DOCSLIB.ORG

Das Erlöschen Der Natur: European Revolutionary Discourse in 19Th

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Das Erlöschen Der Natur: European Revolutionary Discourse in 19Th Das Erlöschen der Natur: European Revolutionary Discourse in th 19 Century Tagalog Translation (A study of Jose Rizal's translation of Friedrich Schiller's Wilhelm Tell) Dissertation Zur Erlangung der Würde des Doktors der Philosophie der Universität Hamburg vorgelegt von RAMON GUILLERMO aus Manila, Philippinen Hamburg 2005 Ramon Guillermo 2 1. Prof. Dr. Rainer Carle (1. Gutachten) 2. PD Dr. Arndt Graf (2. Gutachten) 3. Prof. Dr. Nilo Ocampo (3. Gutachten) Tag der mündlichen Prüfung: 15.09.2005 Ramon Guillermo 3 CONTENTS pages Abbreviations, Lists of Tables and Figures Acknowledgements .......... ..4 Acknowledgments ................................................................................. .. 5 1. Jose Rizal's Translation of Wilhelm Tell ……………………………….. 6 2. Reconstructing Structures of Textual Cohesion…………………….. 28 3. Reconstructing Structures of Textual Coherence..…………………… 86 4. The Problem of Translating "Natur"…………………………………... 173 5. Conclusion ……………………………………………………………… 215 6. Bibliography …………………………………………………………….. 219 Ramon Guillermo 4 ABBREVIATIONS ST Source Text TT Target Text SL Source Language TL Target Language WT Wilhelm Tell (Schiller) GT Guillermo Tell (Rizal) LIST OF TABLES Table 1: Comparison of WT and GT Wordlists Table 2: Significant High Cohesion Words in WT and GT Table 3: Various occurrences of the key word (Natur) in context Table 4: Intercalated texts from the original and the translation LIST OF FIGURES Figure 1: First Page of Rizal's Guillermo Tell Manuscript Figure 2: Last Page of Rizal's Guillermo Tell Manuscript (with ancient Tagalog script) Figure 3: Common Word-forms in Rizal's original and Ponce's edition Figure 4: Combination of Methodological Approaches Figure 5: Vocabulary Flow Graphs of WT using different scan lengths Figure 6: Vocabulary Flow Graphs of GT using different scan lengths Figure 7: Comparison of Vocabulary Flow Graphs of WT and GT Figure 8: Comparison of Hapaxa Graphs of WT and GT Figure 9: WT Repetition Matrix Figure 10: GT Repetition Matrix Figure 11: Comparison of Cohesion Patterns of WT and GT Figure 12: Relevant GT and WT clusters Fig. 13: "Ibinalik mong laban sa akin..." Fig. 14: "Nagbabalik ang matandang lagay..." Fig. 15: "Walang loob na anak ng Suisa..." Fig. 16: "Gulu! Suay! revolucion!" Fig. 17: Comparative Distribution of Semiological Polarities Figure 18: Lexical Diversification of "Natur" Figure 19: Distribution Graph of "Natur" and its Equivalents Figure 20: Homology between types of economic exchange and modes of translation Figure 21: Translating "Natur" according to the two translational modes Figure 22: Translational Transformations from "Natur" to "loob" I Figure 23: Translational Transformations from "Natur" to "loob" II Ramon Guillermo 5 ACKNOWLEDGEMENTS This research would not have been possible without the generous financial support of the Deutscher Akademischer Austauschdienst (DAAD) and of the Departamento ng Filipino at Panitikan ng Pilipinas (DFPP) at the Kolehiyo ng Arte at Literatura (KAL), Unibersidad ng Pilipinas. Many thanks are due to my dissertation advisers Prof. Dr. Rainer Carle (Uni- Hamburg) and Prof. Dr. Nilo Ocampo (UP) for their unwavering support and unstinting faith in the value and progress of the work. For their insights and valuable comments, I would like to thank the members of the examination committee Dr. Arndt Graf PD and Dr. Martina Heinschke. I would also like express my gratitude to the friends, teachers and co-students who have contributed so much in more ways than one to the completion of this project: Dr. Robert Martens, Divina Martens, Dami Toda, Achim Kehlenbach, Joko Mirwan Muslimin, Kim Lim Hui, Agustiana Maryajani, Dina Apriani, Portia Reyes, Lawrence Coronel and the members of PHILSTUD. For their sharp critical comments and kind words of encouragement, I am grateful to Zeus Salazar, Caroline Hau, Atoy Navarro and Benedict Anderson. For being always with me through thick and thin, my unending gratitude goes to Gelacio Guillermo, Alice Guillermo, Sofia Guillermo and my Laarni. Ramon Guillermo Hamburg, 2005 Ramon Guillermo 6 Chapter 1: Jose Rizal's Translation of Wilhelm Tell Not many know that Jose Rizal (1861-1896), the Philippine national hero and author of the novels Noli me Tangere (1887) and El Filibusterismo (1891), had among other things also translated Friedrich Schiller's (1759-1805) Wilhelm Tell (1804) direct from German into the Tagalog language as Guillermo Tell (1886).1 Rizal took up the study of the German language during his stay in Germany (1886-1887) and worked on some other translations aside from Wilhelm Tell. Among the writings he translated or attempted to translate from German into either Spanish or Tagalog were the scientific ethnological writings by the scholars Ferdinand Blumentritt2 (1853-1913), Theodor Waitz3 (1821-1864), Fedor Jagor's (1817-1900) Reisen in den Philippinen4 (1873) and five children's stories in German translations by the Danish writer Hans Christian Andersen.5 Why in the first place did Rizal choose to translate Schiller's Wilhelm Tell6 into the Tagalog language? Rizal explained to his Austrian friend Blumentritt that his countrymen (specifically his brother) had requested him for a Tagalog translation of this work by Schiller. Rizal wrote his friend Blumentritt from Leipzig on Oct. 2, 1886, 1 Further information on Rizal's stay in Germany can be found in Hermogenes E. Bacareza, "Rizal, the Initiator of Philippine-German Cultural relations," in Jose Rizal in Germany (Bonn: Inter Nationes, 1986), 11-33. More on Rizal from the German point of view can be read in Bernhard Dahm, Jose Rizal: der Nationalheld der Filipinos (Gottingen: Muster-Schmidt, 1988). A translation of his first novel in German is also extant: Jose Rizal, Noli me tangere, trans. A. del Cueto-Mört (Frankfurt: Insel-Verlag, 1987). 2 This work was Blumentritt's "Bericht über die Ethnographie der Insel Mindanao." The finished Spanish translation was sent by Rizal from Berlin on November 28, 1886 to Blumentritt. More on Blumentritt in Harry Sichrovsky, Der Revolutionär von Leitmeritz. Ferdinand Blumentritt und der philippinische Freiheitskampf (Wien, 1983). 3 Rizal attempted to translate the fifth volume of Theodor Waitz's Anthropologie der Naturvolker which was especially devoted to the study of Malays. He probably started the translation on 29, Nov. 1886 (Letter to Blumentritt dated November 28, 1886) and finished up to a third of it by December 1886. But he wrote in another letter to Blumentritt dated April 24, 1887 that he had not yet been able to finish it. Cf. Jose Rizal, The Rizal-Blumentritt Correspondence. Vol. 1 (1886-1889) (Manila: National Historical Institute). 4 He expressed his intent to Blumentritt to translate this work into "Tagalisch" on 26, January 1887, Berlin. 5 Cf. Nilo Ocampo, May Gaua Caming Natapus Dini: si Rizal at ang Wikang Tagalog (Quezon City: OVCRD, 2002), 474-515. 6 The original manuscript of Rizal's translation in 82 large manuscript pages is available at the Philippine National Library in the Mariano Ponce Collection. Schiller's original Wilhelm Tell was first published in 1804. Cf. Friedrich Schiller, Wilhelm Tell, vol. 10, Schillers Werke, Nationalausgabe, ed. Siegfried Seidel (Weimar: Hermann Böhlaus Nachfolger, 1980), 129-277. Ramon Guillermo 7 Ich bitte Sie um Entschuldigung weil ich versäumt habe, Ihren wie immer freundlichen Brief zu beantworten: ich war und bin noch sehr beschäftigt, denn meine Landsleute haben mir tagalische Übersetzungen von Schiller's Werken verlangt. Wie schwer muss diese Arbeit für mich seindass können Sie sich leicht einbilden, da Sie manche von den Eigentümlichkeiten unserer Sprache kennen, welche eine sehr verschiedene Ausdruckart als die deutsche hat. Ich muss eine Phrase lange besinnen und betrachten, und dann suche ich den entsprechende Ausdruck auf Tagalisch, die Umschreibungen und die germanismos sorgfaltig vermeidend [sic]. Ich tröste mich mit dem Gedanke dass ich die Ehre haben werde den grossen Schiller den Philippinen in Tagalisch vorzustellen.7 (I ask you for forgiveness that I did not answer your friendly letter immediately. I was and still am very busy because my countrymen have asked me for Tagalog translations of Schiller's work. You can easily imagine how difficult this work for me is since you know some of the characteristics of our language which has a very different style of expression from the German. I have to think over a phrase long and hard and then I attempt to look for a corresponding Tagalog expression and to avoid circumlocutions and germanisms. I comfort myself with the thought that I will have the honor of introducing the great Schiller to the Filipinos in the Tagalog language.) Rizal pointed out in his letter to Blumentritt that the latter surely knew the great difficulties a translator from German to Tagalog would face, since Blumentritt knew from his ethnolinguistic studies the "peculiarities" (Eigentümlichkeiten) of the Tagalog language which 7 Cf. The Rizal-Blumentritt Correspondence. Vol. 1, 15. Ramon Guillermo 8 possessed a "very different mode of expression" ("sehr verschiedene Ausdruckart") from the German language. In further letters to Blumentritt (December 24 and 30 of 1886),8 Rizal sheds light on his views regarding translational "correspondence" and accuracy at the level of individual words. His opinions can be derived from his sustained effort to discover translations of key terms from German into the Spanish language. For example. Rizal thought it inappropriate to fashion a technical neologism
Load more

Recommended publications
  • André-Ernest-Modeste Grétry
    pour la cour qu’il créée Zemire et Azor en 1771, où Marmontel parodie La Belle et la Bête. Cette nouvelle œuvre dédiée à Madame Du Barry lui vaut l’admiration de la famille royale, des courtisans puis du public, l’aspect fantastique de l’œuvre attisant la curiosité de l’auditoire, confondu par la mystérieuse scène du tableau magique… Triomphe absolu, et là encore Grétry donne le sentiment de proposer un nouveau type de spectacle. 1773 voit le succès du Magnifique écrit avec Sedaine, suivi de La Rosière de Salency, et surtout du premier “Grand Opéra” de Grétry, représenté à l’Opéra Royal de Versailles pour le Mariage du Comte d’Artois : Céphale et Procris. La nouvelle Reine, Marie-Antoinette, s’est tellement entichée de Grétry qu’elle devient la marraine de sa troisième fille en 1774, justement prénommée Antoinette. En six ans à peine, le jeune liégeois arrivé inconnu à Paris en est devenu le principal compositeur, stipendié par la cour… André-Ernest-Modeste Grétry Mais la représentation d’Iphigénie en Aulide de Gluck, au printemps 1774, est une 1741-1813 déflagration de modernité, et lorsque juste après, Céphale et Procris est présenté à l’Académie Royale de Musique, le public est déçu de son manque d’audace. Grétry est éclipsé par le Chevalier Gluck… La fausse magie en 1775, tièdement accueillie, Né à Liège dans une famille de musiciens, il intègre la maîtrise de la Collégiale Saint- est suivie du rebond des Mariages Samnites en 1776, au moment où les œuvres Denis où son père était premier violon.
    [Show full text]
  • PHILCONGEN LOS ANGELES COMMEMORATES the 4Th ANNUAL RIZAL DAY in CARSON and 120Th MARTYDOM of DR
    PRESS RELEASE ASC-001-2017 PHILCONGEN LOS ANGELES COMMEMORATES THE 4th ANNUAL RIZAL DAY IN CARSON AND 120th MARTYDOM OF DR. JOSE P. RIZAL Photo above shows Consul General Adelio Angelito S. Cruz giving his speech. The City of Carson in cooperation with the Philippine Consulate General in Los Angeles, Dr. Jose P. Rizal Monument Movement (JPRMM), Kalayaan, Inc. and the Knights of Rizal held a wreath laying ceremony on 29 December 2016 at the International Sculpture Garden to commemorate the 4th Annual Rizal Day in the City of Carson and the 120th Anniversary of the Martyrdom of Dr. Jose P. Rizal. The Consulate General was represented by Consul General Adelio Angelito S. Cruz while the City of Carson, led by Councilmember Elito Santarina who offered their respective wreaths at the foot of the Rizal Monument. Other Fil-Am organizations, particularly Kalayaan, Inc., JPRMM, Knights of Rizal and Fleet Reserve Veterans Association, Branch 302, also offered their own wreaths. In December 2013, the City of Carson approved and adopted Resolution No. 13-121, declaring December 30 of every year for the City of Carson, California – “A day of honoring and remembering RIZAL for the ideals of liberty, equality and justice, and for the noble principles he advocated which may serve to inspire people to become good citizens”. Leaders of various Filipino-American Associations in Southern California participated in this year’s event. City of Carson Officials including City Treasurer Monica Cooper, Assistant City Manager Cecil Rhambo and former City Mayor Jim Dear also graced the occasion. In his remarks, Consul General Cruz remarked “This year’s Theme, ‘Rizal: Bayaning Global, Aydol ni Juan’, is as timely and as meaningful not only to our Kababayans back home but to each of the 10 million Filipinos living and working abroad”.
    [Show full text]
  • The Italian Girl in Algiers
    Opera Box Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Gioachino Rossini – a biography .............................45 Catalogue of Rossini’s Operas . .47 2 0 0 7 – 2 0 0 8 S E A S O N Background Notes . .50 World Events in 1813 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 GIUSEPPE VERDI SEPTEMBER 22 – 30, 2007 The Standard Repertory ...................................71 Elements of Opera .......................................72 Glossary of Opera Terms ..................................76 GIOACHINO ROSSINI Glossary of Musical Terms .................................82 NOVEMBER 10 – 18, 2007 Bibliography, Discography, Videography . .85 Word Search, Crossword Puzzle . .88 Evaluation . .91 Acknowledgements . .92 CHARLES GOUNOD JANUARY 26 –FEBRUARY 2, 2008 REINHARD KEISER MARCH 1 – 9, 2008 mnopera.org ANTONÍN DVOˇRÁK APRIL 12 – 20, 2008 FOR SEASON TICKETS, CALL 612.333.6669 The Italian Girl in Algiers Opera Box Lesson Plan Title Page with Related Academic Standards lesson title minnesota academic national standards standards: arts k–12 for music education 1 – Rossini – “I was born for opera buffa.” Music 9.1.1.3.1 8, 9 Music 9.1.1.3.2 Theater 9.1.1.4.2 Music 9.4.1.3.1 Music 9.4.1.3.2 Theater 9.4.1.4.1 Theater 9.4.1.4.2 2 – Rossini Opera Terms Music
    [Show full text]
  • Producing Rizal: Negotiating Modernity Among the Filipino Diaspora in Hawaii
    PRODUCING RIZAL: NEGOTIATING MODERNITY AMONG THE FILIPINO DIASPORA IN HAWAII A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ASIAN STUDIES AUGUST 2014 By Ai En Isabel Chew Thesis Committee: Patricio Abinales, Chairperson Cathryn Clayton Vina Lanzona Keywords: Filipino Diaspora, Hawaii, Jose Rizal, Modernity, Rizalista Sects, Knights of Rizal 2 TABLE OF CONTENTS Acknowledgements……………………………………………………………………..…5 Chapter 1 Introduction: Rizal as a Site of Contestation………………………………………………………………………………………....6 Methodology ..................................................................................................................18 Rizal in the Filipino Academic Discourse......................................................................21 Chapter 2 Producing Rizal: Interactions on the Trans-Pacific Stage during the American Colonial Era,1898-1943…………………………..………………………………………………………...29 Rizal and the Philippine Revolution...............................................................................33 ‘Official’ Productions of Rizal under American Colonial Rule .....................................39 Rizal the Educated Cosmopolitan ..................................................................................47 Rizal as the Brown Messiah ...........................................................................................56 Conclusion ......................................................................................................................66
    [Show full text]
  • RIZAL: the FIRST EMO? Simple Life Lessons from the Extraordinary Story of José Rizal
    1 RIZAL: THE FIRST EMO? Simple Life Lessons from The Extraordinary Story of José Rizal By Prof. Michael Charleston “Xiao” B. Chua, additional annotations by Dr. Floro C. Quibuyen Note: Xiao Chua, a faculty of the History Department at the De La Salle University and a member of the Sucesos Chapter of the Order of the Knights of Rizal, presented this paper during the exhibition “Through The Looking Glass: José Rizal” at the Manila Contemporary on 9 June 2012, Whitespace, Chino Roces Ave., Pasong Tamo Ext., Brgy. Magallanes, Makati City in the presence of the Supreme Commander of the Order of the Knights of Rizal, Sir Reghis M. Romero II, KGCR. In the spirit of Rizal’s annotations to Dr. Antonio Morga’s “Events in the Philippine Islands,” Dr. Floro Quibuyen, author of A Nation Aborted: Rizal, American Hegemony, and Philippine Nationalism, gives his expert annotations to the lecture in footnotes which will enhance or even give a contrary opinion to what the author wrote. This conversation between a young history teacher and a retired UP Professor may well represent the different and even fresh views on Rizal. Edited by Ms. Iris Angela Ferrer, Project Manager of Manila Contemporary. Introduction Jose Rizal is everywhere yet many think he is not relevant anymore. His monuments, built as reminders of his heroism, stand distant and unreachable on his pedestal, as if deliberately exaggerating our insignificance. It even comes to a point that one may say “I can’t be like him.” The western construct of a hero originated from the Greeks. It points to a strong-willed and supernatural character who consciously directs his abilities for the good of the people.
    [Show full text]
  • Philippines, March 2006
    Library of Congress – Federal Research Division Country Profile: Philippines, March 2006 COUNTRY PROFILE: PHILIPPINES March 2006 COUNTRY Formal Name: Republic of the Philippines (Republika ng Pilipinas). Short Form: Philippines (Pilipinas). Term for Citizen(s): Filipino(s). Capital: Manila. Click to Enlarge Image Major Cities: Located on Luzon Island, Metropolitan Manila, including the adjacent Quezon City and surrounding suburbs, is the largest city in the Philippines, with about 12 million people, or nearly 14 percent of the total population. Other large cities include Cebu City on Cebu Island and Davao City on Mindanao Island. Independence: The Philippines attained independence from Spain on June 12, 1898, and from the United States on July 4, 1946. Public Holidays: New Year’s Day (January 1), Holy Thursday (also called Maundy Thursday, movable date in March or April), Good Friday (movable date in March or April), Araw ng Kagitingan (Day of Valor, commonly called Bataan Day outside of the Philippines, April 9), Labor Day (May 1), Independence Day (June 12), National Heroes Day (last Sunday of August), Bonifacio Day (celebration of the birthday of Andres Bonifacio, November 30), Eid al Fitr (the last day of Ramadan, movable date), Christmas Day (December 25), Rizal Day (the date of the execution by the Spanish of José Rizal in 1896, December 30). Flag: The flag of the Philippines has two equal horizontal bands of blue (top) and red with a white equilateral triangle based on the hoist side; in the center of the triangle is a yellow sun with eight primary rays (each containing three individual rays), and in each corner of the triangle is Click to Enlarge Image a small yellow five-pointed star.
    [Show full text]
  • Wilhelm Tell 1789 — 1895
    THE RE-APPROPRIATION AND TRANSFORMATION OF A NATIONAL SYMBOL: WILHELM TELL 1789 — 1895 by RETO TSCHAN B.A., The University of Toronto, 1998 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of History) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April 2000 © Reto Tschan, 2000. In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the library shall make it freely available for reference and study. 1 further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of 'HvS.'hK^ The University of British Columbia Vancouver, Canada Date l^.+. 2000. 11 Abstract Wilhelm Tell, the rugged mountain peasant armed with his crossbow, is the quintessential symbol of Switzerland. He personifies both Switzerland's ancient liberty and the concept of an armed Swiss citizenry. His likeness is everywhere in modern Switzerland and his symbolic value is clearly understood: patriotism, independence, self-defense. Tell's status as the preeminent national symbol of Switzerland is, however, relatively new. While enlightened reformers of the eighteenth century cultivated the image of Tell for patriotic purposes, it was, in fact, during the French occupation of Switzerland that Wilhelm Tell emerged as a national symbol.
    [Show full text]
  • Download Booklet
    Boomin Bass and Bari one BEST LOVED OPERA ARIAS Best loved opera arias for Bass and Baritone 1 Gioachino ROSSINI (1792–1868) 6 Jacques OFFENBACH (1819–1880) 11 Gioachino ROSSINI 15 George Frideric HANDEL (1685–1759) Il barbiere di Siviglia 4:57 Les Contes d’Hoffmann 4:09 Guillaume Tell (‘William Tell’) (1829) 2:41 Acis and Galatea (1718) 3:26 (‘The Barber of Seville’) (1816) (‘The Tales of Hoffmann’) (1881) Act III, Finale – Aria: Sois immobile (Guillaume) Act II – Aria: O ruddier than the cherry Act I – Cavatina: Largo al factotum Act II – Scintille, diamant! (Dappertutto) Andrew Foster-Williams, Bass-baritone (Polyphemus) della città (Figaro) Samuel Ramey, Bass • Munich Radio Orchestra Virtuosi Brunensis • Antonino Fogliani Jan Opalach, Bass • Seattle Symphony Orchestra Lado Ataneli, Baritone Julius Rudel (8.555355) (8.660363-66) Gerard Schwarz (8.572745-46) Württemberg Philharmonic Orchestra 7 Wolfgang Amadeus MOZART (1756–1791) 12 Giuseppe VERDI (1813–1901) 16 Gioachino ROSSINI Lodovico Zocche Le nozze di Figaro 4:01 Nabucco (1842) 4:14 Mosè in Egitto 4:55 (8.572438) (‘The Marriage of Figaro’) (1786) Act II, Scene 2 – Recitative: (‘Moses in Egypt’) (1818, Naples version 1819) 2 Georges BIZET (1838–1875) Act I, No. 10 – Aria: Non più andrai (Figaro) Vieni, o Levita! (Zaccaria) Act II – Dal Re de’ Regi (Mosè) Carmen (1875) 4:53 Renato Girolami, Baritone Michele Pertusi, Bass-baritone Lorenzo Regazzo, Bass-baritone Act II – Couplets: Votre toast, je peux Nicolaus Esterházy Sinfonia • Michael Halász Filarmonica Arturo Toscanini Württemberg Philharmonic Orchestra vous les rendre (Toreador Song) (Escamillo) (8.660102-04) Orchestra Giovanile della Via Emilia Antonino Fogliani (8.660220-21) Lado Ataneli, Baritone Francesco Ivan Ciampa (Dynamic CDS7867) 8 Wolfgang Amadeus MOZART 17 Giacomo MEYERBEER (1791–1864) Württemberg Philharmonic Orchestra Die Zauberflöte 2:59 13 Giuseppe VERDI Les Huguenots (‘The Huguenots’) (1836) 3:01 Lodovico Zocche (‘The Magic Flute’) (1791) Rigoletto (1851) 4:16 Act I – Piff, paff, piff, cernons-les! (Marcel) (8.572438) Act II, No.
    [Show full text]
  • FILIPINOS in HISTORY Published By
    FILIPINOS in HISTORY Published by: NATIONAL HISTORICAL INSTITUTE T.M. Kalaw St., Ermita, Manila Philippines Research and Publications Division: REGINO P. PAULAR Acting Chief CARMINDA R. AREVALO Publication Officer Cover design by: Teodoro S. Atienza First Printing, 1990 Second Printing, 1996 ISBN NO. 971 — 538 — 003 — 4 (Hardbound) ISBN NO. 971 — 538 — 006 — 9 (Softbound) FILIPINOS in HIS TOR Y Volume II NATIONAL HISTORICAL INSTITUTE 1990 Republic of the Philippines Department of Education, Culture and Sports NATIONAL HISTORICAL INSTITUTE FIDEL V. RAMOS President Republic of the Philippines RICARDO T. GLORIA Secretary of Education, Culture and Sports SERAFIN D. QUIASON Chairman and Executive Director ONOFRE D. CORPUZ MARCELINO A. FORONDA Member Member SAMUEL K. TAN HELEN R. TUBANGUI Member Member GABRIEL S. CASAL Ex-OfficioMember EMELITA V. ALMOSARA Deputy Executive/Director III REGINO P. PAULAR AVELINA M. CASTA/CIEDA Acting Chief, Research and Chief, Historical Publications Division Education Division REYNALDO A. INOVERO NIMFA R. MARAVILLA Chief, Historic Acting Chief, Monuments and Preservation Division Heraldry Division JULIETA M. DIZON RHODORA C. INONCILLO Administrative Officer V Auditor This is the second of the volumes of Filipinos in History, a com- pilation of biographies of noted Filipinos whose lives, works, deeds and contributions to the historical development of our country have left lasting influences and inspirations to the present and future generations of Filipinos. NATIONAL HISTORICAL INSTITUTE 1990 MGA ULIRANG PILIPINO TABLE OF CONTENTS Page Lianera, Mariano 1 Llorente, Julio 4 Lopez Jaena, Graciano 5 Lukban, Justo 9 Lukban, Vicente 12 Luna, Antonio 15 Luna, Juan 19 Mabini, Apolinario 23 Magbanua, Pascual 25 Magbanua, Teresa 27 Magsaysay, Ramon 29 Makabulos, Francisco S 31 Malabanan, Valerio 35 Malvar, Miguel 36 Mapa, Victorino M.
    [Show full text]
  • Die Eidgenossen Als Lykier Bachofens Mutterrecht Und Schillers Wilhelm Tell
    Dtsch Vierteljahrsschr Literaturwiss Geistesgesch (2020) 94:347–383 https://doi.org/10.1007/s41245-020-00111-5 BEITRAG Die Eidgenossen als Lykier Bachofens Mutterrecht und Schillers Wilhelm Tell Yahya Elsaghe Online publiziert: 19. August 2020 © Der/die Autor(en) 2020 Zusammenfassung Wie verhielt sich Johann Jakob Bachofen, der unablässig den Wahrheitsgehalt klassischer oder auch wildfremder Mythen zu rehabilitieren ver- suchte, zur Gründungssage seines eigenen Lands? Wie zu den immer lauter gewor- denen Zweifeln an ihrem Sachgehalt? Und sieht man seinem Hauptwerk an, dass es einer geschrieben hat, der zumal von ihrer Schiller’schen Aufbereitung geprägt sein musste? Oder in welcher Beziehung steht seine Theorie vom einstigen Mutterrecht des antiken Kulturraums zu den Vorstellungen, die Schiller sich und der Nachwelt von den alten Schweizern und Schweizerinnen machte? Die notgedrungen nur noch spekulative Antwort auf diese letzte Frage wirft immerhin ein Licht auf die Ge- | downloaded: 27.12.2020 schlechterverhältnisse in Schillers Wilhelm Tell und dessen wichtigster Quelle, die auch Bachofen nachweislich bekannt war. The Swiss as Lycians Bachofen’s Mother Right and Schiller’s William Tell Abstract How did Johann Jakob Bachofen, who constantly tried to rehabilitate the truth of classical or even entirely alien myths, react to the legend of his own coun- try’s founding and to the ever growing doubts about its substance? And does one see in his main work that it was written by someone who must have been influenced by Schiller’s treatment of this legend? Or how does his theory of the former mother right of the ancient cultural realm relate to the ideas that Schiller developed for himself and posterity about the old Switzerland’s brothers – and sisters? The necessarily only speculative answer to this last question nevertheless sheds light on the gender re- lations in Schiller’s William Tell and his most important source, which demonstra- bly was also known to Bachofen.
    [Show full text]
  • Le Magnifique
    André-Ernest-Modeste GRÉTRY (1741-1813) Le Magnifique Gonzalez Toro Calleo • Krull Thompson • Sulayman Williams • Scarlata Opera Lafayette Orchestra Ryan Brown 1 Ouverture 5:45 André-Ernest-Modeste GRÉTRY Act I 24:13 (1741-1813) 2 Scène 1: Marche: Andante 1:53 Le Magnifique (1773) 3 Tempo giusto 0:42 4 Marche 0:37 Libretto by Jean-Michel Sedaine (1719-1797) 5 Duo: Cʼest lui (Alix, Clémentine) 2:42 Dedicated to the Duc dʼAlbe 6 Scène 2: Pourquoi donc ce Magnifique (Clémentine) 4:55 7 Scène 4: Duo: Ma chère enfant (Aldobrandin, Clémentine) 5:47 First performed at the Paris Comédie-Italienne on 4th March, 1773 8 Scène 6: Ah, cʼest un superbe cheval ! (Fabio) 3:55 Edition by Ryan Brown based on the 18th-century parts from the Bibliothèque 9 Scène 7: Trio: Vous mʼétonnez, vous badinez municipale de Rouen, as well as the 18th-century score engraved by J. Dezauche (Aldobrandin, Le Magnifique, Fabio) 3:42 and printed by Montulay, Paris, 1773, and the 20th-century score published by Breitkopf and Härtel. Act II 29:56 Coaching in French diction has been provided by Denise Massé. The 18th-century parts used by the orchestra were made available by the Bibliothèque 0 Scène 3: Ah ! Si jamais je cours les mers (Laurence) 5:02 municipale de Rouen, with assistance from the musicologist Mr. Johann Elart. ! Scène 6: Duo: Je ne sais pourquoi je pleure (Clémentine, Alix) 3:55 @ Scène 10: Quelle contrainte ! (Clémentine) 3:37 Octave, Le Magnifique . Emiliano Gonzalez Toro, Tenor # Scène 11: Trio: Clémentine, mettez-vous là Clémentine, daughter of Horace.
    [Show full text]
  • THE FIRST EMO Simple Life Lessons from the Extraordinary Story of Jose Rizal1 Sir Michael Charleston “Xiao” B. Chua, K.O.R
    1 THE FIRST EMO Simple Life Lessons from The Extraordinary Story of Jose Rizal 1 Sir Michael Charleston “Xiao” B. Chua, K.O.R. De La Salle University Manila Governor-at-Large, Philippine Historical Association Deputy Commander, Order of the Knights of Rizal, Sucesos Chapter Introduction Jose Rizal is everywhere yet many think he is not relevant anymore. His monuments, built as reminders of his heroism, stand distant and unreachable on his pedestal, as if deliberately exaggerating our insignificance. It even comes to a point that one may say “I can’t be like him .” The western construct of a hero was named after the Greek war goddess Hera. It points to a strong- willed and supernatural character who consciously directs his abilities for the good of the people. More often than not reduced to titles and merits, a hero’s humanity may end being forgotten. The Filipino term bayani , on the other hand, depicts the same values but is attributed to someone more grounded. Coming from the Visayan term for warrior or bagani , one immediately finds a totally different perspective. This time, the persona serves others without expecting in return, despite being ordinary. Historian Zeus Salazar classifies Rizal as a heróe , shaped by Western sensibilities and consciousness, as he was, in many ways, separate from the people. The mythic proportions of his character made it impossible for people to relate to him. He became a symbol, and more often than not, the only hero, of the revolution. Nothing new about Rizal is going to be introduced in this paper.
    [Show full text]