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The author Gary Shteyngart of “Sixty-Nine Cent” describes himself in a tug of war between the Russian culture of his parents and the American culture in which he wants to be a part of. At the age of seven, Gary Shteyngart and his family immigrated to the United States from Russia. When he was fourteen, his family and other Russian immigrant made a trip to Florida to see Disneyland. He describes “the ride over the MacArthur Causeway to Miami Beach was my real naturalization ceremony”( Shteyngart 103). At that age, he wanted to be like every American born boy, He wanted to eat at McDonald’s, walk the beaches, and speak to the girls, and to enjoy what every boy his age takes for granted. One of his desires was to eat a McDonald’s sixty-nine cent hamburger and drink a Coke. On the way back from Disneyland, he found out this was not going to happen. His parents were given a picnic lunch, packed by the woman who owned the motel, for them to eat instead of spending money at MacDonald’s. As his parents were sitting out “sort boiled eggs wrapped in tinfoil; vinaigrette, the Russian beet salad, overflowing a reused container of sour cream; cold chicken served between crisp white furrows of bulk, (Shteyngart 104)” Shteyngart could not believe that they were doing this to him. Here they were at McDonald’s and he was not going to get a sixty-nine-cent hamburger with a Coke. As a boy, Shteyngart was torn between the Russian culture and the American culture and sometimes it was hard to understand what he wanted and what he was taught. Growing up in a multicultural family, I can understand how Shteyngart must have felt. My great-grandmother’s father was the grandson of Jacob Hostettler, who was one of the founders of the Amish C... ... middle of paper ... ...try. >http://www.foodbycountry.com/Spain-to-Zimbabwe-Cumulative-Index/United-States-Amish-and-Pennsylvania-Dutch.html> Sylvia Grider. “Public Grief and the Politics of Memorial.” Anthropology Today (London), June 2007, 3-7. Print. Shteyngart, Gary. “Sixty-Nine Cent.” Patterns for College Writing: A Rhetorical Reader and Guide. Eds. Laurie G. Kirszner and Steven R. Mandell. 11th edition. Bedford/St. Martin’s, 2010 Boston, 102-105. Print. Suarez, S.A., Fowers, B.J., Garwood, C.S., & Szapocznik, J. “Biculturalism, Differentness ,Loneliness, and Alienation in Hispanic College Students.” Hispanic Journal of Behavioral Sciences. 19.4 (1997): 489–495. Print. Suter, Keith. “Roadside Memorials: Sacred Places in a Secular Era.” Contemporary Review 292.1692 (Spring 2010): 51+. Psychology Collection. EBSCO: Academic Onefile. Web. 24 Mar. 2011.
In Joy Harjo’s writing, Last Rites for Indian Dead, she argues that her ancestors shouldn’t be treated the way that they are, being put up on display at museums and even been sold to private collectors. Harjo shows emotion, uses strong and powerful diction, in order to get attention, and appeal to, the emotional sensibilities of the audience. Harjo especially utilizes emotion in her writing, as exhibited in her desperate tone and details about the sadness of the Native American people. Harjo writes about how sad will it be for the families returning to the grave sites of their recently deceased relatives to find the bodies dug out and taken for research purposes. This is a horrific experience and it makes the reader terribly empathetic and
The Stases and Other Rhetorical Concepts from Introduction to Academic Writing. N.p.: n.p., n.d. PDF.
While they have been recently popping up throughout the Western world, they do demonstrate cultural norms through the materials left behind at the memorial site; often times, they replicate structures similar to ones at old gravesites, RIP, messages on tombstones and recitals like those at traditional funerals. In this sense traditional represents a memorial and funeral in a religious setting. These new memorials often times do not find meaning in religious settings after a sudden and tragic death has occurred. Proxemics in this case is displayed by the surviving families feeling that their loved ones death spot belongs to them; identity is constructed through the items left behind. To the ones left behind, they do not want the death to go unnoticed and want to connect to the last place a loved one was alive. They feel empowered to do so through the tragic event that has occurred there. After such tragedy has happened, a common public place spaces become a private place of tribute. Whether is it through pictures, personal messages or a cross, the items left behind reflect how the deceased influenced his or her surviving friends and family. The difference becomes more evident when it done through a civil body ...
Imagine that the person you love most in the world dies. How would you cope with the loss? Death and grieving is an agonizing and inevitable part of life. No one is immune from death’s insidious and frigid grip. Individuals vary in their emotional reactions to loss. There is no right or wrong way to grieve (Huffman, 2012, p.183), it is a melancholy ordeal, but a necessary one (Johnson, 2007). In the following: the five stages of grief, the symptoms of grief, coping with grief, and unusual customs of mourning with particular emphasis on mourning at its most extravagant, during the Victorian era, will all be discussed in this essay (Smith, 2014).
Student's Book of College English: Rhetoric, Reader, Research Guide and Handbook. Boston: Pearson Learning Solutions, 2012. 402-405.
The poem America by Claude McKay is on its surface a poem combining what America should be and what this country stands for, with what it actually is, and the attitude it projects amongst the people. Mckay uses the form of poetry to express how he, as a Jamaican immigrant, feels about America. He characterizes the bittersweet relationship between striving for the American dream, and being denied that dream due to racism. While the America we are meant to see is a beautiful land of opportunity, McKay see’s as an ugly, flawed, system that crushes the hopes and dreams of the African-American people.
Richards, Naomi. “The death of the right-to-die campaigners.” Anthropology Today 30.3 (2014): 14-17. DOI: 10.1111/1467-8322.12110.
In an article entitled “Cultural Fate and Social Freedom in Three American Stories” Walter Shear discusses how Young Goodman Brown “swings out of time, paradoxically and almost deliriously senses his power, and then moves abruptly back to contemplate his cultural fate”. It is up to Goodman Brown if, upon his return to his home, he will live “with a resigned contentment at his place in the world or with an irreconcilable bitterness at his powerlessness” (548).
Graff, Gerald, Cathy Birkenstein, and Russel K. Durst. "They Say/I Say": The Moves That Matter in Academic Writing: With Readings. Vol. 2e. New York: W.W. Norton &, 2012. Print.
Graff, G., Birkenstein, C., & Durst, R. K. (2009). The Growing College Gap. "They say/I say": the moves that matter in academic writing : with readings (p. 379). New York: W.W. Norton & Co.
The interpretations of what comes after death may vary greatly across literature, but one component remains constant: there will always be movement. In her collection Native Guard, Natasha Trethewey discusses the significance, permanence and meaning of death often. The topic is intimate and personal in her life, and inescapable in the general human experience. Part I of Native Guard hosts many of the most personal poems in the collection, and those very closely related to the death of Trethewey’s mother, and the exit of her mother’s presence from her life. In “Graveyard Blues”, Trethewey examines the definition of “home” as a place of lament, in contrast to the comforting meaning in the epitaph beginning Part I, and the significance
Saying Goodbye To Someone You Love : Your Emotional Journey Through End Of Life And Grief. New York: DemosHealth, 2010. eBook Collection (EBSCOhost). Web. 25 Feb. 2014
In Natasha Trethewey’s poetry collection “Native Guard”, the reader is exposed to the story of Trethewey’s growing up in the southern United States and the tragedy which she encountered during her younger years, in addition to her experiences with prejudice. Throughout this work, Trethewey often refers to graves and provides compelling imagery regarding the burial of the dead. Within Trethewey’s work, the recurring imagery surrounding graves evolves from the graves simply serving as a personal reminder of the past to a statement on the collective memory of society and comments on what society chooses to remember and that which it chooses to let go of.
An interesting statement made by her is “Funerals have long served to channel and control grief. But this televised funeral, with its insistence on participation, seemed to provoke the very emotions it was designed to channel” (236). It is peculiar to consider how grief because of being televised seemed to spread eve...
Social support and social interaction is one determinate that has an effect on the Hispanic population. The Hispanic population is one that is considered extroverted. They enjoy socializing with family and friends and being active in their communities. They are also considered tight knit and stay true to their beliefs and cultural values, more reliant based on their feelings and intuition than facts ,is what they considered strict rules to follow when it comes to governing social relationships. Upon moving to the United States social support outside of the population has been determined to be bare minimal or non-existent. The absence of social support are once again do to issues such as language barriers, minimal knowledge of laws,