Lequel, a Difficult French Pronoun, Explained

Tensions Between Mexican And American Cultures - 1156 Words

August Van Patten Dr. Berglund ENG 245 10 January 2017 â€Å"American†¦But Hyphenated†: Tensions Between Mexican and American Cultures In Pat Mora’s two poems, â€Å"Legal Alien† and â€Å"Immigrants†, she is expressing the crisis of identity from which Mexican Americans suffer. On one hand, Americans view her (and Mexican Americans in general) as â€Å"perhaps exotic, / perhaps inferior, and definitely different† (9-10) while on the other Mexicans view Mexican-Americans as â€Å"alien† (11). Caught in between two cultures, and not being fully accepted by both, is the source of tensions in the author’s poetry. Both cultures with which they identify ultimately reject the persons in the poems which causes distress and conflict. The tension seen in the writer’s work†¦show more content†¦Ã¢â‚¬Å"Alien† is used later in the poem to also describe how Mexicans view Mexican Americans—which is not how many in the U.S. would perceive their relationship (11). The use of the prefix â€Å"bi† is another way in which the poet signifies the distinct Mexic an American culture. Opening the poem with the powerful phrase, â€Å"Bi-lingual, Bi-cultural† (1) emphasizes the adaptation of both Mexican and American cultural norms in multiple aspects. The people in the poem speak the languages of both countries as well as adopt and combine customs. Therefore, Mexican Americans express sentiments of both cultures, yet are still viewed as foreign by each culture respectively. This creates an odd situation where Mexican Americans are divided culturally yet still exemplifying aspects of both cultures and creating their own cultural practices. While the poem â€Å"Legal Alien† focuses on the struggles of being a Mexican American who is accepted by neither society, â€Å"Immigrants† is about how they try to help their children fit into society and make the process of assimilating easier for them. A feeling of desperation is portrayed in the opening line which states, â€Å"wrap their babies in the American flag† (1). The parents who feel judged by American society want so desperately for their children to be accepted as true American citizens that theyShow MoreRelatedThe Legacy Of The Golden State1633 Words   |  7 Pageswith danger and controversy in their way. In the process of building a defining image for California, these boosters embraced but erased the people and cultures that existed in California before the arrival of the Anglos. They essentially took away what these cultures had built upon in California and took them as their own while keeping these cultures out of the picture. This racial e xclusion persisted throughout 20th century California. 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Birmingham Museum Of Art Pompeii Exhibition Essay Example For Students

Birmingham Museum Of Art: Pompeii Exhibition Essay The quote above comes to us from one of the letters of Pliny the Younger, the namesake of the man who was the commander of the Roman Fleet in 79 A.D. Pliny the Elder was last seen by his nephew as he prepared to sail across the Bay of Naples to Pompeii; the older man would perish in an attempt to rescue citizens of a coastal Italian town fated for obliteration before he boarded his ship. Vesuvius erupted on Aug. 24, in 79 A.D., the day after the citizens of Pompeii would have celebrated the festival of Vulcanalia, making crafts by candlelight to honor the god of tools, smithing, fire and the forge. The fiery eruption of lava and volcanic stone continued all day and night through Aug. 25, covering Pompeii and the surrounding towns in a relentless rain of ash. In the neighboring settlements of Herculaneum, Terzigno, Moregine and Oplontis and the city of Pompeii itself, those who were unable to escape seem to have met death one of two ways - hot and fast, seared in an instant, scarcely conscious that the end had come, or slow and excruciating beyond comprehension, with each breath harder to take than the last. The eruption leveled all signs of life. The younger Plinys letters are a rarity - an eyewitness account of a disaster that is understood in the modern world largely through a desperate, if deliberate and methodical, groping. Archaeologists, adventurers, scholars and scavengers have all studied Pompeii and the other towns burned up and buried at the foot of Vesuvius. These places were forgotten for nearly 2,000 years then rediscovered by accident in the 18th century. After more than 200 years of continuous excavation, still only a fraction of the story is fully understood and the digging for meaning is bound to continue for centuries. Pompeii: Tales from an Eruption opened on Sunday, Oct. 14, at the Birmingham Museum of Art and will remain on display through Jan. 27, 2008. Only three U.S. cities will host the exhibition: It comes to Birmingham after a four-month stint at the Field Museum of Natural History in Chicago and before a three-month display at the Houston Museum of Fine Arts scheduled for 2008. Comprised of 500 works of art and relics, the exhibit is the largest collection of artifacts from Pompeii to ever leave Italy. Terry Beckham, staff exhibition designer for the BMA, spent three years planning and designing the exhibition. A show of this magnitude required that much time, Beckham says. Another real challenge was the scale. Because the collection includes so many big things, we had to carefully consider how we would get them into the space as we were considering how to situate them in the space. The collection also includes so many small things, so it was critical that those not be overshadowed, he continues. Beckham traveled to Chicago to see how the artifacts were displayed there, but he knew early on that his venue presented just as many challenges as the material did. Since the Field is a natural history museum, their designer approached it really differently. Im approaching this as an art exhibit. A part of that is making everything more precious. Everything is an art object, even if it is a spoon. Ultimately, Beckhams approach would be to transform the museums Asian art galleries into a 10,000-square foot showcase for classical Roman artifacts. Japanese folding wood cases were hidden by thin veneer, to create small arcades along the gallery walls. The massive Buddhist temple doors that stood at the center of the Asian galleries were cocooned by high, false walls, creating display space for Roman artifacts. The layout of the exhibit shows off the architectural and engineering flexibility of the museum. Part of a wall was knocked out to create a doorway between two galleries. (The wall yielded history of its own - Beckham examined a cutaway piece of the drywall and counted 128 layers of paint, each one representing a different exhibit that the gallery had housed during the past 20 years.) Animal Cruelty? EssayMeador-Woodruff finds the coins particularly fascinating. The collection includes silver coins that date as far back as 230 years before the eruption and gold coins that appear to have been minted within 30 years of the eruption. These are not coins of significant value as money but objects to which he had clearly bonded, Meador-Woodruff says. As a set, the coin collection represents the largest dollar amount of money found in the area. A panel alongside the display explains the denominations of the coins and includes what the amount of money would have bought. Its an exchange rate of a very particular moment, Meador-Woodruff says. I think its something that people will really relate to. Keys are another commonplace item that have had an emotional impact on people who have seen the exhibit. The keys tend to stop people, Meador-Woodruff says. The fact that people were taking keys with them is touching and heart-wrenching. You have to wonder, did they think they would return home? Was it a symbol of homes they could never return to? In any disaster, you might grasp for the reassurance that things might be OK, you might grasp for the ordinary, she continues. Think about how much we interact with our keys now - how much time you spend looking for your keys, using your keys, just with your keys in your hand. These keys make a direct connection from the lives of the people who died there to our lives now. According to Meador-Woodruff, focusing on these everyday materials - drinking vessels, hairpins, keys and coins à  allows the viewer to think of the exhibit, in part, as a commentary on the way people had possessions in antiquity. Whats on display also causes the viewer to question why contemporary society is obsessed with quantity rather than quality. One of the principles in putting together this show that we thought people would relate to is that these people had 15 minutes to get out of town and this is what they took. What would you take? Meador-Woodruff says. What would you save? Pompeii: Tales from an Eruption marks a notable departure for the Birmingham Museum of Art as a foray into archaeological presentation. Of course, there are numerous examples of art among the artifacts à  fine jewelry, Greek-influenced sculpture and numerous paintings. All scholarly classification of Roman painting is based on works of art found at Pompeii and Herculaneum, and three of the four styles of Roman painting are represented by frescoes on display at the museum. But as arresting as the sculpture and frescoes are, the greatest power of Pompeii: Tales from an Eruption lies not in the representational art but in the ghastly, gorgeous art comprised of human bodies. These are people turned to artifacts, the stories of their lives summed up in the things they carried and the things they cast aside. Theres not a real tradition of the study of classical art in Birmingham, even with all the neoclassical art thats a part of the regional culture, Meador-Woodruff says. Still, this show has the potential to be tremendously relevant, particularly when you can extrapolate forward its connection to the present, its meaning to our lives today.

VOH and FOH free essay sample

. The variable overhead flexible-budget variance subdivides into which two variances? Spending Variance and efficiency Variance. 2. To compute the budgeted variable overhead cost rate for a manufacturing company divide budgeted variable overhead costs by the budgeted quantity of the Cost allocation base. 3. To compute the budgeted fixed overhead cost rate for a manufacturing company, divide budgeted fixed overhead costs by the Budgeted total quantity of cost-allocation base or Production- Denominator level. 4. The Production Volume variance is the difference between budgeted FOH and the FOH allocated on the basis of actual output produced. 5. Manufacturing companies treat fixed manufacturing overhead as if it were a variable cost for which purpose of cost accounting? Inventory costing purposes 6. Fixed overhead is underallocated if the general-ledger balance of the fixed manufacturing over-head control account is larger than the balance of the fixed Manufacturing Overhead allocated account. 7. The amount of underallocated or overallocated total overhead is the same as the amount of the total overhead variance. We will write a custom essay sample on VOH and FOH or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page 8. Interpreting a cost variance for an activity area requires an understanding of the cost hierarchy used in the ABC systems. True- False 1. T 2. F 3. T 4. F 5. T 6. F 7. T 8. T 9. F 10. F 11. T Multiple Choice 1. Total overhead variance = Actual Variable overhead + Actual fixed overhead – Budgeted hours allowed for actual output produced x (budgeted variable overhead cost rate per machine-hour + budgeted fixed overhead costs rate per machine hour) B. 6,000 favorable Actual Variable overhead $ 73,000. 00 total budgeted overhead cost rate per machine hour $ 3. 00 Actual fixed overhead $ 17,000. 00 budgeted hours allowed for actual output produced 32000 Budgeted variable overhead cost rate per machine hour $ 2. 50 Budgeted fixed overhead cost rate per macine hour $ 0. 50 Total Overhead incurred $ 90,000. 00 Total overhead allocated $ 96,000. 00 Total overhead variance $ (6,000. 00) 2. A. 76,000 Manufacturing overhead allocated = Budgeted total overhead cost rate x Budgeted hours allowed for actual output produced Total budgeted overhead $ 80,000. 00 budgeted machine hours used 20,000 required machine hours for each unit of output, at standard 2 Actual units of output producedd 9,500 Machine-hours used 19,500 Total overhead incurred $ 79,500. 00 Budgeted total overhead cost rate $ 4. 00 per machine Budgeted hours allowed for actual output produced 19,000 machine hours Manufacturing overhead allocated $ 76,000. 00 3. C. $5,500 Favorable Flexible Budget Variance = VOH spending variance + VOH efficiency variance 3,000 Favorable = VOH Spending variance + 2,500 Unfavorable VOH Spending variance = $3,000 Favorable – ($2,500 Unfavorable) VOH Spending variance = $5,500 Favorable