🌹Merce's blogging project🥊

For this assignment, I took on a creative spin on the first Industrial revolution, putting on the shoes of someone living during that time period.

This second essay compared Nationalism and Liberalism, trying to decide which one was better between the two and why.

(The text was turned into a google docs for efficiency, to only copy and paste without having to edit so it'd look good in Tumblr.)

This essay talked about the influence the Magna Carta's history, why it exists, and the influence it had on present written laws.

The following portfolio is made up of the major writings I've done for this discipline, which is British Social Studies. The writings compilated here are three essays. The first one was about the relevance of written rules using the Magna Carta as an example, the second about whether nationalism or liberalism was the fairer political system, and lastly, the third one was an industrial revolution-themed creative one. To finish it off, there's a reflective account at the end that conveys my experience doing these writings and what they've helped me (or not) to learn. This portfolio's importance lies in its use as an archive, allowing me and whoever reads it to keep track of my learning process and continue having access to my academic writings in the future.

He arrived at Colonia Vela with absolutely nothing, and in just three days, he lived everything. And he fought for it, against all odds. Against those who have been playing him all along. He fought for himself, his Marta, and his dream. This was his last chance, and he took it.

Because that's who he is. What makes him, him. He's a man that doesn't give up, smiling against any struggle. It permeates his identity as a lover, friend and boxer. It's his refreshing straight-forwardness in a society of pretense what makes him meet his best friend and the love of his life in that little town in the middle of nowhere. And it's through him that Andrés and Marta change and rebel, instead of bowing down. He made them get loud against those they wouldn't have dared to before.

If there is a good man in this world, that is Tony Rocha. In spite of his size and profession, he is not that quick to violence. He is nicer than many "smart" people I've known.

We only ever see him get violent when his loved one's well-being or his name are threatened. He is quick to defend what he loves, and to some degree, infect others with his spirit.

When two military police men approach them and demand autographs, Rocha gives it to them as second nature, while Galván outright refuses. He doens't do autographs, especially to men in uniform. The men insist, getting furious at his perceived arrogance. Where the singer would usually back down and try to mediate the situation, he finds himself doubling down, motivated by a single, hard stare from our friendly giant. With just a stare, he brought out a determination inside his friend the man thought forgotten.

Things escalate to the point Rocha's hand gets hurt by one of the officers, hard. It swells and bleeds as the officers drive away nonchalantly, while the duo have to walk back to the pension.

It's there that we as readers find how really out of the loop Rocha is. While Galván puts ice on Rocha's hand and tries to convince him to quit and go back to Baires with him, the latter shuts him down, saying he won't let himself be "intimidated" by those thugs. He rationalizes what just happened with the police officers as just an attempt by the locals to intimidate him and lowers his spirits, not seeing it for what it really is, military oppression. Those two men, those two aggressors thought they were entitled to them just because of their ranks in the military.

Galván knows this. His nonconformity is why he's made to leave, while Rocha's exemplary obedience is why he's allowed to stay. The friends are separated so Andrés can't contaminate 𝙍𝙤𝙘𝙝𝙞𝙩𝙖's mind with his dangerous ideas.

After that scene at the restaurant and his excitable, clumsy behavior at Dr. Bayo's house, the man organizing the event in the first place, Galván's seemingly endless patience runs out. He finally snaps at Rocha, yelling at him loudly, tired of the man's constant chatter. While it is an understandable outburst, I personally would've chosen my words more carefully.

Contrary to what one might believe of such a large, imposing man, there are no insults or physical retaliation from the Rocha. Just silence. He doesn't make a move or emit a single sound, not wanting to aggravate his friend more. The veteran boxer stands in place as Galván walks on without him.

It is unclear at what time he comes back to the pension, but it is implied to be very late in the night. Tony must've slept cried himself to sleep that night. I know I would've, if I was him. By his lack of surprise this isn't the first time it happens to him. Although I doubt that makes it any less painful. Overwhelming your loved ones by just being yourself is really tragic.

He's not even mad at Andrés. He understands it. That's quite a wise reaction, especially coming from him. But then again, it is life that makes you wise. Having gone through this probably many times throught his life, ever since he was but a tender child, he already knows better than opening hismouth when the other person is upset. Upset at him.

When our boy Rocha finds a "friendly" face on that small town full or strangers, he latches on, and doesn't let go. I find how quick Rochita is to cling to anyone he feels shares something common with him deeply relatable.

The man in question is an entertainer, just like Rocha is. But not just any entertainer. He is Andrés Galván, a formerly well-known tango singer. Rochita owns one of his discs. He likes him, and wants Galván to like him back. He wants them to be friends, and in fact, already perceives them to be.

After finding a place to sleep for the night, where Rocha is quick to foot the bill when nobody asked him to, the pair goes out to grab a bite... at a restaurant. A fancy one.

This is where Rochita's social cluelessness comes into play, highliting the internal differences between him and Galván. From the minute they walk in, everyone there stares at him -and by extension, at Galván- as they sit on a table at the center. Rocha couldn't be any more out of place in the restaurant if he wanted to, but he doesn't even realize this. He thinks the attention is good, and doesn't understand why his friend would want to sit at the back and hide, instead of sitting where everyone can see them. Can't he see they're personalities here?

He pays no mind at the eyes set on him, eating to his heart's content, and emptying a whole bottle of wine by himself. He soon orders dessert for both of them, and gets a bit carried away when talking to Galván about himself back in his hayday.

When one thinks of a boxer, one thinks of a man. A big, burly adult man with an intimidating air around him that doesn't stem purely from their exterior, but from their interior as well.

Tony "𝙍𝙤𝙘𝙝𝙞𝙩𝙖" Rocha is, instead, a boy. Not because he lacks masculinity, but because he's so naive, despite being a grown man. There is a notorious dissonance between his appearance and his behavior. He's excitable, affable and most importantly, needy of attention.