Language and identity , English composition 1 Essay

Language and identity , English composition 1 - Essay Example Anzaldua's essay is concerned with naming - but not 'mapping' - the multiplicity of identity formations she occupies simultaneously and contradictorily. She agrees with the (post)structuralist view that language speaks us, and that the languages we speak define our identity, our cultural make-up, our ideologies, and our definition of self. "Language is a homeland", Anzaldua says (1999, p. 895). She asserts that 'ethnic identity is twin skin to linguistic identity - I am my language" (p. 898). But those who occupy 'the border', those who have multiple and conflicting subject positions or identity categories - such as Chicana lesbian - are 'deslanguadas' [without language] according to Anzaldua: "Somos los del espanol deficiente" (p. 897). We are your linguistic nightmare, your linguistic aberration, your linguistic mestizaje, the subject of your burla. Because we speak with tongues of fire we are culturally crucified. Racially, culturally and linguistically somos huerfanos - we speak an orphan tongue (p. 897). Anzaldua's own essay, in English and in Spanish - sometimes translated, sometimes not - embodies her answer to the problem of dominant and subordinated languages and identities. Her concept of 'mita y mita' - half and half (p. 890).

Painting and Theatre in 16th century Venice and Rome Essay

Painting and Theatre in 16th century Venice and Rome - Essay Example The essay "Painting and Theatre in 16th century Venice and Rome" discovers the 16th-century painting and theater in Rome and Venice. The art of painting and sculpting practiced during this period was characterized, by an acute interest in human beings and their surroundings and by a meticulous recording of detail, especially that of human anatomy. The classic art developed individually at different places with the center of activity being Rome. Venice was altogether active in its own manner and remained more or less unaffected and uninfluenced with the movements in rest of the Italy. The principle of perspective was a revolutionary finding in the fifteenth century which was to govern the progress of painting in the next century. With the help of these principles, making of technically correct three dimensional drawing on a two dimensional surface became possible. This gave a major direction for painting to progress as this added feature helped to draw technically correct and proporti onate objects in foreground and background providing a new meaning and understanding to the art of painting. Proportion and size of the object in painting were given more importance and this precision and exactness was taken further by going in to detail of individual elements. This perfectionist approach came to be known as movement of classicism in the field of art. Venice was an important and prosperous centre during this period which had grown powerful financially and politically. The city being geographically separated. from the mainland of Italy developed a distinct style of painting which came to be known as the Venetian school of painting2 with prominent artists like Giovanni Bellini, Titian and Giorgione shaping its course. Giovanni initiated the styles of painting which was later taken to new heights by his pupils, Titian and Giorgione. Venice being a city of lagoon, there was high shortage of land. Only the privileged could afford a garden in the house. People used to cra ve for a spreading view of land and this was reflected in the paintings of Venice. The theme of paintings was mainly based on the landscapes rich with natural beauty. Venetian school for painting is known for its rich and atmospheric quality. The paintings describe nature in details and play with colors and light to show emotion. The use of bright and luminous colors, perfect and minute detail of the landscape and natural elements and the use of indistinct brush strokes were the key characteristics of these paintings. The attempts where directed toward achieving an atmosphere with rich colors and luminous surroundings to fulfill the inner craving for a vast landscape to live in. The use of light filled colors like orange, yellow and blue are noticeable in these paintings. The knowledge of perspective was explored to greater depths and complex landscape paintings with distinct foreground and background were made. The techniques of two point and three point perspective were also utilized in many cases. The painting of 'the tempest' by Giorgione expresses nature in elaborate detail and 'the adoration of shepherds' shows the use colors and light to depict human emotions. 'The pastoral concert' by Giorgione also provides a good example of takes the Venetian landscape painting in detail. In Venice, a tradition of colorist painting reached its climax in the works of Titian, whose portraits demonstrate a profound understanding of human nature. Titian dominated Venetian painting of this period. In the spirit of the Renaissance, he created scenes of the Greek and Roman classical