The beginning of civilization Essay Example for Free

The beginning of civilization Essay From the very early years of the beginning of civilization, man has been responsible for completing a set of tasks. In the initial stages of evolution the work of a man was supposed to be hunting and protecting the family, while females were supposed to be their family nurturers and caretakers. As time passed by, there was formation of society, and new occupations started emerging, giving the people jobs without the bias of their gender. But with every developing phase there are its cons, that are inevitable, and unemployment is of the biggest problems of not only poor nations, but also developing and developed nations. Unemployment is such a phase in a person’s life, which makes him think that he is vulnerable, and gives him a feeling of being subdued by the pressure of the society. In today’s world were money is supposed to be the only prime objective in a person’s life, and when someone is unemployed, he has to face the brunt of being incapable of financially stabilizing himself, which leads to social and psychological problems, which ultimately gives a clear message of the help that is required by these individuals. In the world of booming population and migrant supposition, individuals are left with huge amount of pressure to acquire a job, and when that individual fails to do so, he is left with very disturbing thoughts which ultimately lead to crime, suicide, depression, humiliation and feeling of internal failure. Unemployment itself is a very large word and is diversified into sub categories, the very first category is known as the cyclical unemployment, which exists due to the lack of demand of labor, second category is of technological unemployment, where newer technologies reduce the hands of labor that work in an organization. The third category is of Classical wage conflict, when unemployment occurs due to the divergence arising in the minimum wage criteria. The fourth kind is known as structural unemployment, which is caused to due geographical disparity. Then there is common fresher unemployment, where individuals have to face unemployment looking for their first jobs after finishing their courses. The sixth kind of category is related with the seasonal occupation, where individuals are only employed during the season. One of the worst categories is the uneducated and unskilled unemployment category, where the individual has to go through a lot, as he/she does not know even where to start from. Unemployment if it has to be put on papers then it is an social issue, an unemployed and frustrated youth is more dangerous than organized criminal, as the mentality of a depressed unemployed person is to grab any opportunity he can and would very easily forget the thin line between right and wrong, and the same is best expressed by Macarov below: â€Å" In the United States, unemployment and pockets of unemployment are often seen as problems not only in themselves but as indicators of a high incidence of related problems† Any problem that has got to do with social issues, social workers step in to help resolve and pacify the problem. Unemployment is one of America’s greatest crux problem, and unemployment apart from being a social problem, automatically also becomes a social workers problem too, as it has a massive negative impact on the society. An unemployed person be it a labor or a graduate, has to go through an ordeal, as most of them are likely to have financial responsibilities behind them and it is because of this burden, they are likely to commit felonies or suicides, or anything that would ultimately lead to destruction of either of their own lives or public’s lives and properties. This becomes harder for a social worker, as he does not know up to what level or what decree an unemployed youth with huge amount of depression and frustration is capable of. Unemployment initially is a personal problem, but with due time, i. e. the patience level of an unemployed person when it ceases to exist, it can lead to a psychological problem. When the unemployed person starts losing hope in having hoped to get a job, he can get into depression and that ultimately can lead to psychological problems. This is best explained by the following: â€Å"At a more individual level, the stress model suggests interventions soon after the stressor has occurred for the secondary prevention of psychological symptoms and losing a job seems a likely trigger of mental disorder generally and depression in particular† (Courtesy: David Dooley, Ralph Catalano, Georjeanna Wilson, â€Å"American Journal of Community Psychology†, Vol. 22). The initial problems of an unemployed youth are falling behind peers, and watching the burden of responsibility increase on them, but after a while it take its toll on them leading to complex psychological problems. The consequences of unemployment are best expressed below: â€Å"Consequences for the specific individuals facing sustained periods of unemployment are decidedly not. They may suffer permanent damage to their employment and income prospects as a result of a period of unemployment early in their â€Å"working† lives† (Courtesy: Niall O’Higgins, Labor Market Economist,† the challenge of youth Unemployment, Retrieved on February 10th 2008, from site http://www. ilo. org/public/english/employment/strat/download/etp7. pdf) Social work is one of the key factors that would help people facing troubles related with unemployment, as social service is the only way that would understand the different facets of unemployment and would treat each unemployed person as a different case. According to the latest OCED report, America had an average of 4. 6% as unemployment rate in the year 2007, which though was better than the average 6, it can be understood, that country of such a huge size with comparably lesser population in terms of India and China, has an unemployment rate lesser than that of Taiwan and Norway. This just shows the amount of social work that would be required to help people and give them a lending hand in their problems. What actually social work can do is firstly sort the category of unemployed people and give them support and can raise unemployment issues with the local authorities to help secure those jobs along with silently pacifying them with sessions of control and hope and education them on lines on unemployment insurances and other government policies and bringing in welfare programs like the way it was bought during the ‘Great Depression’ . However social work cannot give them a job, they can only raise the issue, also counseling done by them will be only for the people who are willing to take support and are ready to accept help, but social work would not be able to target those individuals who have crossed the limits of depression and have already thought of harming themselves or the society. â€Å"An empty mind is a devil’s workshop†, this quote goes well with the millions of unemployed people, and if not given proper guidance by social groups or if then don’t get jobs in time, then it is more like a time bomb that is ticking much fast, and will someday, swallow the whole nation because of frustration and depression by them. Reference: 1) David Macarov, â€Å"Social welfare: structure and practice†, published in 1995, by SAGE publishers 2) Jeff Singleton,† The American Dole: Unemployment Relief and the welfare state in the great depression†, published in 2000, by Greenwood publishers. 3) Niall O’Higgins, Labor Market Economist,† the challenge of youth Unemployment†, http://www. ilo. org/public/english/employment/strat/download/etp7. pdf 4) Henry George, â€Å"How to Help the Unemployed†, published in The North American Review, February, 1894, http://homepage. ntlworld. com/janusg/hgh/helpun. htm 5) Robert Moroney, Judy Krysik, â€Å"Social policy and Social work†, published by Aldine Transaction 6) Ministry of social development New Zealand, â€Å"International Comparison†, http://www. socialreport. msd. govt. nz/paid-work/unemployment. html

Divorce Essay -- Social Issues, Children

Divorce is viewed differently by many people. Sometimes this is due to experiences, what others have said, or looking at studies that are not always accurate. However, not everyone can have the same views about marriage ending in divorce. In the article, â€Å"No Easy Answers: Why the Popular View of Divorce Is Wrong† by Constance Ahrons she shows her view on divorce. Ahrons believes that divorce does not have long-lasting damaging effects on children (65). Divorce can affect children in the family but the way the decisions are made is what will change the way the kids are influenced. First of all, opposing viewpoints say that divorce can cause the child to feel like their life is not going to be the same. In contrast, this is not a highly supported statement. One thing that is commonly stated about divorce is, once two married parents with children decide to divorce, that they are no longer a family (66). Although, they may not be living together in the same house it does not mean they are still not a family. No matter what, the parents will always be linked to each other because of the children. Is that not the definition of a family? In addition, assumptions are made that if people are married with kids that they are an ideal family This is not the case, if the marriage is not working out and is only causing problems amongst the parents and kids than that is not considered a family either. Divorce does not cause children to lose their family, if anything it helps to fix them. Moreover, people say that kids feel like their life will have to change drastically because; they will have to lose one of their parents. Divorce does not mean that the children will drop a relationship with one of their parents. Some divorces may be like... ...e fairly small or big but either way the child is changed in some way. No matter how people view divorce, there is no wrong viewpoint. In the end, the effects are rarely long-term on the children. In conclusion, divorce is an extremely diverse subject, and it is going to be viewed in a different way by many individuals based on their experiences. Sometimes divorce can be the best thing for the couple as well as the child. If a marriage is only there for the child then that could affect them just as much as a divorce (65). The outcome on how serious the effects are on a child after divorce can vary. It is all revolved on how the parents handle the divorce; what decisions and choices they chose to make will change the way the child is affected. When it comes down to it, â€Å"you can choose to see your family as rearranged, or you can choose to see it as broken† (62).

National Identity in Film

The Piano, by Campion, and Truman Show, by Weir both interact with concepts of national identity in separate ways.   Both of these films are products of New Zealand culture, either through production or in cultural discourse.   Both films have also been well received and heavily awarded. The Piano tells the story of Ada McGrath.   She is a Scotswoman from New Zealand who is sold into marriage.   The film is staged in 1851. She doesn’t speak throughout the majority of the film, but expresses herself through her piano playing; this is until her husband leaves her piano on a beach.   This is symbolic of his lack of love for her and an example of the emptiness in Ada’s life.   The piano is then sold to their neighbor George Baines who convinces Ada to give him piano lessons and eventually sexual favors.   As Ada gradually falls in love with Baines through their connection of the piano, she finds meaning for her life. The Truman Show is directed by Australian Peter Weir and written by New Zealander Andrew Niccol.   The story follows Truman Burbank who is unaware that his entire life, since birth, has been an organized farce for a television series/project.   He is luckily chosen, out of a group of five baby orphans, to be the star of the show.   The Truman Show represents Truman’s life.   Viewers are told that Truman’s birth was broadcast live on television, but his child rearing is not presented in the film. The idea behind national identity is that one defines their self through the identity of their nation.   In their article, National Identity and Self-Esteem, Jeff Spinner-Halev and Elizabeth Theiss-Morse analyze the nature of national identity.   They adopt the theory that if the self-esteem of an individual is tied to their nation than it’s the perfect proponent to maintain safe and secure nations.   They feel that there is an immediate connection between self respect and group identity; so much so, it could lead to one sacrificing their own personal needs for the good of the group. They also acknowledge that there is a competitive nature within group self esteem; this meaning that most groups want their group to do better than others.   This is often seen in the patriotic nature of political propaganda, carried out by many countries to convince soldiers to go to war.   This system of control is one known for cajoling groups to fallow a certain program or way of thinking by catering to individuals’ wants, needs, or taking advantage of their fears. This complex of national identity is a major aspect of a government’s societal control, as well as a significant ideal satirized in The Truman Show.   It is most visibly personified in the character of the show’s producer Christof.   He argues that human beings accept the world in which they are presented, and uses this to justify why Truman hasn’t figured out his predicament up to this point.   All of the employees, of the studio, acting as Truman’s family, friends and extras living within the town, can all be viewed as nationalists to the studio’s regime. The National Identity of these films can be directly corresponded to the culture and history of New Zealand.   In 1945, the New Zealand Film Critic Gordon Mirams argued that if there was a New Zealand culture, it was a mostly a Hollywood creation. The only thing more popular than going to the movies, in New Zealand, was drinking tea, during that time period. This idea is supported by the statistic that for many years New Zealanders were the most frequenters of the movie world. In their book New Zealand Film 1912-1996 Helen Martin and Sam Edwards analyze the filmography of many films produced during this century in New Zealand.   This book basically analyzes the entire history of film in New Zealand.   The two authors managed to find more than 162 films.   In formulating their list and deciding on what they would identify as New Zealand Films, they decided the film had to have a significant connection to the location in terms of the film’s creators, cast, copyright holder, financiers, production team, and technical equipment. They also felt that a film that holds a sociological connection to New Zealand should be categorized as a New Zealand films as well.   Thus, they included The Piano in their list of films pointing out that though it was not filmed in New Zealand, its story was still set there.   The authors also felt it the film addressed social issues pertaining to the history of New Zealand within the time frame it was set. The Piano, identified as a socially conscious New Zealander film, it is identified as such through its understanding of national identity and the plight of the New Zealand people.   This can be seen in the fact that the film is a historically place romance, and has much cultural significance.   The film is often credited for its style, in that it is deemed as a historical romance and a contemporary romance in a historical setting. In his article, Lost causes: the ideology of national identity in Australian cinema, John Slavin does an in-depth analysis of the cultural connotations present in cinema when using it to understand a nation.   His stance is that cinema as well as reality have an interweaving relationship with each other that ultimately define the national identity of a nation.   He further explains this in his closing statements when he says, Ideology transforms individuals into constitutive social subjects by interpelation, the Althusserian term for the seductive mirror images of coherent identity promoted by cultural artifacts such as the popular cinema. But this thesis follows the suggestion that it is the purpose of ideology to represent an imaginary relationship of the cinematic viewer to his/her real conditions of existence. Those real conditions, based on psychic and social displacement are symptomatic of the Marxist definition of alienation†¦ In other words, representations of identity, both national and individual, are thrown into critical doubt within the mythic narratives. (Slavin, 2002). Slavin’s view that though ideology is used in film, national identity is virtually dependant on film narrative is very ironic, considering that he uses ideology by connecting his argument to Marxism.   In the end, the interpretation of his argument, just like national identity, are both dependant on the work and views of their creator, no matter how drenched in history they. Even within this corruption of the true nature of things, Slavin acknowledges that the transitional tendency of film images, etiquette and social relations over the years is a perfect source for study of socio-economic change.   Once one grasps a clear understanding of cinema’s use of ideology to mold national culture, the only question left is, how is ideology used, and national culture shaped, specifically within these two films? In their novel, Piano Lessons: Approaches to the Piano by Felicity Coombs and Suzanne Germmell, the authors work to claim a better understanding of The Piano.   They point out the films originally human nature in the fact that there is no main villain.   The audience is often incited to pity, empathize and despise all three main characters. Baines, Stewart, and Ada can all be viewed as human because they all have their flaws.   It is wrong for Stewart to disregard his wife they way he does, though the nature of his arrange marriage is a notable statement pertaining to the era of the film’s plot.   The audience is allowed to relate to this sociological circumstance, while at the same time despise Stewart for his treatment of Ada.   Whereas Ada is presented as a victim of the cultural norms of her time period, she still transcends beyond this, to adopt contemporary ideals and relate to the audience.   The fact that she cheats on her husband is a motive for dislike, but it is also key to the liberation she achieves from her mundane existence. The fact that she does not embody the role of the victim throughout the entire film is testament to the film’s reality.   Baines also becomes an equally likeable figure in that his sexual advances evolve from something seemingly corrupt to an actual full blown love affair.   This triangular relationship between the three main characters says a lot about male and female relations during the time.   The authors also correspond to Ada’s relationship with men to the nature of post-colonialism, which was also a big part of New Zealand at this time and also a big part of this film. The relationship between the oppressor and the oppressed is a key theme in the relationships Ada has with men.   The colonial history of 1850’s New Zealand is encompassed within the plot.   This is an example of how ideology is used in narrative to enhance the value of a message more relevant.   In confronting these ideals of colonization, the film came under much scrutiny.   Many felt the film gave a false presentation of race.   During this time there were many Maori, who argued they were the product of White New Zealanders’ social injustice. They felt the film’s disregard for their cultural relevance was a form of national mythmaking, in avoiding the argument that whites staked claim on their land. This conflict is overlooked by the plot, but the nature of its severity is still implied through the topic being completely disregarded. It is also a common controversy within the land that many foreign investors come and buy land, from potentially the wrong owners. By disregarding their true history, the national identity presented for New Zealand is that of a small land with a history for sale. The connection with national identity here is cultural.   This differs from the connection visible in The Truman Show. Just like The Piano, The Truman Show poses an argument larger than itself in respect to national identity, only this film speaks more metaphorically.   The idea previously posed in National Identity and Self Esteem, was that national identity is largely the product of a model that is followed by a group of people.   These people are so caught up in the ideals of the group, they rather sacrifice their own individual comforts for the good of the team. The authors found that these groups are also very competitive with one another, identifying their identity with that of the group and basing the groups identity on their contrast from other groups.   This becomes very relative to some of Rene Girard’s views.   In his seminal theory of mediated desire Rene Girard argues that human desire is imitative.   His views is that the goals we hold most personal are actually the desires of others which we want to achieve because others want to achieve them. This is very compatible with the ideals of national culture and the cult group fallowing it incites.   This is also seen constantly in The Truman Show, the main motivation for Truman to escape the studio/town is to travel to Fiji after his one true love.   If the character personifying his school crush had never desired to move there, Truman would have never desired to follow.   This is a direct personification of Girard’s theory, as well as an example of Morse and Halev’s version of national identity.   Here it is easy to see the differing way in which The Truman Show represents national identity from how it is used in The Piano. In sum, through an understanding of identity theory and New Zealand culture, we can develop a better understanding of the directors’ use of national identity in the films The Piano, and The Truman Show.   National identity is depicted in The Piano through its cultural connotations, historical representation, and it authenticity to social norms. Despite all of its awards, the films inability to stay true to the ethnic history of the town is proof that it attempts to mold national identity through its filmic ideals.   The directors pick and chose the ideology they identify with and disregard the other aspect of New Zealand culture.   Whereas The Truman Show does not attempt to shape the national culture of New Zealand, it is virtually unidentifiable as a New Zealand film, except for the fact that is written by a New Zealander. What the film contributes to national identity is its use of the theories backing it, and its own underlying message on the nature of the conflict. What the film reveals about national identity is its dependency on the narrative of a film.   The ironic fact is that it does this through its own abuse of the power.   Truman represents everyman against the crowd.   The complex world he interacts with is very similar to the real world, only in his world he really is the center of attention.   The most intimate aspects of an individual’s life, like marriage, personal goals and beliefs are all a product of a false reality. This concept is very similar to Freudian theory, Marxist theory, biblical references and even many science fiction narratives.   What the films reveals about national identity is its core nature.   The entire town operates in one direction and for one purpose.   Truman is the only one who is unaware of this purpose, but he still seems to follow along contributing to what he feels is the best interest of the group.   His desires are compatible with his nation’s desires, until he breaks free from this methodology of control.   Both of these films interact with national identity theory; both are products of New Zealander culture, and both are great films. Work Cited Adorno, Theodor W. and Max Horkheimer. Dialectic of Enlightenment: Philosophical Fragments. 1947. Trans. Edmund Jephcott. Stanford: Stanford UP, 2002. Chatman, Seymour (1978) Story and Discourse: Narrative Structure in Fiction and Film (Ithaca, NY: Cornell University Press). Cheshire, Ellen. Jane Campion. Great Britain: Pocket Essentials, 2000. Eric Young (Executive Producer). (1998). â€Å"How's It Going To End? The Making of The Truman Show, Part II† [DVD (Special Feature)]. Paramount Pictures Home Entertainment. Girard, Renà ©. Deceit, Desire, and the Novel: Self and Other in Literary Structure. Trans. Yvonne Freccero. Baltimore, MD: Johns Hopkins UP, 1965. Helen Martin and Sam Edwards, New Zealand Film, 1912-1996. Auckland: Oxford University Press, 1997. vi+215 pp. Illustrations, bibliography, index. Kaufman, Cynthia. â€Å"Colonialism, Purity, and Resistance in The Piano.† Socialist Review 24 (1995): 251-55. Sanes, Ken. Truman as Archetype. Transparencynow.com. 1996-2001. 29 July 2004. . Slavin, John (2002) Lost causes : the ideology of national identity in Australian cinema. PhD thesis, Department of English, University of Melbourne. The Piano. (2007, January 18). In Wikipedia, The Free Encyclopedia. Retrieved 22:37, January 22, 2007, from http://en.wikipedia.org/w/index.php?title=The_Piano&oldid=101515698 The Truman Show. (2007, January 19). In Wikipedia, The Free Encyclopedia. Retrieved 22:33, January 22, 2007, from http://en.wikipedia.org/w/index.php?title=The_Truman_Show&oldid=101870034 The Truman Show (1998) Directed by Peter Weir, screenplay by Andrew Niccol (Hollywood, CA: Paramount).

The Commonality and Differences of the Hispanic Culture in the United States - Free Essay Example

Sample details Pages: 3 Words: 998 Downloads: 7 Date added: 2017/09/19 Category Environment Essay Type Argumentative essay Did you like this example? The Commonality and Differences of the Hispanic Culture in the United States Hispanics represent a variety of cultures from Mexico, the Caribbean Islands, Central and South America. Of the many Hispanic cultures now living in the United States, four will be used to examine the political, linguistic, religious, and socio-economic behavior of Hispanics. Mexican-Americans: Mexican-Americans have either had families that have lived within the United States for over 400 years, some not as long, and others have just recently emigrated to the U. S. from Mexico. The Spanish of Mexicans is influenced by the Spaniards who occupied Mexico and a heavy Latin influence as the policy of linguistics, a sort of lingua franca, was greatly influenced by the Spanish Crown who was often at odds with the Catholic Church in this regard, which also reveals quite a bit about the religious influences of Mexican-Americans, who are primarily Catholic, although there is a variety of religious sects wi thin that culture, such as the Santero tradition, and many others. 1) (2) Because Mexican-Americans are one of the most economically disadvantaged groups in the United States, (3), religion plays a big part in how they cope with this disadvantage, and while there are claims that they are underrepresented in politics, there is The League of Latin American Citizens, a political rights advocate group for all Hispanics, founded by Mexican Americans in 1929. Puerto Rican-Americans: The language of Puerto Rico is considered to be a Caribbean variant of Spanish that is a combination of Spanish, Taino, (the indigenous language), and Kongo, which was imported from West African Slaves. (4) However, Puerto Rican-Americans also can be people who only speak English, are bilingual, or only speak Spanish. While Puerto Ricans can have a variety of genetic influences and not at all look â€Å"Hispanic†, it is not how they look; however, that is a determination for many Puerto Rican-America ns as to who is Puerto Rican as much as it is their ability to speak Spanish. 5) Since the passage of the Jones Act of 1917, when Puerto Ricans were made American citizens, a cycle of immigration has developed where Puerto Ricans will immigrate to the U. S. to improve their economic status, stay as long as there is improvement, and when not, move back to their homeland, and as is with most Hispanics, their religion is primarily Catholic, but also heavily influenced by the Santeria, and voodoo cults. (6) Cuban-American: Of all the Hispanic cultures within the U. S. Cuban-Americans are perhaps the most affluent and politically connected. After Castro’s coup the first wave of Cuban immigrants did very well economically, assimilated easily, thus the language of many Cuban-Americans from that first wave is primarily English, with subsequent waves of Cuban families not as successful economically, partially because they lacked the financial acumen of the first wave who were not r aised under a communist regime. (7) Cuban-Americans are perhaps the most conservative of Hispanics in the U. S. , mostly Catholic, although due to the anti-religious bias of Castro’s Cuba, there are some who do not claim any religion at all, and a emphasis on their children’s learning English, even at the expense of Spanish fluency common, although the women of middle class Cuban families view a competency in Spanish as essential for themselves. (8) Uruguayan-American: Because the economic and political status of Uruguay was very westernized and strong for many years, Uruguayans did not really begin immigrating to the U. S. ntil about the 1960’s. Even then, many Uruguayans were more inclined to immigrate to Argentina, due to its proximity and shared language. Spanish is the language spoken of most Uruguayans, although many are bilingual due to the excellent education provided in Uruguay, and there is a slight difference in pronunciation in their Spanish than other Hispanics. Uruguay is also a fairly secular state, so those who are not Catholic or Christian tend to be secular in their religious views, and their political status within the U. S. is indiscernible currently as they represent a much smaller portion of Hispanic immigrants who have only recently begun to immigrate. (9) The obvious commonality between these groups is the Spanish language, although there are differences in that language depending upon the founding effect, and the region of which they came. Catholicism also tends to link these groups together, although not so much for Uruguayans, and of course, there are differences there as well, as not all are Catholics. There are far more differences than common features of each culture, and while many of each prefer to view themselves as simply Americans, those who do identify as hyphenated Americans tend to illustrate the variety of differences between each culture, which are vast and as wide as the mileage between the ir homelands, and what is clear is that Hispanics are not simply just one united culture, but are a disparate mixture of many cultures. References: Espinoza, Gaston Garcia, Mario T. 2008). Mexican-American Religions: Spirituality, Activism and Culture. Durham, NC: Duke University Press. Ballestra, Alejandra, Martinez Glenn, Moyna, Maria I. (2008). Recovering the U. S. Linguistic Heritage: Socio-historical approaches to Spanish in the United States. Huston, TX: Arte Publico Press. Public Policy Institute of California. (2002). The Economic Progress of Mexican-Americans. San Francisco, CA: Grogger, Jeffery Trejo, Stephen J. Center for Applied Linguistics. 1974). A Socio Linguistic Study of Assimilation: Puerto Rican English in New York City. Washington, D. C. : Wolfram, Walt. Garcia, Jessica Nieves-Ferris, Kristin. (2001). Hablas Spanish? : The Linguistic Culture of Bronx Puerto Ricans. Retrieved from https://www. nyu. edu/classes/blake. map2001/puertorico. html Green, Derek. Puer to Rican Americans. Retrieved from https://www. everyculture. com/multi/Pa-Sp/Puerto-Rican-Americans. html Buffington, Sean. Cuban Americans: History, Slavery, Revolution, Modern Era, Significant Immigration Waves, Settlement Patterns, Acculturation and Assimilation, Education. Retrieved from https://www. everyculture. com/multi/Bu-Dr/Cuban-Americans. html Lambert, Wallace E. Taylor, Donald M. (2010). Language in the Lives of Ethnic Minorities: Cuban-American Families in Miami. Oxford Journals, volume 17(issue 4), pages 477-500. Spear, Jane E. Uruguayan Americans. Retrieved from https://www. everyculture. com/multi/Sr-Z/Uruguayan-Americans. html Don’t waste time! 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