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We also see represntatino of violence within Marguertie Feitlowitz book, A Lexicon of Terror, although different than “The Offical Story,” in regards to how violence is presneted to the reader. Rather then having settle hints to the viewer and or the reader; violence is laid out through personal accounts of indvidudals who face such socital traumas. Within Feitlowitz book, she teels the story of a young women named Susan who on a normal day while riding the bus in broad daylight was abducted, Feitlowitz states: “ “Por el pelo, no” a women pleaded softly as Susana was dragged passed her, “not by the hair.” … What Susana members clearly is the silence: except for the women, no one said a word “ (173). It later states that Susana was being “stripped,
blindfolded, tied to a bedframe, and electrically tortured” (174). What we can see through this example is that although many acts of violence were commited at night there are still occuring in daylight; and still no one responds to such acts because they fear they two will also be taken away and tortured. This public display of violence leads to the social trauma and invokes fear into people lives. Feitlowitz states: “lots of Argentines saw kidnappings and knew perfectly well what they were witnessing” (175).
In “Terror’s Purse Strings”, Dana Thomas successfully persuades her target audience of general consumers to not purchase counterfeit products. Thomas’s purpose is to inform her audience that the notion of consuming counterfeit products being a victimless crime is completely false and the true harmful effects of consuming counterfeit products. In “Sweatshop Oppression”, Rajeev Ravisankar successfully persuades his target audience of general college students that they should take measures against corporations who knowingly use inhumane sweatshops to produce their products. Through the analysis of each writer's rhetorical strategies, the establishment of credibility, and stylistic techniques, I am going to compare and contrast Dana Thomas’s “Terror's
Sanchez voices her fictional narrator with precipitous diction. As her tone fluctuates, she guides listeners into the narrator’s mind, granting them a second hand experience of the occurrence and aftermath of trauma. As the characters are humanized, they are recognized as victims of systemic violence rather than condemned and typified as weak or criminal. Finally, the consequences of addiction culminate when the child is sold, raped, and stripped of her sense of security. Surely, it would be absurd to hold her accountable for these acts.
Mutilating the whites and leaving their bodies lying is inhumane. It is such a shocking story! This book was meant to teach the reader about the inhumanity of slavery. It also gives us the image of what happened during the past years when slavery was practised. The book is significant in the sense that it gives even the current generation the knowledge of slavery, how it happened and the reason for slavery.
Desert Blood, a book by Alicia Gaspar De Alba, is considered to be a mystery novel that covers a seventeen year crime wave. Specifically, the author has focused on the Juarez femicides issue whereby femicide is defined as the murder of females just because they are women. However, in this case, the Juarez victims are the poor and young Mexican females that were murdered because they were poor. The protagonist of this story is Ivon Villa, a professor that focuses on women studies while the antagonists are Silvia Pasquel, Natalia Stregnard and Zabaleta. This paper will therefore focus on the plot summary and analysis of the novelwhile pinpointing the main parts of the story.
O'Neill, Laurie A.. Chapter 8: The Massacre. The Millbrook Press, 1993. eLibrary. Web. 23 Dec. 2013.
By examining the narrative voice as well as the cultural restraints placed on them, readers can see the sexist culture in the novel and that the novel itself does not necessarily advocate this misogyny. Yunior, a Dominican man, is the overall narrator of the novel, so readers essentially see everything through his masculine eye. When discussing a brief fling with Lola, Oscar’s sister, Yunior says, “Even those nights after I got jumped she wouldn’t let me steal on her ass for nothing. So you can sleep in my bed but you can’t sleep with me?” (Diaz 169) His question suggests that it is his right to sleep with her, and his discussion of Lola herself objectifies her by noting only her body and her refusal to use it. This objectification is clearly sexist, but it is a reflection of the narrative voice, Yunior, not of Lola. Yunior will casually refer to a woman as “a bitch” (Diaz 183), which is clearly demeaning, but it is a man’s view and does not reflect on the substance of the women. It shows readers the culture he was raised in, not an actual portrayal of the women, illustrating a misogynist society but not a misogynistic novel. In the Dominican Republic, gender-based violence is the fourth leading cause of death, hinting at the overall problems caused by the hyper-sexualized nature of the country. Sociologist Denise Paiewonsky
Demetria Martínez’s Mother Tongue is divided into five sections and an epilogue. The first three parts of the text present Mary/ María’s, the narrator, recollection of the time when she was nineteen and met José Luis, a refuge from El Salvador, for the first time. The forth and fifth parts, chronologically, go back to her tragic experience when she was seven years old and then her trip to El Salvador with her son, the fruit of her romance with José Luis, twenty years after she met José Luis. And finally the epilogue consists a letter from José Luis to Mary/ María after her trip to El Salvador. The essay traces the development of Mother Tongue’s principal protagonists, María/ Mary. With a close reading of the text, I argue how the forth chapter, namely the domestic abuse scene, functions as a pivotal point in the Mother Tongue as it helps her to define herself.
The reason I picked this book is because I have always been curious about terrorism. Truthfully, I really didn’t expect the book to take the stance it did, which focused mainly on the religious implications of what influences people to commits acts of terror. I liked the fact that the book takes new angles in approaching the search for truth, by focusing on case studies and performing interviews with the people who have committed terrorist acts. This is like getting the insiders view of the inner workings and frame of mind people have before, during, and after they have unswervingly performed the acts of violence.
Author Steve Lopez persuade his readers to accept his idea of finding the brutally beaten victim that many witness during the riot, the author does so by finding Fidel and having his story told, which in my perspective was a success, because Fidel was meant to have his story told so a great outcome would occur. In addition as the reader it kept me alert and curious to know more. Fidel Lopez argument was to remain undiscovered as a victim of the LA riot which persuade me because Fidel’s daughter Vanessa stated in the article “ He does things his way, doesn’t like asking for help and is more interest in providing for his family than revisiting the past” (Lopez, pg. 5). This statement was well brought out because Fidel did not do it for his family, the fame, nor for the sadness people would feel for him. Article “The forgotten victim from Florence and Normandie” brought well life learn lessons that are relevant today as many are still able to forget those who need to be remembered most as time passes, because we can easily forget, but once it is gone, sometimes we cannot bring our memory back, memories are always with us lets not take that away from
Major turning points in history such as the overthrow of a country’s government, political violence, guerrilla movements and civil wars, bloody revolutions, brutal dictatorships, domestic violence, criminal violence, physical and sexual abuse and psychological damage are all well known throughout history and they serve as a common theme in literary works of the time period. This is especially true of Isabel Allende, in which the true event of the overthrowing of the Chilean government by the military is an important aspect of the plot in her novels. The aim of the paper is to analyse Isabel Allende’s Of Love and Shadows as a story reading in between the shadows of violence and the gentleness of love by mixing politics and love and demonstrating
While other, less accomplished writers use violence to shock or provoke, Joyce Carol Oates is usually more subtle and inventive. Such is the case in "Naked," the story of a forty-six year old woman whose placid outer identity is ripped away by a brutal assault while out hiking not far from her fashionable, University Heights neighborhood. Like many of Oates' stories—and in this regard she probably owes something to Flannery O'Connor—"Naked" focuses on a woman so entrenched in her rigid self-image that nothing short of violence could make her vulnerable to a humbling, though redemptive, self knowledge.
In addition, the author also discussed the theme of violence. Although violence was rarely used during the raids, it was not uncommon for members to kill their victims or even other members to avoid being recognized. In addition, the author adds that for the Appelman-Batenburg sect, murder was also used as a ploy to not rouse the suspicion in the neighbourhood in which they robbed.
...nd it was through her continuous attention to reporting detail that she was able to have such an effect on the society. The accounts of lynchings throughout her works are horrific and proved extremely difficult to read. Although the inclusion of these appalling descriptions adds the extra emphasize needed to really send the message home that something needed to be done about the problem at hand. It is not until we face the brutal facts that we are able to fully understand an issue in entirety. In 2009, “15,241 people were murdered; an estimated 88,097 were forcibly raped, and another estimated 806,843 were victims of aggravated assaults nationwide.” When presented in such alarming statistics, those nameless murders and rapes the local newscaster slips into her monologue every night become slightly less forgettable.
Pearson, Patricia. When She Was Bad: Violent Women and the Myth of Innocence. New York: Viking, 1997
The environments when these crimes took place were not controlled, nor was the fear endured enjoyable. The pain of the victims are easily forgotten, as well as the struggle which they faced the moment of their death and the times preceding it. Bonn’s argument that the horror felt is “not real” is significantly contradictory to the entire basis for true crime television; these murders really happened, and their television scenes emulate that of the actual occurrence. True crimes are continuously embellished as though they are tales that are to be passed down through generations, disregarding the genuine suffering experienced by the victims, both directly murdered and affected by the