Write a 150-200 word response to the following discussion activities. Use specific references and direct quotes from our readings this week to illustrate and support your view/s. Discussion Activity #1Research the Internet for the linguistic term "code-switching" and describe how code-switching is used in two of the literary texts we are reading this week. Pay special attention to how linguistic code switching emphasizes cultural interactions, reflecting a variety of elements, including economic, sexual, and racial differences.Discussion Activity #How can the stories this week be classified as bildungsromans, or "coming-of-age" stories? Can a story be classified a bildungsroman even if the protagonist does not seem to actually "come of age"? Compare any one of the stories we are reading this week with other similarly themed "coming-of-age" stories we've previously read in the works of Twain, Jewett, Zitkala-Sa, James, Crane, Faulkner, and Larsen. What are the common elements in the stories and how do the stories this week depart from the traditional "coming-of-age" tale?At least two follow-up resp

Watch the entire videos entitled Death (No. 6) from the "Art Through Time: A Global View" video series found on Annenberg.orgThen, in your own words, answers one of the questions below (your choice) in AT LEAST 150-200 words its ok if you go over a little. Provide examples from the video (include artist name and title of the work) to illustrate your response. In order to best express your ideas, please write all answers in complete sentences using proper spelling and punctuation. IMPORTANT INFORMATION IN THE TITLE OF YOUR POSTING, INCLUDE THE QUESTION NUMBER YOU CHOOSED AND A WORD OR TWO ABOUT ITS CONTENT. THEN, IN YOUR POSTING, BEGIN BY RE-STATING THE ENTIRE QUESTION FROM THE LIST BELOW. 1. Of the examples featured in the program, which of the death-related rituals, ceremonies, and funerary art were created for the living, and which were created for the deceased? 2. A memento mori is an image that serves as a reminder of the inevitability of death and the transience of human life. While different types of images have served this purpose, skulls and skeletal figures are seen in the art of different cultures. In viewing the featured art images in the program, how do the skulls or skeletons in these works reflect different cultural views of life and death? 3. Certain objects were buried along with the deceased, such as the Book of the Dead in ancient Egypt, or the terracotta warriors buried with the Qin Emperor of China. What were the intended purposes of these objects? Please respond to one other student with 5-7sentence if you agree, disagree or try to either challenge or expand on what it is that they say to their post and explain whyAna R Certain objects were buried along with the deceased, such as the Book of the Dead in ancient Egypt, or the terracotta warriors buried with the Qin Emperor of China. What were the intended purposes of these objects? The Book of the Death in the ancient Egypt was buried along with the deceased because they believed that it existed an afterlife. In a way the book was crucial when it care to a burial, it was mentioned that the reason to bring the Book of Death was because it was a guidebook to another world. Egyptians believed that the deceased might use the book whenever they faced trouble or an obstacle and that it will eventually help. As for the other example of the terracotta warriors buried with the Qin Emperor of China, the warriors were there to represent an entire universe or world inside the tomb. The life size terracotta warriors were there to serve and protect the death, as it was mentioned in the video there were different warriors such as infantry, charioteers, and generals. It is amazing what they did with the tomb of Qin Emperor all the warriors were formed as if they were in real life.

2 discussions I have suggested that we should engage and be engaged by those persons who see and understand the world differently from those who sit comfortably within a dominant we society so that we might (re)imagine or discover a new place for democratic politics. And as film-goers who find ourselves more susceptible emotionally to the stimuli presented in a movie theatre, we can at times experience vicariously, yet deeply, the events, the stories, the lives of those who are different from ourselves. As individuals living in a multicultural and diverse society we should consider opening ourselves up to and welcoming such engagement and the possibilities for personal transformation in our individual sensibilities. Such a transformation might occur when one considers and compares the experiences of his or her life and the impact of those experiences on his or her identity next to those raw materials that make-up or construct the identity(ies) of those who are different from them, specifically those who have been marginalized, disregarded, and silenced by a dominant we society. I have suggested that when one truly sees Other, sees and hears the stories of difference crafted and told by the Other in film, one might come to respect the different voices and stories of those lives and thus allow him or herself to see and experience life from a new position, a transformed sensibility, where politics transcend convention. In other words, when we consider our lives next to those who are different from us, when we frame those different human stories next to our own personal human narrative we may come to understand how a particular human uncertainty and vulnerability informs all of our lives. In 300-500 words share whether or not you believe film has the potential to transform one’s political sensibilities. And if you believe that your personal sensibilities have been (re)shaped or transformed by a particular film, say so. The objective here is to share your thoughts pertaining to the major thesis presented in Democracy and Difference.