![]() ![]() It’s good for you to end with the toxic person because you don’t want to poison yourself anymore. What is right for each person? It is psychologists’ great question. What is the remedy for toxicity? Ending the relationship.Ī. That prevents there being a possibility of forgiveness, of being cured of that poison. To label a relationship as toxic is to impregnate it with the image of something that is going to kill you. The idea of the toxic, for example, in the end comes from what makes you sick, from poison. I think we need to redefine the metaphors we use to talk about it. What did you need to defend love from?Īnswer. In its 17-page bibliography, thinkers such as Lévi-Strauss and Durkheim intersect with passages from Twilight, comics by Liv Strömquist, episodes of Girls and lyrics by Lorde. He first wrote a collection of poems on the topic, and now he has published Superemocional an academic essay in defense of love in this battered world. Sánchez López decided then to dedicate his literary output to love. “There is an essential moment when you realize that life is not what you are doing, but who you are doing it with.” The ambition came face to face with reality: “Then the post-pandemic began and I realized that I would have been completely sad if I had left,” he recalls today, now a researcher at the Autonomous University of Madrid. ![]() At the time, he was studying literature, and he had intended to spend that year outside of Spain. ![]() ![]() Such is.Juanpe Sánchez López has not forgotten the lesson of 2020. However, archived materials are also easier to fetishize, re-appropriate, and revise. (1) The archivist compulsion is understandable, as a static item is far simpler to theorize and comprehend. In Taylor's words, the repertoire-society's "embodied practice/knowledge"-is "selected, classified, and presented for analysis" as it finds its place in the archive. While the repertoire is dynamic, adaptive, and immediate, the archive remains static-frozen, decontextualized, and distanced. If the weaving of baskets, preparation of tortillas, performance of dances, recounting of tales, and marriage ceremonies are all examples of the repertoire, then the basket museum exhibit, a cookbook, a dance photo, a history book, and a wedding video represent their archived correspondents. Performance scholar Diana Taylor gives us a paradigm to discuss the idea of the performative scenario, along with the notion of the archive and repertoire that inform it. Through its "discovery" of the Other, "treatment" of racialized characteristics, and eventual reform and assimilation, Freedom Writers encourages its audience to conceive of difference, poverty, and race in similar terms: as problems solved only through strong white leadership. While Freedom Writers differs from much Hollywood film in its assertion that writing-as opposed to action-may indeed bring us a step closer to racial harmony, much of the lesson of tolerance that it preaches is undermined by the specificity of the scenario. This paper considers the ways in which Freedom Writers presents and performs race, difference, and the scenario of "pedagogical reform." To do so, I engage Julia Kristeva's theories of the abject and Richard Dyer's work on whiteness, highlighting the insidious manner in which Hollywood subtly and not-so-subtly constructs race as a problem to be solved, a color to be blanched, and an evil to be eradicated. Gruell and the Freedom Writers published their collected writings (The Freedom Writers Diary: How a Teacher and 150 Teens Used Writing to Change Themselves and the World) in 1999, which served to inspire the screenplay and Swank's involvement with the picture. Eventually, Gruell battles the school board to stay with the class of freshman throughout their high school career as a result, nearly all of the students go on to college. Hence the inspiration for the title: these students become "Freedom Writers," metaphorical descendants of the Civil Rights Freedom Riders who worked for racial harmony in the 1960s. The students-a mix of African-Americans, Asians, Latinos, and one scared white teen-slowly warm to her and each other, funneling their anger onto the page in the form of journals that Gruell provides. She initially faces resistance and chaos, yet she takes on two extra jobs in order to pay for and inspire the students through books, field trips, and fancy dinners. Declining law school, Gruell has selected Wilson High School for its "exciting" voluntary integration program and is quickly assigned four sections of freshman English. The story of Freedom Writers (LaGravenese 2007) is a familiar one: A sincere teacher, Erin Gruell (Hilary Swank), chooses a modest career in education over a more lucrative one in the "real" world. ![]()
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