An Exegesis of the Novel Ilustrado
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Headstart for the Philippines Cultural Notes
TA 0001 5 HEADSTART FOR THE PHILIPPINES " ... - .......- = - - . _ _ t' A . , ..... _ -. - . ' ':~"" &'t • :. - - '!:...;..-..... -....~: CULTURAL NOTES DEFENSE LANGUAGE INSTITUTE, FOREIGN LANGUAGE CENTER HEADSTART FOR THE PHILIPPINES CULTURAL NOTES FIRST EDITION FEBRUARY 1985 DEFENSE LANGUAGE INSTITUTE FOREIGN LANGUAGE CENTER ACKNOWLEDGMENT Photographs provided by the Northern California Philippine Ministry of Tourism, San Francisco, CA. ii CONTENTS Geography 1 Climate 2 People 2 History 4 Language 9 Religion 10 Family Life 11 The Filipina 12 Courtesy and Custom 14 Arts 15 Food and Restaurants 18 Alcoholic Beverages 19 Sports 20 Holidays 21 Sightseeing 23 Shopping 26 Transportation 27 Driving 28 Health 29 Currency 30 Telephone Service 30 Household Help 31 Bibliography 31 iii SOUTH SATA N£S PAOV, ; "-~ATANC IS . • • QBA8UYAN IS. CHI NA o P \locos Sur SEA LUZON PACIFIC Sur OCEAN CALAMIAN GROUP SULU SEA MINDANAO SEA Republic of the Philippines GEOGRAPHY A few degrees above the equator and several hundred miles from the Asian mainland, the Phil ippines lie scattered north to south for a thou sand miles and east to west for seven hundred. Eleven of the more than 7,107 islands and islets, only 700 inhabited, account for 96 per cent of the land. The islands of the archipel ago fall into three groups. The northernmost includes Mindoro and Luzon. Luzon, where Manila is located, is the center of government and the most heavily populated and industrialized sec tion of the country. The eight central islands of the Visayan group--Samar, Leyte, Cebu, Bohol, Negros, Panay, Masbate and Palawan--are second in development. To the south lie Sulu and Min danao with vast but relatively unexploited agri cultural and mineral potential. -
Un Mundo Ilustrado
UN MUNDO ILUSTRADO José Rizal formó parte del mundo ilustrado que floreció en Filipinas a fines del siglo XIX. En él se incluía una élite de personas educadas en universidades filipinas, que frecuentemente completaban su formación en instituciones europeas. Este grupo de ilustrados, identificados más por su grado de educación que por un único nivel socioeconómico, fue esencial en la formación de una conciencia nacional filipina. Ilustrados fueron pintores como Juan Luna y Novicio o Félix Resurrección Hidalgo, formados en las notables escuelas de dibujo existentes en Manila y especializados en Academias de Bellas Artes europeas. La destreza de sus pinceles les llevó a ganar importantes certámenes internacionales. Los ilustrados se interesaron también por el estudio de la Lengua, bien fuera a través de investigaciones sobre los antiguos alfabetos filipinos o los muchos dialectos del archipiélago, bien a través del aprendizaje de los idiomas modernos. Tenían tras ellos, además, una larga tradición de elaboración de gramáticas, iniciada por los religiosos españoles en 1610, cuando Fr. Joseph publicó en Filipinas la primera gramática tagala. Posteriormente, otros autores estudiaron el visayo, el pampago, el ilocano… Rizal insertó sus estudios gramaticales, que abarcaron desde el tagalo a los jeroglíficos egipcios, pasando por más de diez lenguas, en esa tradición. Algo parecido ocurrió con el conocimiento de la Historia. Desde el siglo XVI se escribieron importantes estudios históricos sobre el archipiélago – Chirino, 1604; Colín, 1663; San Agustín, 1698; Aduarte, 1693… – Rizal prosiguió esa dinámica, anotando los Sucesos de Filipinas escritos por Antonio de Morga en 1609, en lo que se ha considerado como la primera historia de las islas escrita por un filipino. -
Colonial Contractions: the Making of the Modern Philippines, 1565–1946
Colonial Contractions: The Making of the Modern Philippines, 1565–1946 Colonial Contractions: The Making of the Modern Philippines, 1565–1946 Vicente L. Rafael Subject: Southeast Asia, Philippines, World/Global/Transnational Online Publication Date: Jun 2018 DOI: 10.1093/acrefore/9780190277727.013.268 Summary and Keywords The origins of the Philippine nation-state can be traced to the overlapping histories of three empires that swept onto its shores: the Spanish, the North American, and the Japanese. This history makes the Philippines a kind of imperial artifact. Like all nation- states, it is an ineluctable part of a global order governed by a set of shifting power rela tionships. Such shifts have included not just regime change but also social revolution. The modernity of the modern Philippines is precisely the effect of the contradictory dynamic of imperialism. The Spanish, the North American, and the Japanese colonial regimes, as well as their postcolonial heir, the Republic, have sought to establish power over social life, yet found themselves undermined and overcome by the new kinds of lives they had spawned. It is precisely this dialectical movement of empires that we find starkly illumi nated in the history of the Philippines. Keywords: Philippines, colonialism, empire, Spain, United States, Japan The origins of the modern Philippine nation-state can be traced to the overlapping histo ries of three empires: Spain, the United States, and Japan. This background makes the Philippines a kind of imperial artifact. Like all nation-states, it is an ineluctable part of a global order governed by a set of shifting power relationships. -
"Patria É Intereses": Reflections on the Origins and Changing Meanings of Ilustrado
3DWULD«LQWHUHVHV5HIOHFWLRQVRQWKH2ULJLQVDQG &KDQJLQJ0HDQLQJVRI,OXVWUDGR Caroline Sy Hau Philippine Studies, Volume 59, Number 1, March 2011, pp. 3-54 (Article) Published by Ateneo de Manila University DOI: 10.1353/phs.2011.0005 For additional information about this article http://muse.jhu.edu/journals/phs/summary/v059/59.1.hau.html Access provided by University of Warwick (5 Oct 2014 14:43 GMT) CAROLINE SY Hau “Patria é intereses” 1 Reflections on the Origins and Changing Meanings of Ilustrado Miguel Syjuco’s acclaimed novel Ilustrado (2010) was written not just for an international readership, but also for a Filipino audience. Through an analysis of the historical origins and changing meanings of “ilustrado” in Philippine literary and nationalist discourse, this article looks at the politics of reading and writing that have shaped international and domestic reception of the novel. While the novel seeks to resignify the hitherto class- bound concept of “ilustrado” to include Overseas Filipino Workers (OFWs), historical and contemporary usages of the term present conceptual and practical difficulties and challenges that require a new intellectual paradigm for understanding Philippine society. Keywords: rizal • novel • ofw • ilustrado • nationalism PHILIPPINE STUDIES 59, NO. 1 (2011) 3–54 © Ateneo de Manila University iguel Syjuco’s Ilustrado (2010) is arguably the first contemporary novel by a Filipino to have a global presence and impact (fig. 1). Published in America by Farrar, Straus and Giroux and in Great Britain by Picador, the novel has garnered rave reviews across Mthe Atlantic and received press coverage in the Commonwealth nations of Australia and Canada (where Syjuco is currently based). -
Music in the Heart of Manila: Quiapo from the Colonial Period to Contemporary Times: Tradition, Change, Continuity Ma
Music in The Heart of Manila: Quiapo from the Colonial Period to Contemporary Times: Tradition, Change, Continuity Ma. Patricia Brillantes-Silvestre A brief history of Quiapo Quiapo is a key district of Manila, having as its boundaries the winding Pasig River and the districts of Sta. Cruz, San Miguel and Sampaloc. Its name comes from a floating water lily specie called kiyapo (Pistia stratiotes), with thick, light-green leaves, similar to a tiny, open cabbage. Pre-1800 maps of Manila show Quiapo as originally a cluster of islands with swampy lands and shallow waters (Andrade 2006, 40 in Zialcita), the perfect breeding place for the plant that gave its name to the district. Quiapo’s recorded history began in 1578 with the arrival of the Franciscans who established their main missionary headquarters in nearby Sta. Ana (Andrade 42), taking Quiapo, then a poor fishing village, into its sheepfold. They founded Quiapo Church and declared its parish as that of St. John the Baptist. The Jesuits arrived in 1581, and the discalced Augustinians in 1622 founded a chapel in honor of San Sebastian, at the site where the present Gothic-style basilica now stands. At about this time there were around 30,000 Chinese living in Manila and its surrounding areas, but the number swiftly increased due to the galleon trade, which brought in Mexican currency in exchange for Chinese silk and other products (Wickberg 1965). The Chinese, noted for their business acumen, had begun to settle in the district when Manila’s business center shifted there in the early 1900s (originally from the Parian/Chinese ghetto beside Intramuros in the 1500s, to Binondo in the 1850s, to Sta.Cruz at the turn of the century). -
Adelaidean Volume 17 Number 10 December 2008
FREE Publication December 2008 | Volume 17 | Number 10 inside this issue 8 Cricket ball Family unit set in Stone Age quality takes a knock 10 South Australian Engineering of the Year Awards A study by a University of Adelaide sports engineer shows that not all cricket balls are consistently manufactured, causing quality issues and potentially having major 15 implications for cricket matches. Creative writing student The research, conducted by wins literary prize the coordinator of the Sports Engineering degree program at the University of Adelaide, Associate Professor Franz Konstantin Fuss, studied fi ve models of cricket balls manufactured in Australia, India and 17 Pakistan. The study looked at the methods Penguins’ not-so-happy of construction, stiffness, viscous ending discovered in DNA and elastic properties, and included changes to the balls’ performance under compression and stress relaxation tests. Dr Fuss found that the model manufactured in Australia – the Kookaburra Special Test – was the only cricket ball manufactured consistently. The other four models were found to have inconsistent “stiffness”, which can play an important part in how a ball reacts when struck by the bat. “In contrast to other sport balls, most cricket balls are still hand-made, which may affect the consistency of manufacturing and thus the properties of a ball,” Dr Fuss said. story continued on page 18 Adelaidean Adelaidean is the offi cial newspaper of the University of Adelaide. It provides news and information about the University to the general public, with a focus on Life Impact. Circulation: 11,000 per month From the Vice-Chancellor (March to December) Online readership: 90,000 hits per month (on average) www.adelaide.edu.au/adelaidean Editor: The world is defi nitely getting smaller. -
Revista Filipina • Primavera 2019 • Volumen 6, Número 1 Revista Filipina Primavera 2019 Volumen 6 • Número 1
Revista Filipina • Primavera 2019 • volumen 6, número 1 Revista Filipina Primavera 2019 volumen 6 • número 1 Revista semestral de lengua y literatura hispanofilipina Segunda etapa ISSN: 1496-4538 RF Fundada en 1997 por Edmundo Farolán Dirigida desde 2017 por Edwin Lozada http://revista.carayanpress.com Derechos reservados / Copyright © 2019 Revista Filipina 1 1 Revista Filipina • Primavera 2019 • volumen 6, número 1 CRÉDITOS Revista Filipina. Revista semestral de lengua y literatura hispanofilipina es una publicación electrónica internacional fundada en Vancouver por Edmundo Farolán en 1997. En una primera época de forma tri- mestral, desde 2013 se inicia una segunda época de aparición semestral. Asociada a la editorial Carayan Press de San Francisco, California, Edwin Lozada dirige la publicación al cumplirse los veinte años de existencia continuada e ininterrumpida desde 2017. La revista publica un volumen anual en dos números semestrales (primavera-invierno) con las siguientes secciones regulares: ensayos, artículos y notas, reseñas y comentarios bibliográficos y biblioteca. También dedica espacio a la actualidad del Filipinismo mundial y la bibliofilia filipina. Atiende a cuatro objetivos principales: 1) Foro de reflexión y expresión filipino en lengua española; 2) Estudios académicos de Filipinismo, con especial atención a la lengua española en Filipinas y la literatura hispanofilipina; 3) Revista de bibliografía Filipiniana; y 4) Repositorio histórico y actual de literatura y crítica filipinas. Revista Filipina se encuentra registrada -
Death by Garrote Waiting in Line at the Security Checkpoint Before Entering
Death by Garrote Waiting in line at the security checkpoint before entering Malacañang, I joined Metrobank Foundation director Chito Sobrepeña and Retired Justice Rodolfo Palattao of the anti-graft court Sandiganbayan who were discussing how to inspire the faculty of the Unibersidad de Manila (formerly City College of Manila) to become outstanding teachers. Ascending the grand staircase leading to the ceremonial hall, I told Justice Palattao that Manuel Quezon never signed a death sentence sent him by the courts because of a story associated with these historic steps. Quezon heard that in December 1896 Jose Rizal's mother climbed these steps on her knees to see the governor-general and plead for her son's life. Teodora Alonso's appeal was ignored and Rizal was executed in Bagumbayan. At the top of the stairs, Justice Palattao said "Kinilabutan naman ako sa kinuwento mo (I had goosebumps listening to your story)." Thus overwhelmed, he missed Juan Luna's Pacto de Sangre, so I asked "Ilan po ang binitay ninyo? (How many people did you sentence to death?)" "Tatlo lang (Only three)", he replied. At that point we were reminded of retired Sandiganbayan Justice Manuel Pamaran who had the fearful reputation as The Hanging Judge. All these morbid thoughts on a cheerful morning came from the morbid historical relics I have been contemplating recently: a piece of black cloth cut from the coat of Rizal wore to his execution, a chipped piece of Rizal's backbone displayed in Fort Santiago that shows where the fatal bullet hit him, a photograph of Ninoy Aquino's bloodstained shirt taken in 1983, the noose used to hand General Yamashita recently found in the bodega of the National Museum. -
Expressions of Tagalog Imaginary the Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959)
ISSN: 0041-7149 ISSN: 2619-7987 VOL. 89 • NO. 2 • NOVEMBER 2016 UNITASSemi-annual Peer-reviewed international online Journal of advanced reSearch in literature, culture, and Society Expressions of Tagalog Imaginary The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959) Antonio p. AfricA . UNITAS Expressions of Tagalog Imaginary The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959) . VOL. 89 • NO. 2 • NOVEMBER 2016 UNITASSemi-annual Peer-reviewed international online Journal of advanced reSearch in literature, culture, and Society Expressions of Tagalog Imaginary The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959) Antonio P. AfricA since 1922 Indexed in the International Bibliography of the Modern Language Association of America Expressions of Tagalog Imgaginary: The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959) Copyright @ 2016 Antonio P. Africa & the University of Santo Tomas Photos used in this study were reprinted by permission of Mr. Simon Santos. About the book cover: Cover photo shows the character, Mercedes, played by Rebecca Gonzalez in the 1950 LVN Pictures Production, Mutya ng Pasig, directed by Richard Abelardo. The title of the film was from the title of the famous kundiman composed by the director’s brother, Nicanor Abelardo. Acknowledgement to Simon Santos and Mike de Leon for granting the author permission to use the cover photo; to Simon Santos for permission to use photos inside pages of this study. UNITAS is an international online peer-reviewed open-access journal of advanced research in literature, culture, and society published bi-annually (May and November). -
Resume of Verena
VERENA TAY ~ FULL RESUME ~ [email protected] | http://verenatay.com | +65 91263835 [email protected] | http://www.moonshadowstories.com MA in English Literature (National University of Singapore, 1993) MA in Voice Studies (Central School of Speech and Drama, London, 2005) MFA in Creative Writing (Fiction) (City University of Hong Kong, 2015) —————————————————————————————————— For more than 25 years, Verena Tay acted, directed and written for local English-language theatre in Singapore. To date, three collections of her plays have been published: In the Company of Women (SNP Editions, 2004), In the Company of Heroes and Victimology (both by Math Paper Press, 2011). An Honorary Fellow at the International Writing Program, University of Iowa (Aug–Nov 2007), she now writes and edits fiction and conducts the occasional creative writing workshop. Spectre: Stories from Dark to Light (Math Paper Press, 2012) is her first collection of short stories. During 2012 and 2013, she also compiled and edited four other short story anthologies: Balik Kampung, Balik Kampung 2A: People and Places and Balik Kampung 2B: Contemplations (Math Paper Press) and A Monsoon Feast (DFP Productions/Monsoon Books). In addition, Verena brings stories vocally and physically alive in her unique fashion. She chooses her storytelling repertoire carefully, adapting folktales with strong characters or creating original tales with a twist. Where possible, she invests her quirky brand of humour, especially in her stories for adults, to delight and encourage her audience to appreciate a different perspective on life. Together with Kamini Ramachandran with whom she founded MoonShadow Stories in November 2004, Verena has been telling stories at various community venues across Singapore, much to the delight and enjoyment of adults and children. -
The History of Filipino Women's Writings by Riitta Vartti Sivu on Päivitetty 2.1.2007, Riitta Vartti, [email protected] Updated
The History of Filipino Women's Writings by Riitta Vartti Sivu on päivitetty 2.1.2007, Riitta Vartti, [email protected] updated An article from Firefly - Filipino Short Stories (Tulikärpänen - filippiiniläisiä novelleja) Riitta Vartti (ed.), Kääntöpiiri, Helsinki 2001 The Philippines can be proud not only because of the country's high literacy rate but also because of her women authors who write and publish in the many languages of the country, both in the Philippines and abroad in diaspora. The development of women's writing is tied to the history of the country and the language question - from oral tradition to silencing of women under Spanish rule, from the English period under American rule to the date when more literature is written in vernacular. In this article is told more about the writers who are not represented elsewhere in the book "Firefly". The Language Question They spoke the language of his childhood, the language he never used in Manila because it was not cosmopolitan enough. Lakambini A. Sitoy: Bones (a short story in the collection Mens Rea) My family thinks in Spanish, feels in Tagalog, prays in Pidgin Latin, and speaks English. Sylvia Mayuga In the Philippines, people speak several tens of languages and dialects which belong to the Southeast Asian Malay group of languages. Tagalog, Visayan (bisaya) and Ilocano are among the most common native languages with their several dialects. Before the Spaniards colonized the islands in the 1500s, many of the indigenous peoples had also already developed their own writing system (1). However, in the Philippines just like in many other former colonized countries, majority of the writing middle class has not much used the languages of their people. -
'Unfinished Revolution' in Philippine Political Discourse Author(S)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Kyoto University Research Information Repository Title The 'Unfinished Revolution' in Philippine Political Discourse Author(s) Ileto, Reynold C. Citation 東南アジア研究 (1993), 31(1): 62-82 Issue Date 1993-06 URL http://hdl.handle.net/2433/56488 Right Type Journal Article Textversion publisher Kyoto University Southeast Asian Studies, Vol. 31, No. I, June 1993 The 'Unfinished Revolution' in Philippine Political Discourse Reynaldo C. ILETo * The February 1986 event that led to Marcos's downfall is usually labelled as the "February Revolution" or the "EDSA Revolution." On the other hand, all sorts of analyses have argued to the effect that the "EDSA Revolution" cannot be called a revolution, that it can best be described as a form of regime-change, a coup d'etat, a restoration, and so forth [see Carino 1986]. Yet to the hundreds of thousands of Filipinos from all social classes who massed on the streets that week there seemed to be no doubt that they were "making revolution" and that they were participating in "people power." For the revolution to be, it sufficed for them to throw caution aside (bahala na), to confront the tanks and guns of the state, to experience a couple of hours of solidarity with the anonymous crowd, and to participate in exorcising the forces of darkness (i. e., the Marcos regime). Should the business of naming the event a "revolution" be understood, then, simply in terms of its political referent? Whatever the reality of the processes enveloping them, the crowds on EDSA seemed to readily interpret or locate their experience within a familiar discourse of revolution and mass action.