Adults Learning Math Online: A Surprising Harmony

Adults returning to school face challenges including overcoming math anxiety. Many choose online courses as they balance life and work schedules. Online math courses therefore can be restructured to prevent math anxiety by catering to individual learning styles, providing tools that aid concept attainment, and using problem-based learning strategies.

Race Relations & Politics in Venezuela during Punto Fijo (1958 – 1998)

In 1998, Hugo Chávez Frías’ presidential candidacy brought race to national discussion in Venezuela for first time since 1945. For long, the country’s politics had abided by the myth of racial harmony and racial democracy. This approach pointed to institutional separation in the United States and Africa as examples of true racism. Latin America was largely void of such atrocities. Nonetheless, Chávez claimed the present political parties (Acción Democrática, Copei and Unión Republicana Democrática) disenfranchised the common, colored Venezuelan. He continued to assert the opposition’s racism during his presidency. And his political fanbase agrees. A variety of scholars have studied the break from Punto Fijo politics to the Bolivarian Revolution. Yet, few have linked the obvious class struggle to race. Here, I seek to explain how racial identity has shaped class identity in Venezuela by closely examining the Punto Fijo era (1958-1998). The essay begins with an overview of historical race relations, moving to the period in focus. Then, I examine systematic and institutional exclusion under Punto Fijo politics. The object is to understand the merit of Chávez’s racial claims since 1998. Hence, the study also sees democracy in action and the consequences of racial exclusion. The study will be accomplished through secondary research, considering the limitations brought by working abroad. In the end, this study serves as first step in analyzing the fall of what was once considered Latin America’s most durable democracy.

Race Relations & Politics in Venezuela during Punto Fijo (1958 – 1998)

In 1998, Hugo Chávez Frías’ presidential candidacy brought race to national discussion in Venezuela for first time since 1945. For long, the country’s politics had abided by the myth of racial harmony and racial democracy. This approach pointed to institutional separation in the United States and Africa as examples of true racism. Latin America was largely void of such atrocities. Nonetheless, Chávez claimed the present political parties (Acción Democrática, Copei and Unión Republicana Democrática) disenfranchised the common, colored Venezuelan. He continued to assert the opposition’s racism during his presidency. And his political fanbase agrees. A variety of scholars have studied the break from Punto Fijo politics to the Bolivarian Revolution. Yet, few have linked the obvious class struggle to race. Here, I seek to explain how racial identity has shaped class identity in Venezuela by closely examining the Punto Fijo era (1958-1998). The essay begins with an overview of historical race relations, moving to the period in focus. Then, I examine systematic and institutional exclusion under Punto Fijo politics. The object is to understand the merit of Chávez’s racial claims since 1998. Hence, the study also sees democracy in action and the consequences of racial exclusion. The study will be accomplished through secondary research, considering the limitations brought by working abroad. In the end, this study serves as first step in analyzing the fall of what was once considered Latin America’s most durable democracy.

On the Threshold of Paradise and Present: Memory in Contemporary Cuban – American Literature

The exile leaving his or her homeland for new and unknown territory travels with much more than just luggage and the clothes on his or her back. He or she carries a weighty collection of memories. Available for the exile in times when the harmony of the past is far removed from the difficult circumstances present during the process of cultural assimilation, these memories present an opportunity for the exile to fashion for him or herself an identity that mimics the realities of life in the home left behind. In this creative endeavor, I seek to examine the powerful potential of memory as it is exercised by a collection of Cubans and Cuban-Americans in different corners of the United States. Analyzing Achy Obejas’ Memory Mambo, Cristina García’s Dreaming in Cuban, Ana Menéndez’s In Cuba I Was a German Shepherd, and Elías Miguel Muñoz’s Brand New Memory, I aim to trace the suggestive potential of memory as it is used by each of the characters in these works in an effort to reconcile their Cuban identities with the ones that are in the process of creation in the U.S. I will borrow from a collection of literature dealing with identity and exile, relevant graduate-level theses on Cuban-American literature, as well as theoretical perspectives on memory formation and nostalgia in order to trace the various ways in which memory is relied on in the process of cultural assimilation and emotional coping. Being presented in Miami, which hosts the largest concentration of Cuban immigrants, this thesis aims to present itself as a reflective tool for Cubans and Cuban-Americans who may find value in seeing their personal sentiments portrayed in literature, thus allowing for a potential reevaluation of identity. If the existing literature on my topic of analysis reveals anything, it is that the scope of my project is one that has not been inspected previously, thus making my analytical contribution a new one that will add a new interpretive set of lens through which readers of contemporary Cuban-American literature can examine the works.

On the Threshold of Paradise and Present: Memory in Contemporary Cuban‐American Literature

The exile leaving his or her homeland for new and unknown territory travels with much more than just luggage and the clothes on his or her back. He or she carries a weighty collection of memories. Available for the exile in times when the harmony of the past is far removed from the difficult circumstances present during the process of cultural assimilation, these memories present an opportunity for the exile to fashion for him or herself an identity that mimics the realities of life in the home left behind. In this creative endeavor, I seek to examine the powerful potential of memory as it is exercised by a collection of Cubans and Cuban-Americans in different corners of the United States. Analyzing Achy Obejas’ Memory Mambo, Cristina García’s Dreaming in Cuban, Ana Menéndez’s In Cuba I Was a German Shepherd, and Elías Miguel Muñoz’s Brand New Memory, I aim to trace the suggestive potential of memory as it is used by each of the characters in these works in an effort to reconcile their Cuban identities with the ones that are in the process of creation in the U.S. I will borrow from a collection of literature dealing with identity and exile, relevant graduate-level theses on Cuban-American literature, as well as theoretical perspectives on memory formation and nostalgia in order to trace the various ways in which memory is relied on in the process of cultural assimilation and emotional coping. Being presented in Miami, which hosts the largest concentration of Cuban immigrants, this thesis aims to present itself as a reflective tool for Cubans and Cuban-Americans who may find value in seeing their personal sentiments portrayed in literature, thus allowing for a potential reevaluation of identity. If the existing literature on my topic of analysis reveals anything, it is that the scope of my project is one that has not been inspected previously, thus making my analytical contribution a new one that will add a new interpretive set of lens through which readers of contemporary Cuban-American literature can examine the works.

A graduate piano recital : an analytical study

The purpose of this thesis is to provide a historical and musical analysis that illustrates characteristic features of musical compositions from the Baroque, Classical, Romantic, and Twentieth century styles. The structural analysis of the pieces reveal the evolution in the musical expression regarding line, texture, form, and the technical skills employed by the composers through polyphonic, homophonic, and twelve-tone procedures. The works of this recital represent four different styles: The prelude and fugue among the important forms of the Baroque style; the sonata embodying the principles of balance and unity of the Classical style; the etude and waltz as representative of the Romantic style; and the nocturne as an illustration of the transformation of the melody, harmony, and rhythm in the music of the 20thcentury.