Silvestre Revueltas' Sensemaya is one that is musically perplexing and loaded with unpleasant and direct surfaces score. It starts with an undulating, puzzling climate. Steady rhythms, with real Hispanic percussion, and current arrangements, abrasive songs and harmonies, make a practically mechanical sound and wood take up the tuba discourse and are transported with various dynamic and cadenced expression. The piece is roused by the Cuban essayist Nicolás Guillén's ballad "Sensemayá: canto para matar una culebra", which delineates an Afro-Caribbean custom speaking to the slaughtering of a snake. The score's winding rhythms pass on the snake's movements, and its bizarre, once in a while discordant, harmonies bring out a feeling of approaching
The author¡¯s techniques in Rattler convey not only a feeling of sadness and remorse but also a sense of the man¡¯s acceptance of the snake¡¯s impending death. The reader can sense the purpose of the author¡¯s effective message through the usage of diction, imagery, and organization.
During the late 19th century and early 20th century, a form of Mexican folk music called the corrido gained popularity along the Mexico-Texan border (Saldívar). Growing from the Spanish romance tradition, the corrido is a border ballad “that arose chronicling the history of border conflicts and its effects on Mexican-Mexican culture” (Saldívar). A sort of “oral folk history,” the corrido was studied intensely by Américo Paredes, who then constructed his masterpiece, George Washington Gomez, around the “context and theme” of the corrido (Mendoza 146). But the novel is not a traditional corrido, in which the legendary hero defends his people and dies for his honor. Instead, through its plot, characterization, and rhetorical devices, George Washington Gomez is an anti-corrido.
Junot Diaz’s “Otravida, Otravez” depicts a perspective of life where one’s present and future always reflects their past in some way. Diaz’s representation of symbolic figures, convey how a person’s past can be carried into the future. Diaz’s use of symbolic figures includes the dirty sheets washed by Yasmin, the letters sent by Virta to Ramon, and the young girl who begins working with Yasmin at the hospital. These symbolic figures and situations remind the readers that the past will always play a major role in one’s present. Additionally, Diaz’s word choice, where Spanish words appear in many different parts of the reading, suggests that indirectly, one’s past habits are not easily broken.
In “The Cask of Amontillado,” the narrator shows the reader a lot about how he feels and his thoughts. In the
The themes explored in the novel illustrate a life of a peasant in Mexico during the post-revolution, important themes in the story are: lack of a father’s role model, death and revenge. Additionally, the author Juan Rulfo became an orphan after he lost
The first stanza of the poem discusses the author’s preference of red chilies as well as how they are important to Mexican culture. The green chile is then described as being
Gina Valdes in her poem English con Salsa used many literary techniques. One of them was humor and throughout the poem it is used greatly. An example of it starts in the beginning where the po...
Soto’s “Black Hair” is a perfect example of a poem that is effective through close analysis of certain concrete images which hold the key to the foundation of the poem and its underlying themes. In this poem, the universal themes of family and culture are hidden under the figure of Hector Moreno, the image of the narrator’s hair, as well as the extended baseball metaphor about culture. Although the title may seem ordinary at first glance, the challenge that the poem presents through its connection of concrete images and themes is very intriguing, and the themes are made clear through the effective use of certain poetic elements.
Ragland, Cathy. Música Norteña: Mexican Migrants Creating a Nation between Nations. Philadelphia, PA: Temple UP, 2009. Print.
Elena Poniatowska escrita durante una epoca de cambio en Mexico. Antes de sus obras las mujeres mexicanas eran sometidos, docil, y pasivo. En la tiempo de sus obras las mujeres estaba tratando salir de los estereotipos de antes. Esta problema social tomo un afecto en Elena. Aunque ella no viene de un movimiento literatura directamente, ella escrita con el concepto de compremetido. En su narrative El Recado ella crea un mujer estereotipical que no puede controlar sus emociones. La titula es eso porque ella viene a ver su amante, pero el no esta, asi ella escribe las cosas que sentia. La perspectiva es de un personaje y ella nunca interacta con otros personajes. En facto la unica descripcion de un personaje otro de la protagonista es de su amante Martin. Habla de otros personajes, pero solamente de sus acciones. Porque ellas es la unica perspectiva que tenemos es sencillo a sentar compasion para una protagonista de quien nombre no aun sabemos. Ella da la descripcion de toda que vea, y mas importante todo que se sienta. Tambien tropos y figuras retoricas dan un tono significante al poema. Estos sentimientos de la portagonista y el tono emocional de la narrativa transporta una tema de una mujer estereotipical y debil quien quiere ser reconocido.
In 1949, Dana Gioia reflected on the significance of Gabriel García Márquez’s narrative style when he accurately quoted, “[it] describes the matter-of-fact combination of the fantastic and everyday in Latin American literature” (Gioia). Today, García Márquez’s work is synonymous with magical realism. In “Un Señor Muy Viejo con Alas Enormes,” the tale begins with be dramatically bleak fairytale introduction:
ABSTRACT: Humanity requires for its satisfaction Beauty and Good, that is, love, wisdom, and courage. Put differently, the necessity of order, equilibrium, and harmony. These values ground one of the most elevated planes of the spiritual life: music. Its moral force in the education of the mind, soul, and behavior of the human person has been emphasized by the ancient Greek philosophers. This important message exists as a pattern crossing the centuries. I will try to reveal the unity ¡¥ethics¡¦/ethike - ¡¥music¡¦/melos by using the semiotic organon.
In this brief poem by Martin Espada titled “Latin Night at the Pawnshop,” sacrifice is a harsh reality met by many people who come to America searching for the ultimate American dream. This unpleasant portrait of America represents the tension between societies that unify a mixture of cultures versus a society that requires people to renounce part of their cultural characteristics to assimilate into their new community. The complete set of instruments of a salsa band is for sale in a pawnshop window. Therefore, the discarded items describe the unfortunate failure of a salsa band. Why did the salsa band fail? Did the musicians simply lose interest with the hobby? Was it that the public didn’t accept and support salsa bands in the area? Was it merely the fact that the treasured cultural tradition of salsa music was gradually dwindling? The poem doesn't give a specific resolution, however, it leaves the reader with a gloomy feeling that indicates the death, sorrow, and loss of something extremely precious: objects in a pawnshop hanging motionless like tickets on a corpse.
...rcía Márquez concentrates on the idea that the animals incorporated into the work are portrayed to highlight the degradation of Santiago Nasar and the nature of his murder.
...atin American popular idioms. Sonia Possetti is a leading contemporary tango artist that has formed a sextet including the unusual addition of a trombone. POssetti is receptive to the possibility of assimilating outside influences, as she is fully aware of the political implications of creating and performing tango in a country controlled by globalized economic and cultural interests. She uses the standard percussion with djembe, cymbals, bongo, and wood block. Possetti’s “Bullanguera” is based on a milonga rhythm that first sounded in the djembe, a large African hand drum. She layers a salsa clave pattern in the percussion over the milonga foundation. Jazz techniques, improvised solos and sixteen bar progressions add new dimensions to the piece. Her conception remains true to the roots of the tango, yet engages with a sophisticated range of current popular musics.