I felt that my classmates’ comments were helpful because it brought in a new perspective and/or enforced the idea I had already made in my posts. For example, Daria commented on my Pragmatic Signals post and said I could find these, as well, in Omaha Bigelow when Vega Yunque discussed his feelings towards Harry Potter books.
This video is a scene from the movie “Big Fish” directed by Tim Burton. As we all know, Burton is widely known for his dark, eccentric and magical films. What I liked about this clip is that it visibly shows how magic realism can exist not only in literature, but in all forms of art, like this movie. This can be seen when time stops during the performance and then rapidly moves in order to “make up for the time when time was still.” I also feel like this correlates to García Márquez’s story about the man dreaming and yet feeling what his body is feeling in the physical world (The man felt chilly because he assumed his cover must have fallen off during his sleep).
I really liked this video and I felt it was very instructional because it educates the public on Hispanic/Latin/Mexican terms. It also portrays ways in which others view the Latin community so stereo typically(this is seen in the first take). I also liked that Latinos were interview and all were so physically different, along with the pictures of celebrities who all shared a Latin heritage.
This video, I am solely adding for it’s comedic effect and because it shows some instances of Spanglish. I will not consider this an actual post for credit.
Watching Edgardo Vega Yunque in this video, it becomes a little hard to believe that such a man would create a novel that speaks so openly about male and female organs, the use of alcohol and drugs and the human need/want for sex. But, watching this, and reading his book, we come to understand why this man would need to start a novel with such adolescent themes, because if he would’ve started with politics and important facts, young poeple would go back to reading Harry Potter or Lord of the Rings.
One of my favorite Disney/Pixar movies is Finding Nemo, and while watching some animated films and series, I found that focalization is almost never viewed through the characters eyes but as if there is always an audience looking into the characters. Then, I found this video and saw that focalization is very subtle, and I came to the conclusion that this is so because these films are for children that do not understand the ways in which camera focuses work and need these children need that constant visual of characters in order to understand who is speaking.
I liked this video because it showed the focalization points of both the riders on the coaster and then the view of the riders mounted on the roller coaster, the view of the coaster and the view from a person standing on the ground viewing the coaster. So, all in all, it shows four points of view in one video.
When I first began to read Severo Sarduy’s novel Cobra and Maitreya, I was astonished by Cobra’s need to make her feet smaller. As the narrator states,
She’d set them in molds at daybreak, apply salt compresses, chastise them sith successive baths of hot and cold water. She forced them with gags; she submitted them to crude mechanics. She manufactured wire armors to put them in, shortening and twisting the threads again and again with pliers; after smearing them with gum Arabic she bound them with strips of cloth: they were mummies, children of Florentine medallions.
As an avid watcher of the Discovery Channel, I remembered watching an episode of how the Chinese appreciated and even found foot binding a trait of perfection.
This video, I found, was great at portraying the rituals and all the concoctions Cobra felt he needed to perform just so his feet would change in size.
*Video can be graphic. Viewer watch at own discretion.
When we first began the discussion in class of Sesshu Foster’s novel Atomix Aztex, we heavily analyzed Foster’s Note in the beginning of the novel where he wants his audience to know that his book is a work of fiction, he also states that he relies heavily on “[…] a number of dialects, including extreme form[s] of the South-Western pocho dialect[…]” (Foster, Note) Pocho, “is a term used by native-born Mexicans to describe Chicanos who are perceived to have forgotten or rejected their Mexican heritage to some degree. Typically, pochos speak English and lack fluency in Spanish. Among some pochos, the term has been embraced to express pride in having both a Mexican and an American heritage asserting their place in the diverse American culture.” (Pocho, Wikipedia, The Free Encyclopedia) After some research on Youtube, I was able to find a video that I believe exemplifies the chicano lifestyle, the pocho dialect, and also connects Foster’s novel to Salvador Plascencia’s People of Paper novel where the audience is introduced to the EMF gang, who are like these individuals in the video. The video is called, “Definition of an Ese,” right from the beginning, the listener sees that this song will be mainly rapped/sung in English and since the song is defining an “Ese,” which is a term usually used by Mexicans that refers to their homeboy, most of the essential qualities that are defined within the lyrics are helpful to understand some of the novels we have read in class. Enjoy! Or not.
805BROWNPRIDE. (2007, June 21) Down AKA Kilo – Definition of an Ese
[Video File] Retrieved from http://www.youtube.com/watch?v=pSXxPb74nqs&feature=related
Pocho. (2011, October 7). In Wikipedia, The Free Encyclopedia. Retrieved 16:20, November 16, 2011,
Salvador Plascencia’s novel can seem to have many different focalizing points. For example, when Plascencia gives each character power as a narrator in the parts of the books that have columns and lines, these characters are internal focalizers. Although, Plascencia perplexes his audience when we read Santos’ story, where he is presented in a third person point of view since the pronoun used for him appears not as “I,” or “me,” but instead we approach this character with “his” and “he.” This is confounding because Plascencia regulates the focalizers with his form of writing which can be seen in columns or left to right, whole-paged lines. Also, the audience becomes accustomed to Saturn being able to relate to the characters as an external focalizer since he can hear and see everything about the characters, and now we have an unidentifiable narrator capturing Santos’ story. (Plascencia 75)