Yasmin almonte lantzs herstory essays

Yasmin almonte lantz's herstory expositions Red is the prevalent shading in all of Yasmin Almonte-Lantzs works. This is on the grounds that she accepts that Red is blood, red is life, red is demise, red is love, red is viciousness, red is enthusiasm. What's more, really, every one of her works reflect much about existence from a womans point of view. In practically the entirety of her compositions, ladies are made as subjects. For instance, in the piece Herstory, we know immediately from the title that the subject is a her; a lady. It is additionally part of her woman's rights that she portrays ladies in her works of art as lovely articles. I particularly love the striking subtleties she places into the ladies in her pieces. Albeit most are in their birthday suits, I comprehend this technique to be a depiction of the magnificence and honesty, natural in each lady. From first look, and without knowing the title of Almonte-Lantzs painting, one would promptly see the overwhelming shading, red, being utilized as a foundation, which resembles a type of fire. At that point there are three pictures: a manikin, and a stooping lady, both limited together by a red strip. Be that as it may, at a more critical look, one could see another ladylike figure, mixing among the flares. Her face is vague in view of the nonattendance of facial highlights, for example, the eyes and mouth, yet she does, anyway have a nose. Likewise, she is situated topsy turvy. The artistic creation, with its hues, and characters, is an alarming sight. The main thing that I saw after taking a gander at the artwork was distress. The characters looked genuine and forcing, as though they were in hellfire. The general impact was that the subjects of the artistic creation are falling into the red hot void. Furthermore, what I saw from the essences of the subjects was a look of delight, y et one of enormous agony simultaneously. For example, the manikin and the stooping lady in the composition had eyes. Be that as it may, the more I take a gander at it, the more they appear to be empty openings without eyeballs. The highlights of the bowing lady anticipated a trace of ... <!

Memory and the Quest for Family History in One Hundred Years of Solitud

Memory and the Quest for Family History in One Hundred Years of Solitude and Song of Solomon Pierre Nora recommends that the mission for memory is the quest for one's history (289). In their endeavor to reproduce the common chronicles of their kin, Toni Morrison and Gabriel Garcã ­a Mã ¡rquez depend intensely on the utilization of memory as a way to change the historical backdrop of those persecuted as a result of race, class or potentially sexual orientation in reality as we know it where historiography has been overwhelmed by the white man. Memory is firmly identified with the recovery of character and history - both individual and group. Both memory and history rule Cien Aã ±os de Soledad (One Hundred Years of Solitude) from the earliest starting point, where the character Aureliano Buendã ­a is presented through his own memories: Muchos aã ±os despuã ©s, frente al pelotã ³n de fusilamiento, el coronel Aureliano Buendã ­a habã ­a de recordar aquella tarde remota en que su padre lo llevã ³ a conocer el hielo (9)/Numerous years after the fact, as he confronted the terminating crew, Colonel Aureliano Buendã ­a was to recall that far off evening when his dad took him to find ice (9). Like Garcã ­a Mã ¡rquez, Toni Morrison claims memory - just as creative mind - as a fundamental piece of the account demonstration: The demonstration of creative mind is bound up with memory. You know, they fixed the Mississippi River in places, to prepare for houses and bearable grounds. Once in a while the waterway floods these spots. 'Floods' is the word they use, yet in truth it isn't flooding; it is recollecting. Recollecting where it used to be. All water has an ideal memory and is everlastingly attempting to return to where it was. Journalists are that way: Remembering where we were, what valley we went through, what the banks resembled, the light... ...tive Literature Courses. Approaches to Teaching Garcã ­a Mã ¡rquez's One Hundred Years of Solitude. Marã ­a Elena de Valdã ©s and Mario J. Valdã ©s. New York: The Modern Language Association of America, 1990. 21-32. Parkinson Zamora, Lois. The Usable Past: The Idea of History in Modern U.S. what's more, Latin American Fiction. Do the Americas Have a Regular Literature? Ed. Gustavo Pã ©rez Firmat. Durham: Duke UP, 1990. 7-41. Puncture, Robert N. Certainty or Fiction?: The Developmental Journalism of Gabriel Garcã ­a Mã ¡rquez. Journal of Popular Culture 22.1 (1988): 63-71. Ricci Della Grisa, Graciela N. Realismo Mã ¡gico y Conciencia Mã ­tica en Amã ©rica Latina. Buenos Aires: Fernando Garcã ­a Cambeiro, 1985. Strouse, Jean. Toni Morrison's Black Magic. Newsweek (30 March 1981): 52-57. Watkins, Mel. Meeting with Toni Morrison. New York Times Book Review (11 September 1977): 50.

The Joys of Applying to Graduate School COLUMBIA UNIVERSITY - SIPA Admissions Blog

The Joys of Applying to Graduate School COLUMBIA UNIVERSITY - SIPA Admissions Blog The following entry was written by Beatriz Guillén, a second year student concentrating in Economic and Political Development. _____________________ Applying to SIPA was challenging. I remember trying to confront the long list of things I had to do. First, it was the tests. It took me a long time to prepare for the GRE. I remember struggling with questions such as “Is malinger to duty the same as recluse is to humanity or is it scholar to pedantry?” “What is the area of the square inscribed in the circle of radius a?” I also had to take the TOEFL, because I am an international student, and needed a score of at least 100! At the same time I had to figure out who was going to write my recommendations. My boss? One of my former professors? How am I going to contact them?   And of course, the essays… Thinking of my life goals, my quantitative experience… (That was a tough one… I had to study macro and micro economics in a community college because I hadn’t enough quantitative experience.) But, in the midst of all this excitement and stress, the admissions blog helped me through the whole process. I realized I wasn’t the only one with these problems and questions and that many people had done it before me, so I could do it. And after everything, here I am, in my second year at SIPA, experiencing one of the best stages in my life. I strongly encourage all of you struggling with your application or in need of inspiration for your essays to come and visit the campus in the coming weeks. I love Columbia University during the winter time, especially when they turn on the holiday lights around campus. It is very inspiring to walk through the main campus. And if you cannot come to New York, follow what is going on at SIPA through the website, the blog, or watching conferences and lectures by SIPA professors   here. We have interesting events and remarkable speakers visiting school every day. All of this will give you courage and the motivation to re-take your tests if you didn’t get the score you wanted, or the inspiration and vision to finish your statement of purpose. Good luck!   All the hard work is worth it! Beatriz