The House On Mango Street By Sandra Cisneros - 2004 Words

In The House on Mango Street, by Sandra Cisneros, twelve-year-old Esperanza Cordero must navigate through the trials and tribulations that one can associate when encountering young adulthood. The author Cisneros, utilizes her unique writing style of vignettes to illustrate the narrative voice of Esperanza in her text. A major theme that can be seen as the most prominent thus far, is on the feminist role of Esperanza as a female in her Latin American culture. The House on Mango Street is an overall Bildungsroman that can be considered to be a feminist work of literature. The Bildungsroman is encompassed by various feminist values throughout the text of written work, regarding the particular subject. The writer, Cisneros’ feminist views are†¦show more content†¦In her eyes sees this as wrong and in a way, she vows to not submit and even goes as far having thoughts of changing her given name. Esperanza desires to rename herself with an alias of strong women she has learn ed about previously, possibly in hopes of staying true to herself and her individualism. As the Bildungsroman starts to take a reader on a journey through these small vignettes, we see that Esperanza experiments with her female power only to be brought down by the overwhelming misogyny power in various forms in the writing along with other women figures. The first actual insistence Esperanza comes across from in the form of deprived freedom against women that portrays this Bildungsroman as a feminist literature is in the vignette Alicia Who Sees Mice. â€Å"Alicia who inherited her mama’s rolling pin and sleepiness, is young and smart and studies for the first time at the university.† Alicia a young adolescent, who we know lost her mother is going through a difficult time from this death. The first part of the quote can be seen as a metaphor, where Alicia has clearly inherited more than the mother’s rolling pin and sleepiness. The young Alicia has acquired the r ole of full time mother to her siblings through the father’s insistence. The young Alicia has to maintain a household while at the same time pursuing an education at a university where she has to take two trains and a bus toShow MoreRelatedThe House On Mango Street By Sandra Cisneros1132 Words   |  5 Pageslives. In the collection of short stories, The House on Mango Street, by Sandra Cisneros, she focuses on a young Hispanic girl named Esperanza Cordero who grew up on Mango Street. As she is changing and maturing, she writes down her experiences about discrimination of gender, sexual orientation, and more. Esperanza s transformation from a young and innocent girl to a mature woman is displayed through her self-realization and experiences that help Cisneros reveal how one s own experiences can lead toRead MoreThe House On Mango Street By Sandra Cisneros1297 Words   |  6 Pagesto think of a story to create, most of the advice given to them is â€Å"write what you know.à ¢â‚¬  This was perfect advice for Mexican-American writer Sandra Cisneros, who draws upon her coming-of-age events throughout her childhood and adolescence in â€Å"The House on Mango Street.† Drawing from life stories, her alter ego â€Å"Esperanza† describes everything from the house she lived in, to the hair on people’s heads. These personal stories show a stark contrast for any reader of a different culture, and confirmRead MoreThe House On Mango Street By Sandra Cisneros913 Words   |  4 Pagesvignettes that made up â€Å"The House on Mango Street†, a coming-of-age novel by Mexican-American writer Sandra Cisneros. Cisneros in this specific vignette reveals the inherent oppressiveness of all marriages, which by their nature rob people of their independence. Sally is not even eight grades and she gets married. Her husband is a marshmallow salesman that she meets at a school bazaar. She moves to another state where is legal their marriage. Sally tells Esperanza about her house and domestic objects thatRead MoreThe House On Mango Street By Sandra Cisneros1854 Words   |  8 Pages The Street That Changed a Life The House on Mango Street, by Sandra Cisneros, displays a great emphasis on culture and people helping form a young girl into a young lady. The main character, Esperanza, has to navigate a mentally and physically challenging life growing up in a poor, Hispanic neighborhood while still learning how to mature and rise above the poverty that surrounds her. Thus, the question arises: in what way and to what extent does close human interaction change Esperanza’s lifeRead MoreThe House On Mango Street By Sandra Cisneros886 Words   |  4 PagesThe House on Mango Street is a novel by Sandra Cisneros. The novel is acclaimed by critics and used in schools all around the world. â€Å"The House on Mango Street† is about a young Latina girl who is about the age of 12 when the novel begins. Sandra’s novels have sold over two million copies. Sandra was born on December 20, 1984, in Chicago, Illinois. In 2016, President Barack Obama presented her with the medal of ‘Nat ional Medal of Arts’. Title: The House on Mango Street Author: Sandra Cisneros TheRead MoreThe House On Mango Street By Sandra Cisneros753 Words   |  4 PagesWhen you look at the cover of the book, The House on Mango Street, you see bright colors and a fun font. The first vignette that Sandra Cisneros writes is about Esperanza, a young Latino girl wishing that she had her own house, a house with trees and white fences. The way that Cisneros writes screams â€Å"little girl.† However, as you dive deeper into the book, the subject of each vignette gets darker. Slowly, we start to see the dangers of growing up as a young Latino girl in a Chicago neighborhoodRead MoreThe House On Mango Street By Sandra Cisneros1688 Words   |  7 PagesThe House on Mango Street, a novella by Sandra Cisneros, revolves around the idea of a developing Latino girl facing the difficulties of transitioning to a young mature woman. Esperanza moves into a house on Mango Street, where she meets many diverse influential people as she attempts to discover her true identity and und erstanding of the world. While doing this, she encounters the struggles of her community, socioeconomic class, and heritage. Esperanza’s opposing view of herself slowly adjusts asRead MoreThe House on Mango Street by Sandra Cisneros766 Words   |  3 Pagesliterary analysis on â€Å"The House on Mango Street† by Sandra Cisneros. This story takes place in the center of an over populated Latino neighborhood in Chicago, a city where many of the poor areas are ethnically segregated. This novella uses two main symbols shoes and trees. Later in the literary analysis I will explain what these mean to the main characters. There are three main characters in the novella Esperanza, Sally and Nenny (short for â€Å"Magdalena†). The House on Mango Street tells the life of EsperanzaRead MoreThe House On Mango Street By Sandra Cisneros1087 Words   |  5 PagesRiaz Salehi The House on Mango Street by Sandra Cisneros, portrays the life of a teenage girl named Esperanza living on Mango Street. Though Esperanza lives in a diverse city, pre-existing stereotypes are affecting how others(women?) are perceived and treated. Esperanza starts to see how to change her community and the negative view of herself by taking the wrong actions of other women and connecting them to her own life experiences. To begin with, Esperanza always saw this great distinctionRead MoreThe House On Mango Street By Sandra Cisneros2190 Words   |  9 Pagessociety centuries after its foundation. One of the books I feel perfectly touches on ethnicity in America specifically is Sandra Cisneros The House on Mango Street. Cisneros tells a coming of age story through brief episodes of a girl named Esperanza her life varying from things about her family, neighborhood, and different dreams and goals that she has. The House on Mango street is a personal and touching look at what it means to be a minority/immigrant in America as well what it means to grow up

The Fall of the Roman Empire to the Republic - 580 Words

From the early history of the Roman Empire, within the beginnings of the Republic, we will examine the period when the reign of kings comes to an end and social classes become established among the populace. From this point, will see how the oppression of one class against another leads up to a breaking-point with the revolt of one against another. Lucius Tarquinius Superbus was the seventh, and last Etruscan king (reigned from 534 to 510 BC) of Rome who was overthrown and exiled for his cruelty (wikipedia, 2013). This effort was accomplished through the united efforts of the Patrician and the Plebeian social classes that stratified Roman society. Despite his best efforts at reclaiming the rulership through the support of Lars Porsenna, the king of Clusium, he was thwarted when Porsenna made peace with the Romans and ended his aid to the Tarquins (forumromanum.org, 2009). Within Roman society, two distinct socio-economic classes known as Patrician and Plebeian existed. This stratification of the people was solely based upon one’s birth. Rome was being transforming into an aristocratic republic where power and rulership was dominated by the Patrician class, not the general population as in a democratic republic. The origins of separation of classes is often debated among historians, however it is commonly agreed that the Patrician families were those within the priesthoods and the Senate as religious advisors. As such, they would essentially give their blessings uponShow MoreRelatedFall of the Roman Empire758 Words   |  4 PagesTaylor Davino Professor Horsley HIS 126 3 March 2010 The fall of the Roman Empire Political, economic and social aspects were all involved in the fall of the Roman Empire. In 395 A.D., Rome was divided into two empires, with one capital in Rome and the other in Constantinople. During that time, the western Roman Empire was being invaded by barbarian tribes from the North. In 410, the Visigoth tribe succeeded in conquering the western capital in Rome. In 476, the western EmperorRead MoreFall Of The Roman Empire Essay1464 Words   |  6 Pages FALL OF THE ROMAN EMPIRE: Jesse R. Allen HIST 115 12/11/2016 â€Æ' Rome, once a city-state with conquests on Asia-Minor, Afria, Corsica, Spain, and Sarinina had become a ruling empire in the Mediterranean by 150BCE (Ridley, The Fall of the Roman Republic 2016). This dominant empire remained on power for many centuries and came to an end in a few mere decades. By the turn of the 5th century, the western empire, functionality of this empire had ceased to work while its eastern counterpartRead MoreThe Roman And Roman Empire1068 Words   |  5 PagesThe Roman Empire, which was centered in the city of Rome, was the most extensive western civilization of ancient times. With its major advancements and prosperity it is hard to believe that the Roman Empire suddenly collapsed and fell into a time known as the Dark Ages. After a period of struggles for the Roman Empire, the empire gradually fell. Rome was the most successful civilization of its time. Its strategic location in the center of the Italian Peninsula and the fertile plains that supportedRead MoreHis112The Roman Republic And Imperial Rome Matrix Essay853 Words   |  4 Pagesï » ¿University of Phoenix Material The Roman Republic and Imperial Rome Matrix Complete the matrix below by entering cultural, political, and economic developments that had lasting effects or that are significant of each civilization. The table includes one example. 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David Lynch as a Cult Auter Free Essays

David Lynch as a Cult Auteur David Lynch has long been known for his abstract, surrealist, highly ambiguous, and often confusing films. Since his first film, the bizarre and depressing Eraserhead, Lynch has become synonymous with the word â€Å"baffled. † He has been responsible for heady acid trips such as Lost Highway, Mulholland Drive, and Inland Empire. We will write a custom essay sample on David Lynch as a Cult Auter or any similar topic only for you Order Now He has created a bizarre examination of sex and violence in Blue Velvet and a quiet, emotional character study in The Elephant Man. Lynch has always been the artsy type; throughout high school, he was a keen painter, with a very abstract style, and after leaving school, he studied painting at the Museum of Fine Arts, Boston in 1964. However, he left after only a year, stating that â€Å"I was not inspired AT ALL in that place†. He then proceeded to travel around Europe to study the works of Austrian expressionist painter Oskar Kokoschka. He returned to America, however, after only 15 days. He then studied Fine Arts at the Pennsylvania Academy of Fine Arts in Philadelphia, before moving to Los Angeles in 1971 to study filmmaking at the AFI Conservatory. It was at this time that Lynch began winning grants in order to fund his films, including one for $10,000 which he received from AFI in 1970 to make his debut feature-length film, Eraserhead. Over his lengthy career, Lynch has been nominated for four Oscars, but has yet to win. Four of his films have been nominated for the Palme d’Or at the Cannes film festival; 1990? s Wild At Heart won the prestigious award, and Lynch also won Best Director at the festival for his 2001 film Mulholland Drive. Lynch, like many other burgeoning directors, started his audio visual career making short films. From 1966-1974, he created four of film history’s arguably most memorable shorts, leading up to his breakout, oft-critiqued feature, Eraserhead (1977). His style is defined by the dark, the grotesquely physical, and the straight out bizarre. Many of his shorts included animation of his paintings. Sound and music for films was also of utmost importance to the paranoia-filled atmosphere of his works. The dark and the bizarre were aspects he would carry over to his television show, Twin Peaks, which aired for two seasons in 1990 and 1991. Lynch is valuable because he explodes conventions, both cinematic and psychological, but it’s not enough for him to be as strange as possible—even an approach based on throwing off the fetters of the conventional and the logical demands a kind of discipline. The trick is to allow one’s imagination free play, but to be able to recognize what is genuinely strange and unsettling, rather than merely bizarre, to distinguish between the rare specimens you’ve unearthed from the darkness of the ocean floor and the seaweed clinging to you when you emerge from the water. It’s a completely unscientific process, and one that can’t be forced, so in a sense it’s achievement enough that Lynch has remained devoted to exploring his own subconscious, however successful he’s been in conveying his findings to the screen. Leading film critics Le Blanc and Odell state that Lynch’s films â€Å"are so packed with motifs, recurrent characters, images, compositions and techniques that you could view his entire output as one large jigsaw puzzle of ideas. One of the key themes that they noted was the usage of dreams and dreamlike imagery within his works, something they related to the â€Å"surrealist ethos† of relying â€Å"on the subconscious to provide visual drive. † This can be seen in John Merrick’s dream of his mother in The Elephant Man, Agent Cooper’s dreams of the red room in Twin Peaks and the â€Å"dreamlike logic† of the narrative found in Eraserhead, Mulholland Drive and Inland Empire . Another defining pattern of Lynch’s films is that he tends to feature his leading female actors in multiple or â€Å"split† roles, so that many of his female characters have multiple, fractured identities. This practice began with his choice to cast Sheryl Lee as both Laura Palmer and her cousin Maddy Ferguson in Twin Peaks and continued in his later works. In Lost Highway, Patricia Arquette plays the dual role of Renee Madison/Alice Wakefield, while in Mulholland Drive, Naomi Watts plays Diane Selwyn/Betty Elms and Laura Harring plays Camilla Rhodes/Rita and in Inland Empire, Laura Dern plays Nikki Grace/Susan Blue. By contrast, Lynch rarely creates multi-character roles for his male actors. In a short film titled â€Å"How to Make a David Lynch Film† a group of young film makers explored just that. In the short, the group highlight a number of definitive features found in Lynch’s films. They mention that â€Å"the people who like David Lynch do so because he is the master of mood, or because he’s all about atmosphere† and that â€Å"the ‘artsier’ the fan you speak to, the more they pretend to understand Lynch’s nonexistent plots. † Other Lynchian traits mentioned in the short include: * Unneeded tension brought about by dramatic pauses between dialogue * There must be ominous ounds or music in every scene to create a mysterious atmosphere * There must always be a character that goes by the name of Mr. , followed by a common first name (eg. Mr. Jimmy) * When in doubt, add close ups of eyes and lips * Phone calls to add suspense * Halfway through the film, change the actor/actress playing the lead character * In betwe en scenes always fade in and out of black * There should be nudity for no apparent reason * Random shots of out of focus movement * Lots of kissing * Painted fingernails * Lesbian love scenes At least one sex scene, often overexposed * Infantilism (eg. Dennis Hopper as Frank Booth in Blue Velvet) * Use of black and white * Abrupt endings and loose ends Lynch is an established auteur; in fact, not only does he write his screenplays, but he has been involved with every level of his films production at one point or another: sound design, editing, camera work, lighting, casting, special effects, music, etc. His hands-on approach to every aspect of his films has helped to tie them all together with a common thread. Lynch has sufficient strength of identity within his work and peculiarity of world view to warrant his position as auteur, and David Foster Wallace, in his ‘Premiere’ article for Lost Highway, said : â€Å"Whether you believe he’s a good auteur or a bad one, his career makes it clear that he is indeed, in the literal Cahiers du Cinema sense, an auteur, willing to make the sorts of sacrifices for creative control that real auteurs have to make – choices that indicate either raging egotism or passionate dedication or a childlike desire to run the sandbox, or all three. As Orson Welles said, â€Å"Cinema is the work of a single man, the director†. Lynch’s films, good or bad, successful or not, have been the work of a film-maker in control of his medium, aware of his position as auteur and willing to assert it within his texts. Many of Lynch’s works have developed a cult following over the years. Of note are Eraserhead, Blue Velvet and Mul holland Drive. There are also many in the Lynchian â€Å"cult† who are not film specific. That is, they are fans and followers of David Lynch himself, and are intrigued by all things Lynchian. The major reason that Lynch’s films stand the test of time is due to their very nature; because his innovative style is so surreal and cryptic, a selection of viewers are compelled to delve further into understanding his films. That’s the beauty of Lynch; his films deeply intrigue his audiences, igniting a thirst in the niche, cult followers to decipher meaning in films where others see none. In most cases, a director cannot really foresee whether or not a film will develop a cult following over time. However, a further urge to make sense of his works is almost inherent of Lynch’s style, and some may argue that Lynch has constructed his films with the intention of being labelled by society as ‘weird’, or ‘strange’. It almost gives his loyal followers an excuse to be self righteous of their involvement in the cult community; â€Å"Hey look at me, I study Lynchian films, aren’t I cultured? † It can give them a sense of intellectual snobbery. Lynch’s most recent feature, Mulholland Drive was initially scripted and filmed as a television pilot, however, the project was turned down by several networks, and so, after some deliberation, Lynch decided to finish the text as a feature film. As a pilot, the story didn’t have a proper ending, and it took Lynch quite some time to formulate an ending for the film; however he says that it all came to him one night when he sat down on a chair and closed his eyes. In Mulholland Drive, Lynch dwells upon the theme of duality of identity, set in the world of Hollywood. After the failure of both her movie career and her love affair, the main protagonist, Diane, imagines a fantasy of her as another character named Betty, by recreating her ruined career and failed relationship with the woman she loves. To further expand on his main themes of identity, fantasy and reality, duality of things and Hollywood, Lynch uses contrasted filming techniques for each of the parts of the movie, creating a visual dichotomy between Diane’s fantasy (where everything is embellished in a way, highly illuminated, colourful and visually striking) and reality (which is almost completely dark and uses very little lighting, making it seem quite surreal), thus blurring the edges between the two. In her fantasy, Diane loses her identity, as her dream presents another aspect of herself. One ight argue that this fantasy is actually Diane’s attempt at self-identification, but it is also another representation of her own personality. In the end, Diane must understand that she is comprised of, and capable of, both light and dark, good and evil, naivete and deep mystery. Therefore, she cannot escape or ignore the darker parts of herself – her failure, her hatred, her jealousy. Lynch has explai ned duality in his films in this way: â€Å"You must have the contrasts. Films should have power. The power of good and the power of darkness, so you can get some thrills and shake things up a bit. If you back off from that stuff, you’re shooting right down into lukewarm junk. †¦You have to believe things so much that you make them honest†. In other words, he argues that in order for films to be strong and powerful, they need to present both sides of a coin, an unrestricted view of life with all of its light and all of its darkness. However, according to him, there is no need to fear the darker side because it is a part of all of us: â€Å"Fear is based on not seeing the whole thing and, if you could get there and see the whole thing, fear is out the window†. Hence he argues that once we come to terms with these darker things and accept them as a natural contrast in all of us, rather than try to hide and escape them, we will be able to face and understand them. In an interview with The Denver Post during the release of Mulholland Drive, Lynch says: â€Å"we know that when we’re walking around we see the surface of things, but sometimes we sense something more, sometimes what we sense approaches a kind of dreamlike state. Those feelings take on a life of their own; they are just as real as anything else. † This echoes Breton’s lecture that these often dichotomous forces of inner and external reality â€Å"are the one and the same thing. † However, Lynch does make note that we do approach these various layers of reality in different ways: â€Å"We have waking, sleeping and dreaming—for most people that’s what we deal with. So all of them are real, though the brain functions in a different way for each. The final movement of Mulholland Drive asks its viewers to reinterpret the first 100 minutes of screen time as now being a universe fabricated in the consciousness of small-time, failed-actor Diane Selwyn, who lies dying (or dead) somewhere in a run-down apartment in Hollywood. Linking the narrative material of the film’s final movement to the material that preceded it becomes critical in terms of how one understands the workings of the film. Of course, crucial a s it may be to connect narrative information to the film’s internal structures, it is not this alone that makes Mulholland Drive such a unique experience. As in much of Lynch’s other work, the film asks its viewers to attend to every aspect of its construction, from colour schemes to camera movement, from music and sound to performance, from lighting to editing patterns, from set design to costume and make-up. In short, every element of the film’s construction can be a container of possible meaning. Because of this, most viewers miss much of the film’s meaning, and walk out of the theatre complaining that it made no sense. Others, however, may pick up on certain symbols or motifs, and are intrigued to decipher their meaning after viewing. What’s especially interesting in Lynch’s films is the way the entire mise-en-scene is presented as meaningful and significant. The hierarchy of significance that we associate with most movies, where some things are to be attended to more than others, is abandoned. We can never tell while watching a scene – at least the first time around – what its most significant features are. It’s possible that a seemingly minor detail will turn out be of critical importance. Everything is presented on the same level of significance. Over the years, Mulholland Drive has developed a cult following in a niche audience, and many of its devout followers are continuously attempting to decipher elements of the film. The website mulholland-drive. net is an extensive database of information regarding the film, where the film’s loyal followers can discuss the film and share their understanding of certain elements of the movie. Since all of the posts on the site are by members of the niche audience, it gives everyone a chance to see what other people thought of the movie and their analysis of its meaning. The website epitomises the commitment of members of a films cult following. To conclude, it is fair to say that David Lynch has well established himself in society as a cult auteur to be reckoned with. His abstract style often leaves his viewers with more questions than answers, and for some viewers, a desire to learn more. It is this factor that has essentially led to Lynch’s grandiose cult status. His followers are intrigued by his ambiguity. Although his time as a director will inevitably come to an end, the legacy of his films will last forever through their cult status. ——————————————- [ 1 ]. Lynch and Rodley, 2005, p. 33 [ 2 ]. David Lynch. (2013, March 16). In  Wikipedia, The Free Encyclopedia [ 3 ]. Le Blanc and Odell, 2000, p. 08 [ 4 ]. Lynch and Rodley, 2005, p. 148 [ 5 ]. Cook, 1986 [ 6 ]. David Lynch On Mulholland Drive, DVD Extra [ 7 ]. Lynch and Rodley, 2005, p. 15 0 [ 8 ]. Lynch and Rodley, 2005, p. 244 [ 9 ]. â€Å"Lynch composes cerebral symphony†, Rosen, 2001 [ 10 ]. Breton, ed. Fotiade 2000, p. 04 How to cite David Lynch as a Cult Auter, Papers