Being Gay, By Indian Immigrants - 1529 Words

Being gay in America is difficult. Being gay in America is even more difficult when you’re not quite gay. Being a closeted not-quite gay woman in America, surrounded by Indian immigrants is pretty difficult, too. It’s a bit like staring in a James Bond film, if all of the characters suddenly developed Bollywood accents, and marginally less homicide. Also, I may be exaggerating, because I don’t attract nearly as many Bond Girls, no matter how much I’d like to. Even understanding what â€Å"not-quite gay† means for me was and is a struggle. I suppose a common saying is true: if you can’t find the gay cousin in your family, then you are the gay cousin. And it’s true; in my jumbled mess of aunts, uncles, and third-step cousins once removed, there hasn’t been a single person to come out. Or, if there has, we certainly never talk about them. What does this mean, then, in terms of the relative morals for my two cultures? If there is such a thing as an American, than I am one; I was born in this country and have lived here my entire life. This should give me a right to voice my opinion about American politics. At the same time, I refused to speak English until I was four; everyone I grew up around was Indian. Does this give me a right to interject in conversation when Section 377 of India’s penal code, recently upheld by the Supreme Court, makes being homosexual a crime? Maybe, I do have overseas citizenship. Does any measly DNA connection give me the right to protest when LGBTQ+Show MoreRelatedRace, Gender, and Ethnic Groups Essay1508 Words   |  7 Pagesrecently, in November 2005, riots emerged in Paris’ suburbs, sparked by the accidental deaths of two Muslim teenagers, and then spread to 300 French towns and cities. Most of the rioters were the French-born children of immigrants from Arab and African cou ntries, a large percentage being Muslim. These race and ethnic riots have all recently placed the issue of racial and ethnic identity at the forefront of political debate in the United States and in Europe. In this paper, we endeavour to discuss manyRead MoreThe Fight For Equality Throughout America1517 Words   |  7 Pagesassume that discrimination would be nonexistent. However, there seemed to be a loophole in that people considered â€Å"unamerican† faced enormous amounts of discrimination. Despite being American citizens, many Mexican Americans’ human rights were not protected, as they differed from the â€Å"average† (meaning white, non-immigrant, protestant, male) American. Mexican Americans fought back in various ways. 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A Comparison Of The Apology And Niccolo Machiavelli And...

Plato’s The Apology and Niccolo Machiavelli’s The Prince provide two opposing views of the ideal ruler and government. The seminal works attempt to uncover the true definition of justice which becomes the basis from which they craft their vision of effective civil leadership. The two men, both influenced by the times of similar conflict and chaos in which they worked, espouse divergent beliefs regarding proper and effective authority. This difference is rooted in a fundamental incongruity between their views of human nature. Socrates, as an ancient Greek philosopher and teacher, views the individual as a sacred and beautiful being capable of reason and great wisdom while Machiavelli believes that the people are inferior to their leaders†¦show more content†¦As a result, Machiavelli was unconcerned with justice as fairness, rather he regarded any action that strengthened the prince or the state as being just. He believed that the goal of preserving power was jus t and therefore any action taken to achieve this end was in turn just. This notion of justice stands in stark contrast to Socrates’ views as conveyed in The Apology. Plato’s account of Socrates’ defense against charges of corrupting the youth and heresy, reveal the ancient teacher’s view of justice as fairness and support of rule of law. In the Apology, Socrates faces a moral dilemma: to either accept his punishment for crimes he did not commit or to accept the assistance of his friends and escape death by the hand of the state. His choice to accept death in order to maintain rule of law reveals his belief of justice. He beliefs his punishment to be just not because he committed the crimes but because his sentence came through a legal process to which he consented. By sparing his life, he would weaken the justice system of Athens which he values above his own existence. This difference between the two men’s beliefs regarding justice draws the sharp est contrast in their views of effective leadership and government. The fundamental incongruity between Machiavelli and Socrates stems from what they value in a ruler. The most salient difference is their ordering of justice and efficacy.Show MoreRelatedThe Political Philosophy Of Niccolo Machiavelli And Socrates1444 Words   |  6 Pagesthe most well-known and notorious philosophers, Niccolo Machiavelli and Socrates laid the groundwork for western political philosophy and modern day politics. Though both lived through times of political transition and war, the fragility of their politics, violence of their wars, and the leaders they lived under influenced the development of their differing ideologies about the governing of principalities. From Machiavelli’s experience, came, â€Å"The Prince,† a guidebook about the importance of self-preservation

Music History Renaissance Era Free Essays

The Renaissance was the great age of vocal polyphony, music consisting of a number of equally important voice parts all woven together to create a complex tapestry of overlapping melodies and beautiful harmonies. In religious music, the primary compositional forms were the Mass and the motet, while in secular music they were the French chanson, or song (for three or four voices), and the Italian madrigal. Instrumental music was not, for the most part, as formalized during the Renaissance as it would later become. We will write a custom essay sample on Music History: Renaissance Era or any similar topic only for you Order Now Instruments were used in varying combinations to accompany singers (in both religious and secular music), to provide music for private entertainment and dancing, and to provide festive or ceremonial music for towns and royal courts. Principal instruments of the period included the lute, organ, and harpsichord, viols, recorders shawms (double-reed precursors of the oboe), cruhorns (also double-reed instruments), trombones and trumpets (Gangwere). Among the most important composers of the Renaissance were Guillaume Dufay, of the so-called Burgundian school, centered at the court of the dukes of Burgundy in Dijon France and Johannes Ockeghem, Jacob Obrecht, Josquin des Prez, and later, Orlando di Lasoo of the Flemish school (Pen). The Mass The unvarying structure of the mass, the constancy of the text, and the solemnity of function were not conducive to musical experimentation in mass composition. Flemish masses still used the cantus firmus techniques of the earlier Burgundian masters. In the hands of exceptional composers such as Giovanni da Palestrina the mass was a highly devotional and serene expression of the liturgy, perfectly suited to the austerity demanded by the Counter Reformation. Palestrina’s flexible arched melodic lines, his studied use of consonance and dissonance, and his beautifully constructed harmonic sonorities became the model for generations of counterpoint teachers (Hoffman). The Motet The early motet (from the French word meaning â€Å"word†) frequently contained different texts in various languages for each voice parts. Complexities of word setting and tone painting were simply not an important aspect of the music for early motet composers. As the humanism began to exert its influence, composers grew more attentive to text setting. The single text was the motivating force for the motet. Each section of music was presented as a separate musical episode that attempted to highlight the clarity of the text as well as to convey the emotional impact of the words. This style of sensitive text representation came to be known as music reservata. Composers developed specific techniques for the musica reservata style. Second, the natural speech rhythm was matched by melodic rhythm so that the words were correctly accented. Third, syllabic treatment of text and expressive figures were used to portray the message of the text (Hoffman). The Chanson Chansons were three-voice secular works in which the music closely mirrored the meaning of the French poetic text. The text, usually an expression of love, was in rondeau form with a two-line refrain (A B a A a b A B). Although they may have been performed entirely by voices, the usual presentation probably featured a solo voice on the top (superius) line with the bottom two polyphonic lines played by instruments (Hoffman). Other musics such as chorale, anthem, psalm settings, frottola and madrigal are legacies of Renaissance period. It was only during the Renaissance that musicians begun to recognize the idiomatic potential of instruments and consequently began composing in particular genres intended for instrumental rather than choral performance (Pen). Works Cited Gangwere, Blanche. Music History During the Renaissance Period, 1520-1550: A Documented Chronology. Greenwood Publishing Group, 2004. Hoffman, Miles. The Npr Classical Music Companion: An Essential Guide for Enlightened Listening. Houghton Mifflin Books, 2005. Pen, Ronald. Introduction to Music. McGraw-Hill Professional, 1992.    How to cite Music History: Renaissance Era, Essay examples