Thursday, September 4, 2014

ENGL 4290 An Idividual's Grammar from Linguistics Point of View

Year taken: 2012-2013
Professor:Walter Rybarckewicz
Class: INGL4290
University: University of Puerto Rico, Cayey Campus

Grace H. Rodríguez Cruz
Professor 
Introduction to Linguistics
March 6th 2013
The understanding of an individual’s grammar from linguistics’ point of view

In the art of the written word, we’ve encountered the many evolutionary changes. However, the difficulty of the learning has always been persistent throughout the ages.  From the creation of new words and meanings to the editing of the existent ones; but how can we help those who need it? How can we tell apart the grammar of someone just by a superficial analysis? From the way he/she talks to the gestures, this may be little to work with but it stands for many.
Most of the time; we think that those in need of a linguistic lesson are the people not as educated in this art. In many of the cases, we blame the population of the average or the lowest economical status. It is only logical to those who want to hurry and get an answer. It is true that in many observations those of us who don’t belong to the wealthy express ourselves in an extravagant manner with many hand gestures, dramatic story-telling and many invented words and sounds to describe the tale.  But this is not the case. In the article “Even the intelligent people don’t speak that good English”, the author states that even if we are entrepreneurs or presidents with a high social and economical status doesn’t save us from the common mistakes of the English language. It is stated that it might be a way to promote a product or to make it easier for others, but the education of the grammar can be the same quality for any of us; even if we cannot afford fancy classes. The examples given in this lecture are the beloved inventor Steve Jobs and the iconic president of the United States, Abraham Lincoln. It reveals the lack of commas, prefixes, pronouns and other grammatical keys for a coherent, paucity sentence. But even so, these men are forever engraved in the history of mankind and not shunned upon for their literary mistakes.
Some apply an extra effort for the correct use of words in sentences being written or spoken. This can definitely be a habit that will exploit the desire of perfection in the linguistic field. Teaching our children or everyday fellows to develop the sense of righteousness in the language can be an effective way to spread the knowledge. With the times we live in, the simplicity of everything is taking us back and clogging our knowledge transforming it into the stupidity of procrastination. The texting and chatting have made us overlook the grammar and express, with no rules or whatsoever, our writing in the most unacceptable. The effort of constructing a good and coherent sentence is valuable, even if it doesn’t sky-rocket you into the terms of an educated sir of high society. It is socially thought of doing so, even if the data says otherwise towards this. In my opinion, it is quite a shame it doesn’t.
The pronunciation can become the rival of many good writers. The person may be able to construct a well-formed sentence but he/she can face the difficulty of pronunciation. This is also another case we can find in the linguistics’ locker of basic problems. The education of the written word is never enough if it isn’t combined with the art of the pronunciation. It doesn’t make the person less educated, but it makes the education an incomplete process. Even if the person has the most ideal way of writing, the missing knowledge will make him/her an incomplete package. However, since we are looking for the grammar and its correct ways, this will not be as much importance. But if this is looked over the linguistics’ point of view, it has to be considered.
In conclusion, the understanding of someone’s written ability doesn’t involve economical wealth or high social status; it involves perseverance to acquire the knowledge and respect towards the language. It involves the sense of realization and the search of higher educational standards either by one’s own will or a complete package educator. The linguistics is a combination of written and well-said words. They deserve to be notice after the many changes made to the human comfort.


Source: "Can Use of English Language and Grammar Define Intelligence?" Web log post. HubPages. N.p., 28 Nov. 2011. Web. 06 Mar. 2013.

ENGL 3055 Notes from "The Godfather"

Year taken: 2012-2013
Professor: Ernesto Castillo
Class: INGL3055
University: University of Puerto Rico, Cayey Campus

Grace H. Rodríguez Cruz
843 09 6818
Prof. Castillo
Film Art
Notes for “The Godfather”
Day 1- A 1972 movie directed by Francis Ford Coppola
Music opens the movie in a mysterious manner. The first scene opens from the darkness to show a man talking about his daughter and how she got beaten and raped by some men and how the law didn’t punish them correctly. The Godfather appears to say they are not murderers but by the end of the scene, he agrees to bring justice to this man’s daughter.
Wedding scene: The godfather’s daughter gets married. We see the contrast of happy and normal looking family in the celebration and the dark/ mysterious side of the business. Two different worlds collide in the Corleone family.
We get introduced to Michael, the youngest son and Corleone’s favorite. The only male in the family not included in the business.
Johnny Fontane is the godson of Don Corleone and he is asking for his help. He needs a movie role to make him famous but the director doesn’t want to give it to him.
“I’m gonna make him an offer he can’t refuse.”
Johnny doesn’t know of his godfather’s work.
Next scene: we are shown the California style and a relaxing music kicks in.
The movie director and Tom Hagen have a conversation about Johnny and his movie role. A walk through the horse barn and the admiration of the director’s most expensive and loved beast is shown for no reason. He refuses to work with Johnny because of his ways with taking women. Tom Hagen politely leaves in a calm and professional way. He threatens the director in a very soothing way.
The next day: The scene starts from the outside of a house
It goes in the house to show the director sleeping with drips of blood. He wakes up and gets scared of this. He follows the trail down to his sheet to find the head of his precious horse in bed with him. Screams in panic. The scene goes back to the far angle of the house to put a more dramatic effect to the situation.
Day 2- The discussion of drug business. We see Sarantino, the oldest son, incapable to keep calm during the movie. He is not suitable to run the business. The business of the drug issue is denied in a polite way. We hear about the Tattaglia family for the first time. Luca Brasi is assigned to infiltrate the Tattaglia family.
Michael is seen to be enjoying his normal life with his girlfriend. The Christmas spirit kicks in with songs from the radio. A transition from Michael to Luca is seen with the same song to provide continuity.
Luca enters the Tattaglia lands. A reflection is seen ( it represents Luca’s duplicity). He gets murdered shortly after.
“Sleep with the fishes”- A box with a fish is sent to the Corleone family. A warning about what happened.
Day 3- The godfather gets shot in the market place and Freddy was unable to shoot back. His bodyguard is killed due to failing ( he was absent the day of the shooting due to sickness). Sonny runs the business right now and he is going out of hands. Michael is asked to come back because of the situation.
In the hospital, the godfather is not being watched and Michael uses his calm mood to make the enemies think he is being guard after all.
The man helping Michael is trembling. We see Michael being suitable for the family job.
Policemen arrive and beat Michael for staying and protecting his father. The corruption is shown and how the Tattaglia have the police officer in their service.
Michael plans the killing of a Tattaglia member and the police officer who did a beating on him. The suspense of the scene is heighten beause of the railroad sound and the silence and emptiness of the restaurant.
He shots both men dead and runs away without saying anything to Kay (his girlfriend). She is not shown as important to him as he is to her.
Day 4- Michael’s life in Europe is a contrast to the one in New York. He falls in love and gets married while his family fights a war with the other clans. The scenes go to each other opposites. Sonny gets killed after he runs to find his sister’s husband because he beaten her up again. He is cornered and shot multiple times. Michael and Appollonia are happy together until she gets killed with a bomb destined for Michael.
He is never the same again. The Mafia found him and he is destined to go back to war.
Day 5- Michael comes back after the killing of Appollonia and looks for Kay. Now he is the head of the family and he quickly convinces Kay to return to him and get married. He never speaks of Appollonia ever again. He is rough, cold and straight to the point.
The heads of the five families agree to a peace treaty and explain how the drug business is ruining everything. There, it is shown that the Tattaglia weren’t really the masterminds of everything. But another head of family was. They suspect of a traitor in the Corleone.
Michael uses his father as the advisor. During the rest of the movie we see Don Corleone being affected by age and keeps forgetting things. Time passes by quickly. Michael has a family and a son. His father dies playing with his grandson in the backyard.
 At the funeral, we see Sally (one of the Corleone men) making an offer to have a meeting with the other families at his place. There it is known he is a traitor.
He refuses to make a good agreeing business with Moe Green because of his part of fault in Sonny’s death.  He agrees to be the godfather of his sister’s son.
In the baptism, Michael agrees to be a faithful and honest Christian while at the same time, his men under his oarders, are killing every single head of the five families of New York. Moe Green is killed as well.
The cross-cutting of the scene is intense and slow. Perfect way to describe the opposite sides of the family and the irony behind it.
Under his regime, he finds out about his sister’s husband selling out Sonny, which caused his death.
He lies to Kay about him being responsible of his son-in-law’s death and she is relieved. She goes out to get him something to drink (coffee) and some men enter the business room where Michael is. He is called the Godfather. The door shuts in front of Kay, leaving her to understand she will never be part of that world.
Movie ends.




Notes for “Goodfellas”
Day 1- A movie from 1990 directed by Martin Scorsese
The first scene is in a dim light with three men in a car. A sound is heard and one of the says it may be a flat tire. The trunk is opened to see a badly injured man in it. He is stabbed and killed. A red light and a pause. A character starts speaking.
It was a shocking first start. It gets the attention of the audience quickly.
The movie is a narrative form of his life. The life of Henry Hill and his desire to live the Mafia life. He is an irish-italian American mix. His family was big and not in a good sources. He started working when he was a teenager for Paulie at his business place. He did simple things and sent messages here and there.
He starts getting attach to them and his father notices he is skipping school to do the business. He gets beat up and complains to Paulie about it. Mailman gets threaten to not send anymore school letters to Henry’s house.
He meets Jimmy the Gent. Someone he gets to admire and hang with throughout the rest of the movie. He is quite out in the business, paying everyone who would do a favor and keeping himself high.
Henry gets caught by the police selling illegal cigarettes. He never tells on his peers. He is congratulated for his first time in court.
Day 2- Henry meets Karen. She becomes a narrative character through the movie as well.
The bittersweet relationship they have is shown since their first date. This was a favor he was doing to his friend Tommy.
In the next date, he leaves her waiting and she rages at him that same day she looked for him.
The next date she is taken to a restaurant. The scene is a one shot from the outside of the place and the journey they have to walk from the entrance, to the backside (the kitchen, the backstage, etc) all the way to the entrance of the main room where people are dining.
He lies to Kate about his job saying he works at construction and how she wants to believe him.
The flash forward motion occurs when the stand-up comedy starts at the restaurant. The scene where Henry and his friends enter to rob an airport follows with the same audio of the jokes made in the restaurant.
Time passes and Henry and Kate marry. She explains how the Mafia treats everyone like family in the same circle. Everybody has the same name and keep themselves in the same circle.
Pictures of events with the family are shown.  And the time skip is noticeable.

Day 3-
Kate is getting to the idea that her husband’s job is quite right and he’s earning his money.
The concept of infidelity is introduced when Henry explains the accommodations made for his lover in an apartment. The marriage starts to crumble because of this.
Henry goes to jail with the other family men.
He starts selling things behind their backs. Henry gets in trouble with Karen once more because of his lover.
Henry switches of lover and this time, the other girl helps him prepare the drug he is selling.
Even with the warning of Paulie about selling drugs. The trio of Jimmy, Henry and Tommy go on a wild drive with it.
Tommy keeps bringing trouble with his hot temper.
Tommy is called to be a “made man” but is tricked just to get killed for the killing of a man who was “made” (the one at the beginning of the movie)
Henry and Jimmy realize how they will never be on the top because of only having half Italian blood.
Jimmy starts to lose his cool temper and becomes paranoid with everything.
Day 4- We learn from Henry that the people that can take you down are the ones who have always been with you and get closer to you.
Henry notices Jimmy is trying to get him killed for him not to tell anything to the cops.
The scenes now represent suspicion and fear for their lives in a subtle way.
Jimmy’s intention in killing Karen is an example of this.
The effects of cocaine are expressed with fastened music, Henry’s paranoia and the fast tempo of the scenes from one to another. Henry gets caught for drug possession and Karen throws away the cocaine kept in the house to prevent it from being found.
 Since the connection with Paulie is broken due to Henry’s drug selling, they have to deal with themselves now. Henry speaks about dedicating his life to them and not even being paid correctly about it.
Day 5- Broke and with no other solution in his life, Henry decides to help the cops arrest the family he has always lived with.

The differences between the common life and the one he was accustomed to be a huge step and negative change for him. But he is okay with living outside the prison walls.

ENGL 3055 Analysis of movie and text "The Great Gatsby"

Year taken: 2012-2013
Professor: Ernesto Castillo
Class: INGL3055
University: University of Puerto Rico, Cayey Campus

Grace H. Rodríguez Cruz
Professor Castillo
INGL3055
May 22nd 2013
Analysis of “The Great Gatsby” film by Baz Luhrmann
          We can’t repeat the past… Or can we? “The Great Gatsby” settles the drama and the romance like no one expected. It takes us back in time to the drinks and the glam of the 1920s; when society was on the edge of immorality and values. Baz Luhrmann’s most recent adaptation of Fitzgerald’s famous book by the same name is a trippy, visually-excessive and creative film in where the fidelity and passion of the book are plastered in the most unique way it has ever been done. But, is it a film masterpiece or just a visual eye-candy? Many mixed reviews have been done by the critics, placing the value of the movie in a lower standard than many of the movie-go-ers. However, Luhrmann has, once again, created a statement with his work. Even when Luhrmann’s signature is misunderstood and misconceived, the Aussie director rises in fame by his creative scenery montage and suspension that can leave anyone at the edge of the chair.
          In its essence: “The Great Gatsby” was looking forward to bring the young audience a classic story that most are not used to seeing in the everyday media. As said before, the movie is extremely similar to the original printed work; this is also stated by journalist Charles Moore in his critic about the film: “It uses many of F Scott Fitzgerald’s original descriptions and dialogue. It respects the fact that the novel is told as the narrative of Nick Carraway, cousin of Daisy, the woman whom Gatsby loves. You are reminded of this by the fact that Carraway’s typewriter sometimes prints on to the screen, the words overlaying the action. It attentively reproduces various details, such as the clock Gatsby drops when meeting Daisy again for the first time since she married nasty Tom five years earlier. It follows Fitzgerald’s instructions that Daisy’s husband’s lover’s husband’s garage is beside a “valley of ashes” and a huge optician’s billboard depicting the eyes of Dr T J Eckleburg. It meticulously presents and builds everything that Fitzgerald describes, using computer generation as a substitute for imagination. I do not doubt that it is accurate about the clothing of the period.” The characters brought to us are not as stereotypical as we may expect. Those who haven’t enjoyed the literary work of Fitzgerald will encounter personalities and archetypes twisted to a more realistic way than most of the series or soap operas. The good girl has her dark side, the hero lacks morality, the narrator cannot keep control of temptations and the bad guy has a soft side that blocks any access to hate. With this particular bunch alone, we expect good things from the fresh reboot. But how does the director intend to turn the “good” to a “great”? It will all lie in the hands of good managing of the film’s final style.
          Luhrmann gave birth to CGI-filled stages where the details of the sky were breath-taking and the parties had an on-going animalistic feeling of nonsense. Even if this can be visualized as a bad way to spend money (considering how many remember us that less is more when it comes to topics), I found this amazingly well made. The whole message we need to receive from a movie, as spectators, is to develop empathy to the situations in where the characters need to face decisions and tough thoughts. The mise-en-scène Luhrmann made for the public was an amazing mixture between enchanting the crowd into the Gatsby world in a spellbound and the constant hit of reality with the fantasy-filled scenarios. The constant problem with a public not used to seeing this, sort of, abstract movie-making is the eternal blind stubbornness to what the director makes as the “bigger picture” of things. In the case of the film, we see the excessive lights and make up, the dizzy angles, the modern music and the unrealistic plot here and there; but this is the essence of it all. This is the way of connecting the public into the situations and to the rushes and heartbreaks with the needed stimulation to trigger similarity and, later on, affection to the characters we just met.
          The camera angles decide to play such tricks to the eyes that, I must admit, it was hard to keep up at first. The spinning motions at the parties and the point of view constantly switching from a sky view to a downfall all the way until the appearance Carraway’s face was exhausting for those of us who are not used to this type of style. However, when seen as a critic, we can see how these were necessary to represent a rush, an ever-lasting go-go in the busy life of New York and the fast pace of events. And even if this was the case, the creative ups and downs coming from diagonal sides or from a corner of the scenes really captivated the eyes of the spectators. No one was ever expecting those kinds of transitions coming from a film who keeps a classy touch. This also adds to my praise to Luhrmann’s creative side and performance, giving another way of using the “expect the unexpected” phrase.
          Nothing defines better Baz Luhrmann’s style than a good scene building tension and amazing cross-cuttings. In the film, we see so many tensed moments that it could glue the crowd to scenes forgetting about eating the popcorn. The constant switch from face A to face B and C can be so nerve wracking that, even if it doesn’t count much as a cross-cut-because of the lack of scene transition- it still brings the effect that needed in the moment. The subtle zooming in and out from angle to angle brings desperation out of people, me included. But even if this is such an important factor, nothing brings up emotion more than music these days.
          There is nothing more desperate than the lack of music in a movie. “The Great Gatsby” gives more meaning to the sound of objects or the lack of sound of anything. In the heated scene where a discussion between Gatsby and Buchanan takes an unexpected turn of events-having Gatsby losing his temper an assaulting Tom-; the most amazing thing about it is the sound of the fans twirling and the glasses against each other. The whole scene had such tension that it felt like it could be cut with a knife. I remember sitting down next to someone who confessed he started to sweat by the buildup of the scene being too much to handle. Whenever there was music, we would find a surprise in every now and then. Luhrmann had arranged a soundtrack that brings familiarity even more out there. The party music was a modern electronica or pop song groove being mixed with a 1920s feel to it, giving the tough of a creative moving slideshow of vintage pictures with new music. Whenever this was not the case, the movie would play out a song very familiar to the pop culture. For example: The scene of Carraway’s house being fixed for the meeting of Daisy and Gatsby had been covered by a more settled 1920-kind-of version of Beyoncé’s “Crazy in love”. It brought some laughs here and there with others singing out the lyrics they know by heart, but it was more than obvious how that scene was enjoyed.
          The Symbols are, just like in the book, shown on the right moments. The constant green light resembles the hopes and dreams for a new and bigger future; this makes a counterpart to the Valley of Ashes, where the decaying of men and their dreams settle as a reminder of the cruel life and society to any passerby. The unsettling feeling of Doctor T.J. Eckleburg’s eyes on the billboard is shown whenever there is a foul done to any moral in the movie. Example to this we have the affair of Tom and Myrtle in the beginning and at the end of her death scene, where, as transition, it spreads from Myrtle’s house to the outside of the valley. But none of these were as shocking for me as the weather. The harmony between the rainy times as Gatsby’s awkward situations and the hot days on his loss of temper and frustration won the very best of my viewing and emotional side.
From start to finish, from silence to bangs; “The Great Gatsby” has won its way up to my heart. The incredible selection of committed actors played so well with the extravagance and warmth of Luhrmann’s ingenuity. The movie transports the viewer from the very beginning of the film to a world rich in story-telling, character development, hidden symbols, exquisite details and an unrealistic idea of reality. The contemporary film effects and surprises educate for a better understanding of the film industry and of the art it portrays to the world. The moral of the story being the lack of morals and the amounts of shattered dreams take on the audience just like it took on Nick Carraway; reality is just as sad as any hollow man and woman who used and betrayed one another. This is what leads Carraway to becoming a wreck and the crowd in the cinema to reconsider life, the people in it and the search for empathy and values afterwards. Giving the book the movie it deserves, Baz Luhrmann is a mind-twisting master of masses where he doesn’t simply makes a movie; he creates his own state of nirvana.



Sources:
"The Great Gatsby (2013)." The Great Gatsby. Rotten Tomatoes, 10 May 2013. Web. 21 May 2013.
The Great Gatsby. Dir Baz Luhrmann. Perf. Leonardo DiCaprio, Toby Maguire, Carey Mulligan. Warner Bros., 2013. Film.
Bordwell, David, and Kristin Thompson. Film Art: An Introduction. 9th ed. Boston [etc.: McGraw-Hill Higher Education, 2008. Print.

Moore, Charles. "Baz Luhrmann's The Great Gatsby: A Faithful Film – and a Terribly, Terribly Bad One." The Telegraph. N.p., 19 May 2013. Web. 21 May 2013.

ENGL 3055 Movie Analysis "Goodfellas"

Year taken: 2012-2013
Professor: Ernesto Castillo
Class: INGL3055
University: University of Puerto Rico, Cayey Campus

Grace H. Rodríguez Cruz
Prof. Castillo
INGL 3155
March 8th 2013
The Analysis of the movie “Goodfellas” as cinema art
     An instant classic! Martin Scorsese’s amazing project sky-rocketed from the very moment it hit the viewing audience.  “Goodfellas” immediately established itself in one of the top ten movies of crime, only to be surpassed by Coppola’s “The Godfather” as the number one. If we submerge into the world of creating a work of art, we see how Scorsese’s dedication and imagination explodes in all the corner of the film-making world. Giving the movie the exact dose of feeling it requires, the creativity needed to make such work a reality is a ground-breaking experience that will change forever the cinema world.  From the content to the interaction with the people, “Goodfellas” becomes the perfect recipe for a show-business success and a every director’s bible.
     From the very beginning we get the glimpses of dim lighting on the first scene; the mystery covers the atmosphere of the very first time we meet our three iconic characters: Henry Hill, the main character, Tommy DeVito, the cold-hearted hot head, and James “Jimmy” Conway, the paranoid gent. The scene takes place in a car where these three find themselves in it. A sound interrupts the silence; the audience, just like Henry, might think of a flat tire of something of this magnitude. We find how wrong we could be when the trunk is opened and a badly injured man is inside it. Tommy and Jimmy then proceed to kill this person and a red light is focused on Henry’s face with a sudden close-up and a stop still of him to start the narration. The impact of this scene perfectly applies the famous sentence “the first impression is the one that counts”. Scorsese’s Mise-en-scéne is established in hot colored lights and the passionate impact they always have in the audience. If a time machine could take us back to the very first time this movie was shown to the public, the reaction to this specific scene would still be the same one we would have today. This is definitely the impact the director was yearning to get from us. This is the motif that will constantly show over and over throughout the movie. The bright red light in darkness: passion, danger and warning. From this point forward, we are expecting things to go down to worst situations.
    Parting from this, the movie goes all the way back to the start of Henry as a teenager and how he entered to the Mafia life. We observe and hear of his insistency in being good at his duties and to never accuse his fellow mafia men. This takes us from the present, to the past, all the way back to the scene of the killing of this “made man” they had in the trunk of Henry’s car. This occurs around half an hour since the first scene was shown in the movie. This is later followed by more new scenes and situations narrated by Henry; which takes us to think that the patterns scene in the form of the movie goes from A (the first scene) to B (the past and development) to A once more (the rest of the first scene and the closure of the murder) to C (new situations). This makes the format completely dependent to time and space.
     The form and content co-exist in all the ways possible in the filming art. The interdependence of the way the movie is structured and the content it portrays must both be important to the finishing product. The impact of the format compliments perfectly the story of how a teenager goes from the most insignificant chores to a gentleman who controls good part of the Mafia army that serves the Lucchese family. The impact of the underworld in which Henry lives makes us see the glamorized life people get when they are in good terms with the “big boys” and the horrible paranoia when everything falls apart.
     When the different meanings get established, we get how the referential meaning is the plot summary: How a young man rises with success in the Mafia and his downfall when he is struck with the problem of drugs and paranoia, leading him to the end of his glamorized life and the beginning of his ordinary one. The explicit meaning is found when we go a little bit deeper into the drama and find the message the film is trying to give us: The dirty business will not take anyone to a good end without some high costs to pay. The implicit side is when we interpret the film and come to a more critical thinking. In this case, we see how the Mafia life can be a dream come true in the beginning of the alliance and how weak we can get by obsessing with more power, money and drugs. The whole side of it can make us lose value of the family, of those who have been loyal to us throughout time and how little can a life be when we have the power to kill and “erase” someone for the tiniest of mistakes. This will be the Symptomatic meaning of “Goodfellas”, the lack of real human bonds.
     The movie needs to be seen in an evaluative way. The whole essence of the film is an exquisite mix of emotions. It shows the development of the feelings well and it portrays the exact purpose of the director. From the effects of cocaine (everything rushes and the music develops faster) to the horror of fearing for your life (the mistrust of a chore or favor asked by someone closed to you. The music stops and the footsteps are more prominent). It is an amazing work of art and the audience got to explore this amazing part of the project. This is one of those few films where the audience and the critics agree unanimously about the beautifully well-made project Scorsese gave the film art.

Sources: Goodfellas. Dir. Martin Scorsese. Perf. Robert DeNiro, Joe Pesci, Ray Liotta. Warner Bros., 1990. Internet.
Beday, Jeremy. "GoodFellas (1990)." GoodFellas. Rotten Tomatoes, May-June 2005. Web. 07 Mar. 2013.
Bordwell, David, and Kristin Thompson. Film Art: An Introduction. 9th ed. Boston [etc.: McGraw-Hill Higher Education, 2008. Print.


ENGL 3055 Notes from movie "Casablanca"

Year taken: 2012-2013
Professor: Ernesto Castillo
Class: INGL3055
University: University of Puerto Rico, Cayey Campus

Grace H. Rodríguez Cruz
843 09 6818
April 1st 2013
Notes from Casablanca:
March 13th:  The movie is directed by Michael Curtiz. 1942.
The title of the movie is explained in the first minutes of it; Casablanca is a city in Morocco where the French go as refugees from the Nazi German Regime who has invaded their homeland. The French resistant movement cares to play a big role on the plot.
We are introduced to Rick, owner of a café and a cold hearted man full of mysteries.
The chess game in the movie is a metaphor.
The police of Casablanca make an approach to Rick about arresting Ugarte, a man who had trusted Rick with some valuable visa for a few moments in the night.
It is known of Rick’s past as a rebel man who always helped the underdogs.
March 15th: Victor Lazlo enter the saloon with a woman and the tension builds up casually in the scene with the pianist’s face expressions and his lack of concentration on what he’s playing as they walk by.
“The boy”- racism can be noticed when Ilsa Lund refers to the black man playing piano as a boy instead of a man.
The tension in the room fills when the authority and the rebel sit for a talk at the bar. The viewer expects some violence at any moment. Instead, this doesn’t happen.
“As time goes by”- song that was banned from Rick’s life and will become the representation of a ghost of the past.
The looks and the unusualness of Rick’s attitude towards Ilsa is used to assume a romance between them.
“Of all the gin joints in all the towns, in all the world, she walks into mine.” Famous quote of the movie.
Retrospective technique: a fade to the past and the happy memories of Rick and Ilsa.
-What makes the love affairs that take place in political times with trouble interesting?-
The whole dilemma of the wanting to have a happy ending with the love affairs and the crashed emotions between the character’s moral duty and the temptation to escape reality and live in happiness creates the doubt of the possibility for the relationship to work in the end. It builds a curiosity with the audience to wonder if the star-crossed lovers will ever end up together.
March 18th:
The audience is caught off guard by the confession of Ilsa about Victor Lazlo being her husband even by the time she had the affair with Victor. Ilsa’s character goes another step back in the public eye’s likeness.
A Bulgarian girl and Rick talk about the Ugarte’s letters because she is sent to ask him by Louis. To avoid the girl from getting to dishonor herself by Louis common traded favors, Rick helps Jay, her husband, win enough money in his casino by telling him the winning numbers. The soft side of Rick is shown.
“Ask your wife.”- The tension of Victor and Rick’s conversation leads to the suspicion of Ilsa getting exposed.
A scene in which the German soldiers take over the piano and the entertainment of the bar shows how the Nazis have gathered control of the land. Victor Lazlo’s opposition by making the musicians play the hymn of France makes a standing of rebellion against the oppressors. The rest of the French people follow Lazlo, leaving the Germans to see the thread he opposes to their power.
Louis closes the bar for illegal gambling, showing the obvious move of winning in the casino. This shows the Germans power.
The meeting between Ilsa and Rick that same night goes raging when Rick denies her access to the letters and she grabs a gun to intimidate him to do so. The lighting and shadows of the scene compliment the suspense of the music at the moment.
March 20th: The breaking point-Ilsa admits to still love Rick.
Ilsa’s character is explored by her side of the story. She believed her husband had died when she was with Rick but discovered he was alive later on and couldn’t leave Paris with him. In some way, she betrayed Rick instead of Victor.
The use of a mirror in the movie with Ilsa shows her double life, her two sides that love both men.
Victor Lazlo has a talk with Rick that states his knowledge of his wife having the affair and yet keeping himself logical and understanding. Victor’s character gains more points with the viewers.
Rick is arrested and makes an agreement with Louis about plotting the capture of Lazlo so he could run away with Ilsa. At the same time, he makes her believe this escape plan of them.
When freed and seen with Lazlo, Louis interferes as part of the plan just to find out the real plan was to help Lazlo escape and keeping him as captive.
Ilsa finds out she was deceived by Rick about escaping together. He gets his revenge for her never showing up to leave with him before.
Rick makes Victor believe his wife never intended anything with him and that she was faithful to him ever since they saw each other again in Casablanca.
Ilsa and Victor leave on the plane thanks to Rick making sure of it. Herr Strasser is shot for trying to keep the plane for leaving.
Louis switches his ways by not telling about Rick shooting the German and shows a real change in where his loyalty lies.

“This is the beginning of a beautiful friendship”-famous final lines

ENGL 3002 Position Paper "The Horse Dealer's Daughter"

Year taken: 2012-2013
Professor: Nellie Vázquez
Class: INGL3002
University: University of Puerto Rico, Cayey Campus

Grace H. Rodríguez Cruz
Professor Vázquez
English 3002
20 May 2013


Good girl or bad girl? The character analysis of Mabel from “The Horse Dealer’s Daughter”
       “Well, Mabel, and what are you going to do with yourself?”(2330) expresses Joe about his sister in D.H. Lawrence’s “The Horse Dealer Daughter”. The very first line might be over looked at first but, oh, how much can be used throughout. What is Mabel going to do? Maintain the “good girl” persona in her loveless household or to succumb into the desires of a “bad girl”. Being the ambiguous woman in a story, Mabel begins to show as the stereotypical well-behaved girl who “accepts her traditional gender role and obey patriarchal rule” (Tyson 88). But even so, we see how Mabel is greedy and full of the confidence money gives: “the sense of money had kept her proud, confident.”(Lawrence 2334). This is a trait that marks Mabel as a character who may be a “bad girl” as well as a “good girl”.
         While getting to know her as the ignored woman on a table of men, Mabel begins to develop in the specific traits given by Lois Tyson’s “Feminist Criticism” chapter in “Critical Theory Today”. Mabel just listens and cleans out the table after eating; always showing lack of interest to anything and barely talking at all. Even when asked by Dr. Fergusson about her whether traveling or not, her response was dry and straight to the point. Adding nothing else but a “no”; “You could bray her into bits, and that's all you'd get out of her,”(2334). Mabel is “modest, unassuming, selfsacrificing, and nurturing…”(Tyson 90)“…But so long as there was money, the girl felt herself established, and brutally proud, reserved.” (Lawrence 2334)
               The reason to think of Mabel as the kind of woman who has developed the mischievous and plotting personality to escape her horrible and poor present, lies within these lines. Her whole “Do you love me, then?” could have been a way to seduce the young doctor into thinking he does love her and to give him the idea of marriage (2338). Being Mabel the greedy woman that was being talked before the “commit suicide” incident, it could fill in the blanks to her blunt and strange reaction; giving the image of a misunderstood woman being miserable when, in fact, it may have been of aware to her the doctor’s observations and spying on her and create a little play where she may attempt suicide by drowning. This, in my opinion, is pretty irrational considering the triggered response in the human body of survival and how it would be impossible to intentionally drown yourself without fighting the danger out. This gives in to a scene of a heroic saving of a damsel in distress that the young doctor might’ve fallen in as bait.
          But just as we can see this as an “evil” plan, it can also be portrayed as the fairy-tale filled plan of a girl who’s miserable life was destroying her, giving in to suicidal thoughts or to simply give in to hope of being rescued. This may explore a “good girl” archetype on Mabel that has been shunned upon by feminists many time but exposed to everyday media: “Feminists have long been aware that the role of Cinderella, which patriarchy imposes on the imagination  of young girls, is a destructive role because it equates femininity with submission, encouraging women to tolerate familial abuse, wait patiently to be rescued by a man, and view marriage as the only desirable reward for “right” conduct”(Tyson 88) It may be possible to find that Mabel has an inner angelic side who is so miserable that her actions aren’t really a thought plot, but rather her truthful and pure feelings. Was Mabel a cunning “villain” or an innocent princess?
          In a subtle seduction, Mabel might “spell-bound” the doctor when she just threw herself at his knees and, while naked under a blanket, kissed them. The erotic scene might’ve been a little awkward at first for Fergusson, but just the visual thought of this might’ve made him change his mind about his feelings for the girl. If she is the “bad girl”, Mabel didn’t really had to push the doctor to her request, but to slowly, in an unpredictable way for him, approach so lightly that might’ve drawn the doctor to her lustful spell. The bad girl tends to “violate patriarchal sexual norms in some way: they’re sexually forward in appearance or behavior…”(Tyson 90). In favor of the good girl side, this act of her might’ve shown her virginal innocence, driven by the shock of being undressed by this young man, she might’ve gotten the wrong idea and illusion of being desired by the same man who rescued her from misfortune and to who she owns something else than mistreatment or loneliness. Mabel was to find herself enchanted by the “princess and hero” brainwash and believed that Fergusson desire to keep her; giving him her authentic and hidden happiness and libido.
          Whether Mabel was the good or the bad in the story, it doesn’t change the fact of the doctor becoming her “subject animal” by the end (2331) and that “her power [is] stronger than his” (2338). He became enslaved by her in just a few minutes, changing his mind to marriage and love by giving him a dose of her to a probably lonely and isolated doctor. The text can either “reinforce and undermine patriarchal traits”(Tyson 101) by either behaving “like a woman” or as the stereotypical evil witch (Tyson 92).
  
Works cited:
·         Tyson, Lois. Critical Theory Today:  A User-Friendly Guide.  New York/London: Garland, 1999.
·         Lawrence, D.H. “The Horse Dealer’s Daughter.” 1922. Norton Anthology of English Literature. 7th ed. 2 vols. New York: Norton, 2000, 2: 2330-2341.


ENGL 3002 Position Paper "Feminism"

Year taken: 2012-2013
Professor: Nellie Vázquez
Class: INGL3002
University: University of Puerto Rico, Cayey Campus

Grace H. Rodríguez Cruz
Professor N. Vázquez
English 3002
April 17th 2013
             Female Criticism and Elizabeth Barren Browning‘s Sonnet 43
         The powerful performance of eternal and transcendental love portrayed in her famous “Sonnet 43” is not only an emotional burst, but also, a portrayal of the common female role of society. “How do I love thee? Let me count the ways.” From the beginning, we can understand the topic of the poem: love.  Although this is one of the most powerful feelings in poetry, the whole context of her irrationality about the wanting to surpass her love even after death, makes her persona look over-emotional and exaggerated. Example: “I love thee with a love I seemed to lose/With my lost saints,—I love thee with the breath,/Smiles, tears, of all my life!—and, if God choose,/I shall but love thee better after death.” From the stereotypes of females, it has been discussed that women would’ve usually been placed in two categories: the good girl and the bad girl. Barren Browning’s poem places her, assuming it is the speaker in the poem, in the good girl kind. Her kindness, purity and sweet intentions to just love this other someone breaks out as that delicate flower a man would keep in a crystal box to prevent from breaking it. An example of this would be: “I love thee freely, as men strive for Right;/I love thee purely, as they turn from Praise.” Even so, we see how she explains a certain passion, but since it compares it to her childhood appreciation of other figures we can still assume she is the girl who follows tightly society’s positive role of women: “I love thee with the passion put to use
In my old griefs, and with my childhood’s faith.” And this is also placed in her desire to show her feelings comparing them with his (or her) everyday needs: “I love thee to the level of everyday’s/Most quiet need, by sun and candle-light.”

        The author’s stand in the stereotype portrays the inferiority of women in an England, ironically enough, ruled by Queen Victoria; one of England’s most iconic rulers and an extremely recognized woman.  In Victorian society, “many political and legal reforms granted citizens many rights. However, women did not share these rights.”-Tells us the Norton Anthology of British literature: Romantic Period through the Twentieth Century. “Many limitations in educational and employment opportunities…In 1837, none of England’s three universities was open to women.”  It was then that certain changes were noticed like mosquito pinch. Still, the most honorable job a single woman could get in those days it is said to be the position of a ruler. Many of the poor-class women went with the option of prostitution to survive the horrible conditions and salary of the era. Queen Victoria was a woman lucky enough to have an important job and still be considered high-up, probably not equal, but appreciated. With the patriarchal society given to England and the age, society was concerned with the very nature of women itself; being classified as biologically weaker and over-reactional with no capacity to understand her surroundings neither better nor equal than the male. Therefore, the cries of mothers and daughters were submitted to the false illusion of happiness portrayed and reminded by media and writers to become the “ideal Grace” for women.

Sources:
·         The Norton Anthology of English Literature: Romantic Period through the Twentieth Century. 8th Ed. 2005
·         Barren Browning, Elizabeth. "How Do I Love Thee? (Sonnet 43)." - Poets.org. N.p., n.d. Web. 16 Apr. 2013.

·         Vázquez, Nellie. "Feminist Criticism" Powerpoint presentation for English 3002, University of Puerto Rico at Cayey. Spring 2013.