This podcast is a creative performance based on El eterno femenino, by Rosario Castellanos, a play about a woman named Lupita that goes to the beauty salon to get her hair done before her wedding. She tries out a new hairdryer, which puts her into a dream state. This podcast episode covers the fictitious experience of a witness at the hair salon named Ramón Hernández, who recounts his experience witnessing Lupita murmur things to herself while dreaming.
Both Florinda by Maria Rosa Galvez, and El Eterno Femenino by Rosario Castellanos, are works of theater that focus greatly on the theme of female oppression. In this infographic, we compare this theme within the two works, and the relevance this theme still has today. While both works take place in a patriarchal society, and ultimately end with the unhappiness of their female protagonists, there are differences in the themes they portray. Florinda places focus on the oppression of women by her male counterparts, who abuse their powerful roles in society, and blame her for the crimes taken against her. El Eterno Femenino focuses more on internalized oppression, with stereotypical female roles, and pressures to be a perfect woman and perfect wife, oppress generations of women in society. These works were written more than 150 years apart, with the theme of the oppression of women still very prevalent. We even see this theme carried into the works of today, as women’s rights continue to be a problem in today’s society.
The play “El eterno femenino” by Rosario Castellanos pórtate the live of a women who struggle to finding who she is a a woman. Throughout the play, she encounters many people and events that shape the way she sees her life as a women. In the poster, I drew a women with a child because it is watch women are most related to, their children. On the left side of the poster, there are words and phrases that reveal how society expected women to be. However, on the right side, there are words and phrases of what women wanted to be and what they actually felt. Overall, the message I am trying to portray is that in “El eterno femenino” we can truly see the difference between what women have to go through compared to what they truly want.
My Project is inspired by the work of Chilean writer Pablo Neruda’s Odas. His remarkable work was awarded the Nobel Prize for Literature in 1971. Neruda’s Odes are inspired by all things that surrounded him. He found beauty in the simplest things, such as an artichoke, a lemon. His work aims to portray an enthusiastic approach from the lenses of positivism and realism. My inspiration was my bicycle. My child’s memories around it and all the happiness that I had because of it. I hope you enjoy it!
This is a creative writing assignment from my Spanish literature class where we wrote odes to objects similar to the poems written by Pablo Neruda. We had to include two similes and two metaphors and have a minimum of five stanzas.
En la obra que van a escuchar hoy en día, se platica sobre la idea del tiempo y la niñez. Aunque no hay un nombre a la cara de la niña, se habla de la experiencia que ella tuvo afuera en su propio patio. El patio es un lugar que fue sagrado e importante para la niña, una plataforma para la imaginación y creatividad que la niña tenia. El tiempo es importante porque explica la diferencia entre la muchacha hoy y la niña que era antes. Para ella el patio hoy en día solo es un patio, ella no lo puede ver como algo mas, pero para su niñez era cualquier cosa que se la venia a la mente. Esta obra enseña la idea de tener que crecer, pero también poder apreciar los momentos de inocencia que una persona tiene cuando solo tiene unos 7 años. Es algo que todos pueden relacionar en y admirar de su niñez.
Esta tesis es un estudio de la literatura carcelaria en cuatro obras del siglo XX. El ya reconocido género de la literatura carcelaria denomina un tipo de texto en cual un autor escribe cuando está encarcelado o rememora la experiencia carcelaria luego de abandonar la cárcel. Durante el siglo XX, muchos activistas políticos han protestado por sus derechos humanos por medio de sus obras. Algunos de estos activistas políticos fueron escritores y poetas de América latina, de los Estados Unidos y de otras partes del mundo, como Domitila Barrios de Chungara, Martin Luther King Jr. Roque Dalton y Otto René Castillo. Mi ponencia se enfoca en las comparaciones y contrastes de estos cuatro ejemplos de literaturas carcelarias: el tipo de texto, la representación y las circunstancias de la cárcel, la desobediencia civil, la subjetivación plural y la denuncia social.
As part of the Global Health Fellowship hosted by the Foundation for International Medical Relief of Children (FIMRC), two activity workbooks were produced to educate the FIMRC youth population in Huancayo, Peru about two major health topics, violence and the five senses. These workbooks were written and illustrated in conjunction with the Dale la Mano program in Huancayo, Peru, which is targeted toward greater access to health services and education for young Peruvian Children. Each workbook was designed with a story and various activities pertaining to either violence or the five senses, and followed a style similar to the popular magazine, Highlights. The workbook on violence, “Las aventuras de José y Juana,” was approximately 68 pages, and sought to teach children about physical, psychological, and sexual violence, from the perspective of two fictional alpaca children. The workbook on the five senses, “Hecho con amor,” was approximately 30 pages, and utilized the story of a young boy and his grandmother cooking a traditional Peruvian dish, Papa a la huancaína, to demonstrate the five senses. Each workbook contained educational but enjoyable activities to encourage the children to recognize and speak out about the different types of violence, and to observe their sensory environment from a health perspective. Together, these workbooks were and continue to be used in both FIMRC sites in Peru, to further the global health awareness of impoverished children and their families.
Punk rock developed in the 1970s and local scenes developed throughout Europe and the United States. East Germany was no exception. Despite — and because of — the brutal state-sponsored violence against and repression of anyone who did not conform to the government’s ideals, punk flourished in the Deutsche Demokratische Republik. Although the initial exposure to punk came via English punk bands on West German radio, the Eastern punks had little interest in the West and were largely anti-capitalist. Instead, they focused their attention on their own country and on the vast social reform needed there. The punks channeled their frustrations into social activism and fought against rampant corruption, government censorship and restrictions, and the resurgence of fascism, all while using punk music as an outlet for their rage and a vessel for their message. By the time the Berlin Wall fell in 1989, the punks had shifted the narrative. Progressive political causes were more visible as a result of their activism and confrontational attitudes, and that energy followed the reunited country into the next decade and beyond. The spirit of the original East German punk scene lives on today in the politics and creative culture of Germany, especially in Berlin, and the face of the country has been forever changed because some teenagers decided in 1977 that they were ready to shape their own futures.
