A Short Note On The De La Obra

The legacy and impact of the Spanish conquest is continually discussed and analyzed. The struggle in finding native identities while also acknowledging Spanish heritage is a continuing process in Latin America. Modern film and art, such as Salvador Carrasco’s La Otra Conquista and Diego Rivera’s mural the arrival of Cortés speak about the conquest and its effects on Mexico identity. The film challenges myths about the conquest by arguing against the greatness of Cortés, showing power in native agency, and Spanish dependency on interpreters. The mural upholds myths of the conquest like the black legend, minimizes

La Otra Conquista was set in 1520 in colonial Latin America. The story focuses on Topiltzin, a young Aztec scribe and son of Moctezuma and his struggle with religion during the conquest. A Spanish Friar named Diego makes it his mission to convert Topiltzin into civilised Christianity. Hernan Cortes who is the voice of power in Tenochtitlan grants Friar Diego his wish to take Topiltzin, who is now called Tomas by the Spanish, to the mission. Topiltzin must learn how to navigate this new world while still holding to his own culture. Struggling against both spiritual and personal difficulties, Topiltzin tries to show Friar Diego how similar Christian beliefs are to the Aztec beliefs. Overall, the film stays fairly true to history with some exceptions that director used to move the storyline forward. Religion played a key role in the film as it did in the conquest itself. The Spanish conquistadors and friars were there for converting the Aztec to Christianity through whatever means necessary. Whereas the Native Americans were trying to hold onto their beliefs and culture throughout the horrific takeover. In order to communicate their wishes, the Spanish needed someone who could translate so they taught Native Americans to speak Spanish who could then communicate into the tribal language. The most famous of these was La Malinche, who is referenced in the film although at this time is her replacement, Dona Isabel or Tecuichpo. The film is fairly accurate to how this would have looked historically. The conquistadors are appropriately harsh, cruel and violent. At any moment trying to exert their power over the Native Americans and quick to subdue. In summary, La Otra Conquista was a fairly historically accurate film that portrayed the tension and violence of the time.

     As a young child, Rodriguez finds comfort and safety in his noisy home full of Spanish sounds. Spanish, is his family's' intimate language that comforts Rodriguez by surrounding him in a web built by the family love and security which is conveyed using

The story begins in Guatemala; it shows the happy family life which Rosa and Enrique have. Their family friends are visiting and they are talking about the life in United States. Rosa’s godmother says she has been reading Good

Within the works of “Fiesta, 1980” it takes us in the lives of a Latin American family. We are described a traditional style Latino family were there is a dominate father figure, a submissive mother, and obedient children more or less. There are two boys the eldest Rafa and the youngest Yunior and their younger sister Madai. During the transgression of the story it is conveyed through the eyes of Yunior. And like any typical family it has its own story to tell.

“Sí, nos perdimos en el mar. Estaba oscuro y que vio la luz por lo que se acercó a ella. Tenemos hambre y también muy cansado. ¿Podemos descansar aquí por la

As children grow up in a dysfunctional family, they experience trauma and pain from their parent’s actions, words, and attitudes. With this trauma experienced, they grew up changed; different from other children. The parent’s behavior affects them and whether they like it or not, sometimes it can influence them, and they can react against it or can repeat it. In Junot Díaz’s “Fiesta, 1980”, is presented this theme of the dysfunctional family. The author presents a story of an adolescent Latin boy called Junior, who narrates the chronicles of his dysfunctional family, a family of immigrants from the Dominican Republic driving to a party in the Bronx, New York City. “Papi had been with

Moreover, the story depicted in the novel entitled as Delirium is based on the story of Agustina Londono who had a disturbing childhood as she had no mother and her father was very strict (Restrepo 28). Moreover, it could be analyzed

Historical films provide students with a new way of connecting with what they are learning; it is important though that the film is historically accurate. La Otra Conquista takes place during the conquest of Latin America, it focuses on the tension between European Catholicism and Native American religion. The story focuses on Topiltzin, a young Aztec scribe and illegitimate son of Moctezuma, and his personal struggle with faith and culture in the 1520s. A Spanish friar named Diego makes it his mission to convert Topiltzin into civilised Christianity. Don Hernan Cortes, who is the voice of power in Tenochtitlan, grants Friar Diego his wish to take Topiltzin, who is now called Tomas by the Spanish, to the mission. Topiltzin must learn how to navigate this new world while still holding to his own culture. Struggling against both spiritual and personal difficulties, Topiltzin tries to show Friar Diego how similar Christian beliefs are to the Aztec beliefs. Conversion, translation, violence and beliefs play a key role in the conquest and in La Otra Conquista. Compared to the historical readings presented in class, La Otra Conquista is historically accurate to the time period.

“La Migra” by Pat Mora is a poem that leads to the different points of view of two opposite personnels. This poem was that it had a very simple, common setting and situation. “And you have been spotted by the sun… I know this desert, where to rest,where to drink. (Mora 1191). This set of lines tells me that the poem took place somewhere near the border where typically people try to cross the border. When crossing the border, there are some lakes or some deserts, it all depends on which part you cross. Although the desert seems empty and boring, this poem had an interesting situation. It gave the readers a chance to see what the two characters in the poem were seeing through their own point of view.

La primera respuesta es la que hize yo. Me las vichas plz haber si hacen sentido.

Continuing in the theme of conformity; if the boys are united by their heteronomy, Cuellar’s castration, in contrast, is the source of his ostracism. His unfortunate accident is a wound that ‘time opens instead of closes’, and as the story progresses, Vargas Llosa juxtaposes the boys socially inclusive youthful pastimes of football and studying mentioned earlier in the novel with his comparatively solitary penchant for the ocean and surfing “a puro pecho o con colchón” (94) in chapter five. In this passage, his distance from the others is symbolised by the isolation of the sea; the narrator says the water “se lo tragó” (95) and later, the boys state that “se perdió” (96). Clearly, Cuellar’s failure to partake in the testosterone fuelled rituals of sexual maturity in the city has seen him shunned from the rest of the boys and resigned to hanging out with “rosquetes, cafichos y pichicateros” (96) instead – the modern, metropolitan outcasts. Evidently, Cuellar is incapacitated by this highly heteronormative lifestyle, as the inherent masculinity of the city is a fixed identity that will perpetually exclude him, or anyone else who cannot fulfil Peruvian societies idea of gender appropriate behaviour.

Ambas citas, “pero todo lo que leo me habla de mí misma, como si hubiera sido escrito a propósito para

El eje central de la comunicación (el qué), o cuál es el mensaje que se va a comunicar a un determinado público objetivo

Toleró que el primer día Fester se presentase a medio día, alegando una presunta reunión con el Doctor Jerrald, sin reprocharle nada como probablemente hubiera hecho con cualquier otro miembro del equipo que se hubiera ausentado de una reunión sin previo aviso.