054 Delete entry #1054 Friday, 13th March 2015 Task 6 First, I would like to share why I would like to be Vice-President of the MathSoc first. Here in Greenwich, we are lucky to be studying at one of the finest research institutions in the UK, learning alongside almost one thousand other graduate students and faculty, each extremely talented, highly motivated, and with a breadth of life experiences both extraordinary and unique. I seek this position so that I may employ my experience and skills as a leader to build upon this special experience at Mathematics and address the many challenges that students of unique backgrounds face, from their admission all the way to commencement, and beyond. Although I have been at Greenwich for under a year, I have already engaged in a variety of exciting activities here that prepare me for this position. As VP of MathSoc, I will build upon the already successful line up of events that have happened this past year. To accomplish this goal, I will recruit heavily throughout the year and form a core group of student leaders charged with organizing each major event. In my leisure time I like to surf the internet, create web design by using HTML. As fitness