to play on by day and casinos to play in during the night, I was told that this country was an exciting new tourist destination. My days in the Dominican Republic, however, were not filled with snorkeling lessons and my nights were not spent at the black jack table. Instead of visiting the ritzy East Coast, I traveled inland to a mountain community with no running water and no electricity. The bus ride to this town called Guayabal, was long, hot and uncomfortable. The mountain roads were not paved
kingdom. Disney films have captivated the American culture for years and have become a pivotal part of popular culture as well as a form of education. However, these films have devoured the youth of America and, in the process; have perpetuated an institutionally racist society based on harsh stereotypes. Minorities are often underrepresented, and even completely left out, of many Disney films such as Dumbo (1941), The Lion King (1994), Aladdin (1992), and Pocahontas (1995). As students enter the doors
J., King, A., Perkins, P., & Fuke, V. (2011). Adolescents and "autographics": Reading and writing coming-of-age graphic novels. Journal of Adolescent & Adult Literacy, 54(8), 601-612. Moeller, R. A. (2011). “Aren't these boy books?”: High school students' readings of gender in graphic novels. Journal of Adolescent & Adult Literacy, 54(7), 476–484.
labeling, identity, and stereotyping first occur in children, and how the timing of these events correlates with a moment in every child's life where they reach what is called "gender constancy." Gender constancy, briefly, is the knowledge that the mechanical sex one has been assigned will always be his or her sex, but also the knowledge that he or she will always be a girl or boy, and the characteristics that go along with that gender are a part of his or her permanent future identity. Before the
Shakespeare. "How fearful and dizzy ‘tis to cast one’s eyes so low!" Works Cited Bloom, Harold. Shakespeare: The Invention of the Human. New York: Riverhead Books, 1998. Goldberg, Jonathan. "Perspectives: Dover Cliff and the Condition of Representation." King Lear, William Shakespeare. Ed. Kiernan Ryan. New York: St. Martin’s Press, 1992. Shakespeare, William. King Lear. Ed. Barbara A. Mowat and Paul Werstine. New York: Pocket Books, 1993. Shakespeare, William. A Midsummer Night’s Dream
Throughout time much has been said about the film roles of women. Everyone from scholars to bloggers has an opinion on the significance in society of how women on the big screen are portrayed. For me all of this debate only detracts from what the true focus of a film should be; an artistic expression of a story that reflects the values of the time in which it is written. Pauline Keel a respectable critic for the New Yorker once said “Movies of the past are like samples-swatches of cloth-of the period
and tribulations of an African-American woman and her light-skinned daughter. Both films offer the view that a white woman can improve her circumstances with enough guts, ingenuity, and physical attractiveness, but that African Americans, even those light enough to pass for white, are inherently unable to realize the rags-to-riches dream of the self-made person that infects Americans to this very day. Stahl’s film, a faithful adaptation of the Hurst novel, centers on Bea Pullman (Claudette Colbert)
groups, dissolve and give rise toboundaries, permeable areas that encourage the acknowledgement of and mutual respect for linguistic and cultural diversity. What is this place? Who are the inhabitants? Walking up the entranceway steps lined with black iron railings, one immediately encounters an outer glass door inscribed with the outline of an umbrella-shaped image encasing the letters AAIEP. Above the umbrella stand the words "American Association for International English Programs (AAIEP)" and
leaving the White House, Henry Kissinger comforted him by saying, "History will treat you kindly," to which Nixon replied, "That depends on who writes the history" (Hamburg xiv).  Watching Oliver Stone’s Nixon (1995) and the director’s earlier film JFK (1991), it is difficult to have kind thoughts about Richard Nixon. Stone’s investment in the figure of the president manifests itself in two ways: first, in the director’s fixation on Nixon as a symbol of the corrupt political landscape after
PRESTON, C. L. ‘Cultural Studies', Encyclopedia of American Folklore. Garland, London, 1996, pp. 182-185. SANTINO, J. ‘Editorial', Journal of American Folklore 112, Winter 1999, pp. 3-5. ----- Miles of Smiles, Years of Struggle: Stories of black pullman porters. University of Illinois Press, Urbana, 1989.