Lisa Fitzgerald's Testimony Of Faces

of oppression, understanding the central core of the Gospels as Jesus' identification with the poor

To begin with, Lange helped perceive the poor living conditions of the 1900’s through her photo of the migrant mother and three children. For instance, Lange with her photo of the migrant mother helped raise awareness, for the federal government gave the pea pickers camp, where the migrant mother had been distinguished, “twenty thousand pounds of food”. (Starr 48) The photo of the unfortunate pea pickers helped people realize how hopeless they really were. This creating a willingness to help. Showing Lange's photography ability to create empathy through a simple photo. In addition, the mother was so desperate for help that when the picture was taking place, “there she sat in the lean-to-tent” motionless. (Starr 47) The migrant mother was so

Luke’s Gospel is a portrayal of Jesus as a model of social justice. Hence, the reader is empowered and influenced by the Gospel to be actively involved in social justice issues. The Catholic Church has sought to reach out to those in need, and Luke’s Gospel demonstrates this through injustices that Jesus challenged. In addition, mental illness, which is a current social justice issue reflects and appeals to problems that Jesus faced and reacted to in his time.

Throughout the novel, Autobiography of a Face, Lucy Grealy reveals that her mother's angry demeanour is only due to her fear for Lucy’s life. Lucy’s mother is first mentioned as Lucy describes the tolls her sickness has taken on her parents. Lucy states that “the whole family shared the burden of [her] mother’s anger”(Grealy 9) displaying that her mother holds an angry outlook on life. Lucy feels responsible for this anger as it seems to correlate with the issues her family faces regarding money and payments for Lucy's treatments. In reality these emotions are really just her mother's way of dealing with Lucy’s sickness. Lucy’s mother was “the only one in the family who faced facts” (19) implying that she was the only one who grasped how

During the 1950s, the Dominican Republic was suffering under the confining control of the dictator, Rafael Trujillo. In her essay, “My First Free Summer”, poem, “Exile”, poem, “All-American Girl”, and short story, “Antojos”, Julia Alvarez utilizes stylistic elements to convey her life experiences. Alvarez’s strong sense of figurative language, sensory images, and strong characterization ties in to her overall purpose of bestowing culture, grasping imagery, and insight on her life experiences to incorporate the struggles of all immigrants feeling a loss of identity.

Cristina Garcia’s Dreaming in Cuban tells the story about three generations of a Cuban family and their different views provoked by the Cuban revolution. Though part of the same family, an outsider might classify them as adversaries judging by relationships between one another, the exiled family members, and the differentiations between political views. Although all of these central themes reoccur over and over throughout the narrative, family relationships lie at the heart of the tale. The relationships between these Cuban family members are for the most part ruptured by any or a combination of the above themes.

In chapter three of The Brief Wondrous Life of Oscar Wao author Junot Diaz delves into a theme of maternal love, the sacrifices a mother makes for the sake of her child, in his telling of the story of La Inca and Beli Cabral. The two relatives are introduced to motherhood under similar tragic circumstances, with their names adding on to the list of people wronged by the Dominican Republic’s oppressive Trujillo regime. However, when it comes to the protection of their children, neither mother conducts herself as a victim. Instead, in perhaps the most trying moments of their respective lives, both women act defiantly, spurred on by the desire to save their children from a nightmarish reality. Here lies a striking similarity between the two characters, their capacity to endure anything for their children. As such, the actions of La Inca and Beli Cabral are

also when other political or social events are grotesque. Such works of art aims at awakening the Cuban citizens of their social and political situation in a time of reflection, in particular in the time of a national reflection - the rectification campaign. Since the rectification campaign tries to have everyone work on fixing the errors committed by the government, the people should take initiative and work on a better nation by reflecting and creating change in their passive approach. The art of Esson offers a space for practice, of make believe in such grotesque situations, in order for the audience to feel prepared and unsurprised of a real life grotesque situation.

It can be a shock to see a daily photo of Cuba after viewing Kim and her family’s photo during her trip to this small island. They are two different worlds in the same country. While a photo of Kim and her family brings the sense of nostalgia, that allures the viewer to visit La Havana, the second photo depicts Cuba’s poverty, which provokes audience’s sympathy.

1- How are Andean children presented in the postcards Sinervo and Hill's examine in this article ? How does the framing of these postcards, through the use of text and visual imagery, influence our perception of the “poor Andean child”? Why do you think tourists are keen to purchase such images?

The aftermath of this event caused the country of Mexico to be in a state of restoration. The public had to focus on rebuilding what was demolished. Mexico’s secretary of public education, Jose Vasconcelos, was issued a challenge by his president. “How to succeed in educating the people of a country in which the overwhelming majority were illiterate?” (Edsitement) Vasconcelos proposed the idea of having art representing the Mexican Revolution and culture surrounding the public, to the artists of Mexico. Now with the audience not being able to read or write, it is interesting to notice whether the individuals comprehend the tales that the art is conveying. Additionally, the individuals that were part of the art movement might have not shared

Jesus taught many through his ways that making the correct choice may be very hard and you will not be liked for it either. Such as feeding the hungry who may be despised of their current situation. Any group of people who share their food and give up their belongings for those who live unjustly stand in contrast the others in society. Life is not easy being the good guy. Disciples gave up popularity and wealth helping others. They may be failures economically and get into trouble for opposing the authority when they see injustice. Through this essay I will take you on a journey through multiple centuries from the time Jesus was alive to modern day injustice. We will explore Paul, the apostles, and the martyrs Perpetua and Stephan.

In a society filled with chaos, hate, and anger, it is time that we, Ateneans, portray being men and women for others to show love like Jesus Christ. Jesus Christ showed the importance of sacrifice, and in this day and age, we must be willing to sacrifice for the greater good - a cause that is bigger than ourselves. After all, Christ did not come to be served but to serve. Jesus Christ gave his life for taking a stand for justice against the oppressive authorities (Coyle). Solidarity with the poor and the oppressed is based on our faith in God, who is revealed in Jesus Christ (Gutierrez). On the other hand, solidarity in following Christ means struggle to change the systems that cause spiritual and physical death in this world. We find in Jesus’

The motto for a photojournalist: “...a picture is worth a thousand words”, meaning there is many semiotics to be drawn, and opinions to be made. Photos have taken the world by storm over the past century. Who can forget the most memorable photos from the 20th century, the horror of the holocaust, the joy of a sailer returning home and the faces of the world. We have been a part of history through the eyes of a camera lens.

Chavela Vargas - trailblazing free spirit, ranchera singer and lesbian icon - rises from the ashes of a childhood of abuse and 12 years of alcoholism to stardom in this inspirational, emotional and raw biopic. Known muse of Pedro Almodovar and lover of Frida Kahlo, Chavela spoke, dressed and sung her way into the hearts, and beds, of many of those who crossed her path. Lead by exclusive interview footage from 1991 skillfully entwined with powerful concert performances and muses of her many admirers; this award-winning documentary will move you in more ways than one.