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Analysis of The Waste Land
Critical explanation of the meaning of poverty
Analysis of The Waste Land
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From above, the world of the Jardim Gramacho landfill appears to be nothing more than garbage with the catadores (pickers)—as small and as insignificant as ants—sorting through the rubbish. The workers collect and sell recyclable items in hazardous conditions, earning around USD $20 per day. Yet in Lucy Walker’s “Waste Land,” the garbage of Rio de Janeiro is transformed into fine art as Brazilian artist, Vik Muniz, seeks to humanize the marginalized catadores of Brazilian society. The film focuses on the people Muniz encounters and ultimately photographs for his collection of portraits, entitled “Pictures of Garbage.” The documentary follows the life of the catadores as they collaborate with Muniz on stunning pieces of modern art made from …show more content…
Many of the catadores were of lower middle class that, due to unfortunate turn of events, had to work in the landfill. The Muniz’s female subjects worked in the landfill because it was the only viable employment opportunity outside of prostitution. Instances of domestic violence also pushed women out of their homes into the life of the landfill. The catadores are not blamed for their poverty, nor are they defined by it. Circumstance shaped them, to be sure, but Walker effortlessly captures the depth of their character, rather than wallow in their poverty. Furthermore, Muniz underscores how these people are not their poverty by offering the story of his own humble beginning. While at times this feels to be more a justification of his wealth and an affirmation of his humility, it succeeds in portraying both the artist and his subjects as equal human beings. Interestingly, despite the goal of humanization, Muniz’s photos are positioned and constructed. He re-shoots pictures in his studio, even dressing up one his subject and her children as saints. The photographed catadores are attractive and young or offer an older aesthetic of resilience and strength. Despite the selective nature of Muniz’s portraits, Walker’s representation of the process offers a captivating insight into the world of garbage and those who live in
Tiaò and Magna are only two examples. Many of the other catadores gained a sense of self-worth and potential from Muniz’s presence. The work Muniz was doing assisted in the catadores translation of worth. After working with Muniz, they knew they were worth more than the disgusted looks someone gave them while on the bus. The catadores came to realize that they themselves define their self-worth, and with that self-worth, comes the potential to better their
The idea that art can be a service to people- most importantly a service to poor and disenfranchised people is one that may be disputed by some. However, Elizabeth Catlett and other artists at the taller de Graffica Popular have proved that art could be made to service the poor. Catlett in particular is someone who has always used her art to advocate for the poor and fight injustices. While her activism and political views were very impactful, they were also very controversial. Catlett`s art and activism influenced African American and Latin American art by changing the narratives of Black and Brown working class women. In their books titled Gumbo Ya Ya, The Art of Elizabeth Catlett, African American Art: The Long Struggle, and Elizabeth Catlett: Works on Paper authors Leslie King-Hammond, Samella S. Lewis, Crystal Britton, Elizabeth Catlett, and Jeanne Zeidler speak of the work of Catlett. In a paper titled -----, ---- also speaks of the work of Elizabeth Catlett and her legacy as an activist.
Symbolism is the key to understanding Sandra Cisneros’ novel, “The House on Mango Street”. By unraveling the symbolism, the reader truly exposes the role of not only Latina women but women of any background. Esperanza, a girl from a Mexican background living in Chicago, writes down what she witnesses while growing up. As a result of her sheltered upbringing, Esperanza hardly comprehends the actions that take place around her, but what she did understand she wrote in her journal. Cisneros used this technique of the point of view of a child, to her advantage by giving the readers enough information of what is taking place on Mango Street so that they can gather the pieces of the puzzle a get the big picture.
Throughout one’s life, he or she will encounter an opportunity that will likely impact his or her perspective on a given situation. In Waste Land, Vik Muniz embraced the opportunity to travel to Jardim Gramacho in Brazil in hopes of making a difference with the pickers by incorporating the pickers as assistants for the art projects. While at the landfill in Rio de Janeiro, he experiences the life of the pickers which helps him to create the art that will transform the lives of the workers; these experiences allow Muniz to develop as a person (Walker). Vik Muniz’s perspective regarding the landfill and the pickers evolved from expressing pity to embracing the pickers as a group of friends.
As she tours her hometown, one can see the horrendous circumstances in which her community thrives in, for example, to get from one side to the other they must cross a makeshift bridge where the water has begun to change color such as black, green, even beginning to foam. Numerous health problems have arisen due to the toxic waste that is being dumped into the streams that therefore leading to runoff when it rains such as sores developing on feet and legs, weakened immune system, spots that appear on the limbs, etc. Lujan, a third world feminist (could also be known as an environmental feminist as well) exposes the unsanitary environment in which she lives in, desiring a greater community where her children can live in without the worry of diseases or the contamination of their water sources. Though she was not always a promotora/advocator it was not until Lujan came face to face with a sign inviting women to participate in a health survey furthermore learning about the health risks that she made the decision to be outspoken about the cause. She took workshops to help her better apprehend labor and women’s rights in order to promote laws and speak out against illegal acts conducted by businesses. Therefore, it only makes sense that women would be the most outspoken group of the maquiladoras since they make up eighty percent of the
These memories become his "key" to awken the rest of us who are still pretending. The reader is left with two choices at the end of the poem. S/he can either forget about the poem, and go back to living in a waste land, or s/he can stop repressing pain and feeling and leave the waste land. Eliot ends the poem with a man (maybe himself?) sitting on a shore, "[f]ishing, with the arid plain behind me" and asking, "Shall I at least set my lands in order?" (425-36) The man here, by facing his pain, has left the waste land, and is able to move ahead.
Art movement’s characteristics vary from nation to nation, but painting can be used as a critique of the socio-political reality in a given nation. It is a creative way to communicate with a population about economic, education and social issues. Therefore, The History of Cuernavaca and Morelos: Crossing the Barranca (ravine) Detail (1929-30) Fresco by Diego Rivera is a good example of how an artist uses his creativity to connect with people in relation to Mexican history. Art is an inspired way to share the complexity and challenge of a community. It can be used a way to respond to them likewise. Therefore, the concept of accessibility takes ingenuity. With his deepen knowledge of European and ancient Mexican art, it was not a documentation
Federico García Lorca’s poem “La casada infiel” depicts the story of a gypsy who makes love to a married woman on the shore of a river. When looking deeper into the poem, Lorca appears to provide a critical observation on the values of the conservative society at the time in which he lived. The woman, at her most basic reading, is treated as an object, elaborating on the sexist values in society at the time. Lorca addresses issues of sexism as well as issues of sexuality within society mainly through the poem’s sexist narrative voice, objectification of the female character and overriding sense of a lack of desire throughout the poem. His achievement to do so will be analysed throughout this commentary with particular attention to Lorca’s use of poetic techniques such as diction, personification and imagery.
Elena Poniatowska escrita durante una epoca de cambio en Mexico. Antes de sus obras las mujeres mexicanas eran sometidos, docil, y pasivo. En la tiempo de sus obras las mujeres estaba tratando salir de los estereotipos de antes. Esta problema social tomo un afecto en Elena. Aunque ella no viene de un movimiento literatura directamente, ella escrita con el concepto de compremetido. En su narrative El Recado ella crea un mujer estereotipical que no puede controlar sus emociones. La titula es eso porque ella viene a ver su amante, pero el no esta, asi ella escribe las cosas que sentia. La perspectiva es de un personaje y ella nunca interacta con otros personajes. En facto la unica descripcion de un personaje otro de la protagonista es de su amante Martin. Habla de otros personajes, pero solamente de sus acciones. Porque ellas es la unica perspectiva que tenemos es sencillo a sentar compasion para una protagonista de quien nombre no aun sabemos. Ella da la descripcion de toda que vea, y mas importante todo que se sienta. Tambien tropos y figuras retoricas dan un tono significante al poema. Estos sentimientos de la portagonista y el tono emocional de la narrativa transporta una tema de una mujer estereotipical y debil quien quiere ser reconocido.
She was not a master of style, plot development or characterization, but the intensity of feeling and aspiration are evident in her narratives that overrides her imperfections. Sandra Cisneros’ The House on Mango Street, written in 1984, and Anzia Yezierska’s Bread Givers, published in 1925, are both aimed at adolescent and adult audiences that deal with deeply disturbing themes about serious social conditions and their effects on children as adults. Both books are told in the first person; both narrators are young girls living in destitute neighborhoods; and both young girls witness the harsh realities of life for those who are poor, abused, and hopeless. Although the narrators face these overwhelming obstacles, they manage to survive their tough environments with their wits and strength remaining intact. Esperanza, a Chicano with three sisters and one brother, has had a dream of having her own things since she was ten years old.
T.S. Eliot’s "The Waste Land" is considered by many to be the most influential work in modern literature. First published in 1922, it captures the feelings and sentiments of modern culture after World War I. Line thirty of "The Waste Land," "I will show you fear in a handful of dust," is often viewed as a symbol of mankind’s fear of death and resulting love of life. Eliot’s masterpiece—with its revolutionary ideas—inspired writers of his era, and it continues to affect writers even today.
Williams, Bruce. "The Reflection of a Blind Gaze: Maria Luisa Bemberg, Filmmaker." A Woman's Gaze: Latin American Women Artists. Ed. Marjorie Agosin. New York; White Pine Press, 1998. 171-90.
Faulkner presents sexual desire in The Sound and the Fury as a paradox of both entrapment and freedom. As he works his way through the nonlinear piece, information about sexuality of the characters, sexual symbols, and unfilled desire present themselves, each commenting on one another directly and indirectly. T. S. Eliot’s “The Waste Land” serves as a helpful lens in understanding the requirements to escape the waste land of the ruined Compson family by providing a backdrop on which The Sound and the Fury can be projected. In The Sound and the Fury, Faulkner experiments with the placement of the individual in respect to time and other characters in order to introduce sexual discourse in a way that comments on the necessity of sexual understanding in the modern world.
with the Jamesian note, "I read, much of the night, and go south in the
Ceremonies are prevalent throughout T.S. Eliot’s poem The Waste Land. Eliot relies on literary contrasts to illustrate the specific values of meaningful, effectual rituals of primitive society in contrast to the meaningless, broken, sham rituals of the modern day. These contrasts serve to show how ceremonies can become broken when they are missing vital components, or they are overloaded with too many. Even the way language is used in the poem furthers the point of ceremonies, both broken and not. In section V of The Waste Land, Eliot writes,