DOCSLIB.ORG

Mythological Woman and the Prose Poem in Barbara Jane Reyes’S Diwata

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mythological Woman and the Prose Poem in Barbara Jane Reyes’S Diwata วารสารรามคา แหง ฉบับมนุษยศาสตร์ ปีท ี่ 37 ฉบับที่ 1 193 Book Review: Mythological Woman and the Prose Poem in Barbara Jane Reyes’s Diwata Mariejoy San Buenaventura1 Barbara Jane Reyes, a Filipino- analysts. Diwata is the Filipino term for American poet, had her collection Diwata goddess, fairy, and nature spirit, and the published in 2010 by the New York-based word is derived from devata, the Hindi word BOA Editions Ltd. as part of their American - most likely originally Sanskrit - for deity Poets Continuum series. Despite the slimness (‚Devata,‛ n.d.). Reyes employs all these of the volume – the epigraph, poems, and aspects of Diwata – goddess, fairy, and notes occupy sixty-seven A5-sized pages – it nature spirit – to portray Diwata as the contains an abundance of the worthwhile for universal, primordial, mythological Woman comparative mythologists and literary found in all mythologies, and as the 1Humanities and Languages Division, Mahidol University International College E-mail: [email protected], [email protected] Ramkhamhaeng University Journal Humanities Edition Vol. 37 No. 1 194 representative very human Woman who, Diwata is also the dryad who takes as mate a through the unfolding of the ages, continues mortal man (Reyes, 2010, p. 20). Then as the to experience the same longings and sufferings. weaver who ‚weaves words into the fabric This is of much interest to the student of of the sky‛ (Reyes, 2010, p. 14), Diwata is a myth. For the student of poetry, Reyes’s uses version of Arachne, she who competed with of the prose poem, chant-like forms, and Athena in a weaving contest (Ovid, 2009, pp. multilingualism are a fascinating study. 141-145), and of Philomela, who, after her rapist had cut off her tongue to prevent her Mythological Woman from speaking of his crime, wove a tapestry As mythological Woman, Diwata’s to tell of her ordeal (Ovid, 2009, pp. 153- identity is fluid. In ‚Diwata,‛ a poem with 161). Diwata’s rival is not Athena but the eight sections (Reyes, 2010, pp. 14-21), and in male Christian god, and her ordeal is erasure ‚In the City, a New Congregation Finds Her‛ by Christianity. Furthermore, Diwata is the (pp. 64-65), she is the Mother Goddess, a deity mermaid in the five ‚Duyong‛ poems worshipped by ancient cultures all throughout (Reyes, 2010, pp. 29-33). Reyes uses the the tropics ages before the Spanish introduced Bahasa Malaysian/Indonesian word for the male Christian god to the Philippine mermaid, duyung, (‚Duyung,‛ n.d.) and not islands. One of these ancient planters’ first the Tagalog term, sirena, which obviously conceptions of divine power probably stemmed was borrowed from Castilian Spanish. Through from the miracle of a seed containing life this she places Diwata within the larger scope within it that with time rose above ground, of Malay mythology and acknowledges the a miracle paralleled by the capacity of a Philippines’ Malay heritage. woman’s body to nourish life within it and Diwata is also the dove whom the later give it birth (Campbell, 1987, p. 66). hawk abducts from her father’s celestial home วารสารรามคา แหง ฉบับมนุษยศาสตร์ ปีท ี่ 37 ฉบับที่ 1 195 (Reyes, 2010, pp. 14-21). Reyes uses the whose spirit hover[ed] over the ceremonies.‛ Tagalog word for hawk and capitalizes it, The man able to carry out human sacrifice - Lawin, personifying the hawk as a rapacious usually of an illegitimate son or a slave - god. According to a Philippine folktale, a attained the highest possible spiritual plane hawk proposes marriage to a hen who and social status, became ‚identified with the accepts the proposal and a ring. Reprimanded hovering hawk,‛ and could take the name by the rooster since she is already the Na-mbal, meaning ‚hawk‛ (Campbell, 1987, rooster’s wife, the flustered hen throws away pp. 447-450). the ring. When the hawk returns, the hawk Eve punishes her by condemning her to peck An intriguing incarnation of Diwata is always at the ground to search for the ring Eve, who speaks in different voices and takes (Cole, 2007, pp. 88-89). Reyes transforms on different personas. Reyes synthesizes the the hawk from a noble, authoritative bird Biblical stories of the creation of the world much too good for the foolish hen, into the and of Eve with the Philippine myth about personification of male rapaciousness and Maganda (Beautiful) the first woman, Malakas appetite. By doing so, Reyes subscribes to (Strong) the first man, and Manaul the god of the hawk’s larger role in the mythology of the wind who takes bird form. The epigraph the tropical Pacific islands. On the island of (Reyes, 2010, p. 9) features the two myths. Malekula in former times, the hawk was the God, as narrated in Genesis Chapter 2, puts deity supplicated through animal and human Adam into a deep sleep and creates Eve from sacrifices. The sacrifices were offered on a one of Adam’s ribs. Manaul, called ‚god of dolmen, over which there was a thatched the air and lord of the birds,‛ who was already roof. ‚The main beam of this roof terminate[d] present before creation when there was only in a carved image of the mythological hawk water, wind, and sky, and who instigated the Ramkhamhaeng University Journal Humanities Edition Vol. 37 No. 1 196 fight between sea and sky that resulted in the in character of the two gods, these two myths creation of the Philippine islands (Eugenio, are also connected by their contrasting 2008, pp.8-9), pecks open the bamboo reed usages of the word ‚cleave,‛ severance and that contains Maganda and Malakas. Unlike adherence. In the Philippine myth, Manaul the Judeo-Christian God, Manaul does not cleaves the bamboo reed in half to release the create Maganda and Malakas; there seems to first man and woman. In the Genesis myth, be no explanation for their creation beyond the man cleaves to the woman in marriage. the bamboo’s innate fruitfulness. Malakas Reyes employs this double meaning to and Maganda, enclosed inside a bamboo prepare the reader for the rest of the book in reed, call out to Manaul to free them. He general but particularly for the opening hesitates to do this and only pecks at the poem, ‚A Genesis of We, Cleaved‛ (Reyes, bamboo to catch and eat a lizard that has 2010, pp. 11-12) climbed up it. However, this difference in This opening poem uses the structure role - releaser as opposed to creator - is not of the very beginning of Genesis. It is written as significant to Reyes as the fact that both in seven paragraphs that narrate the events of Manaul and the Judeo-Christian Creator God successive days in the birth of Maganda/ are beings of air, air that flies or hovers over Eve/Woman. The first paragraph starts with primordial water. Genesis starts ‚In the ‚In the beginning, a man of dust and fire beginning God created the heavens and the became bone, and viscera, and flesh. The earth. Now the earth was formless and deity of the wind blessed his lips, and he empty, darkness was over the surface of the came to take his first breath. Within this deep, and the Spirit of God was hovering strange vessel, I opened my eyes...‛ The over the waters‛ (Genesis 1:1-2, New second paragraph begins ‚On the second day, International Version). Besides the similarity the unseen hand from above cleaved you in วารสารรามคา แหง ฉบับมนุษยศาสตร์ ปีท ี่ 37 ฉบับที่ 1 197 two, exacting penance for our joy as you birth trauma to Maganda/Eve/Woman: ‚On awakened from the deepest, most delicious the second day, my love, I was torn from the dreaming.‛ This anaphoric rhythm is used haven of your blood, the cradle of your flesh throughout the rest of the poem until the last and tendons. A smarting wound strewn across paragraph: ‚On the seventh day, my love, I our garden’s sweet grasses. I lay raw and surrendered.‛ aching. On this second day, my hands and As an alternative to the patriarchal feet learned how relentless the cold.‛ This is tone of Genesis, Maganda/Eve/Woman speaks a description of birth trauma. According to about her own creation. Man is the womb in Joseph Campbell in The Masks of God: which Woman took form. Man’s body is Primitive Mythology (1987), the abrupt fright safe, nourishing, and comforting. Man’s blood and pain experienced by the baby during is a ‚haven‛ and his flesh and tendons a birth, resulting in ‚caught breath, circulatory ‚cradle.‛ Thus, Woman’s love for Man is not congestion, dizziness, or even blackout,‛ only sexual, but also filial: ‚. .within this, makes the birthing process and its attendant your darkness, I learned to weave song. Do imagery - darkness, claustrophobia, a passage - you remember me fluttering inside your ubiquitous archetypes of transformation in chest, tickled by the cool air newly filling mythology and religion (pp. 61-62). your lungs?‛ Besides being the womb that God, ignoring Woman, comforts only nourished Woman, in the third paragraph Man for this pain of separation: ‚On the Man is called Woman’s ‚mirror,‛ her fourth day, I sang a dirge, the river my reflection, the figure nestled in the other half harmony. From afar, you watched me, as of the split bamboo reed. However, the the unseen hand from above offered you opening of Adam’s chest to extract the rib reparations for your brokenness. ...On this causes injury to Malakas/Adam/Man and fourth day, the scars hardened over your heart.‛ Ramkhamhaeng University Journal Humanities Edition Vol.
Load more

Recommended publications
  • Isabel Acuña
    Isabel Acuña Also Known As: Isabel de Nepomuceno, Doña Isabel Lived: January 28, 1904 - September 15, 1986 Worked as: art director, casting director, costume designer, film company treasurer, film company vice president, make-up supervisor, producer, production assistant, set decorator Worked In: The Philippines by Nadi Tofighian Isabel Acuña met José Nepomuceno, a Filipino film pioneer, while he was shooting his third film, Un Capello Marchito/The Wilted Rosebud (1920), in Manila in 1920. She was sixteen years old, and her younger sister, Luisa Acuña, was starring in the film. Nepomuceno founded Malayan Movies together with his brother, Jesús, in Manila in 1917, after previously having run a successful photography studio there. Two years later they made the earliest known fiction film directed by a Filipino, Dalagang Bukid/Country Maiden (1919) (Tofighian 2008, 78). Acuña and Nepomuceno married on June 6, 1920 at the Quiapo Church in Manila, a few months after their first meeting. From that time forward, Acuña was involved in the filmmaking process of Malayan Movies. Initially, she primarily worked on scouting talent, costume design, and make-up. She was instrumental in making costume design and make-up an important part of the mise-en- scene of the film, and she is reported to have spent hours on the streets, in bazaars, and in movie houses researching and getting ideas about set designs and costumes (Quirino 1983, 23). Acuña insisted on using simple words in the dialogue and intertitles in order for everyone to understand, and functioned as an informal censor at Malayan Movies as she required no dirty language or inappropriate scenes.
    [Show full text]
  • SARE, Vol. 58, Issue 1 | 2021
    SARE, Vol. 58, Issue 1 | 2021 Making Space for Myth: Worldbuilding and Interconnected Narratives in Mythspace Francis Paolo Quina University of the Philippines-Diliman, Quezon City, the Philippines Abstract The comics medium has long proven to be fertile ground for worldbuilding, spawning not only imaginary worlds but multiverses that have become international transmedial franchises. In the Philippines, komiks (as it is called locally) has provided the Filipino popular imagination with worlds populated by superheroes, super spies, supernatural detectives, and creatures from different Philippine mythologies. The komiks series Mythspace, written by Paolo Chikiamco and illustrated by several artist-collaborators, takes the latter concept, and launches it into outer space. Classified by its own writer as a “Filipino space opera” consisting of six loosely interconnected stories, Mythspace presents a storyworld where the creatures of Philippine lower mythologies are based on various alien species that visited the Philippines long ago. The article will examine the use of interconnected narratives as a strategy for worldbuilding in Mythspace. Drawing from both subcreation and comic studies, this article posits that interconnected narratives is a worldbuilding technique particularly well-suited to comics, and that the collaborative nature of the medium allows for a diversity of genres and visual styles that can be used by future komiks creators to develop more expansive storyworlds. Keywords: comics studies, subcreation studies, storyworlds, Mythspace, the Philippines The comics medium has long proven to be fertile ground for worldbuilding. It has spawned not only storyworlds in the pages of comic books and graphic novels but given birth to multiverses of storytelling across several media.
    [Show full text]
  • The Heroic Archetypes and the Reinvention of Aswang Character in Segundo Matias’ Moymoy Lulumboy Ang Batang Aswang
    THE HEROIC ARCHETYPES AND THE REINVENTION OF ASWANG CHARACTER IN SEGUNDO MATIAS’ MOYMOY LULUMBOY ANG BATANG ASWANG Mary Ann Alcantara Illana* School of Humanities, Ateneo de Manila University, Katipunan Avenue, Loyola Heights, Quezon City, Philippines ARTICLE INFO ABSTRACT Keywords: Marginalized and queer heroes are being recognized in the resurgence of Aswang lore various types of characters in contemporary hero narratives. In challenging Aswang reinscription the normative conventions, there are heroic values in the ambiguous Heroic archetype presentation of their character which are revived and valorized based on the Urban legend heroic archetypes presented in the story. Given this, how do we reconcile the normative conventions of hero attributed to queer and deviant representation of his character and heroic deeds? This paper analyzes the contemporary work of Segundo Matias' Moymoy Lulumboy: Ang Batang Aswang. Article History: Patterned from Joseph Campbell's normative structure of hero's journey, Received: 25/09/2020 which models the representation of various nature of character heroes and Accepted: 20/05/2021 their established heroic archetypes, this study revealed that a category of Available Online: heroic deviant exists in portraying character hero in the revival of Aswang 31/05/2021 lore in contemporary urban legend. Furthermore, this paper affirms that the resurrection of the archetypal pattern and the marginal presentation of the hero and his journey present a re-inscripted image of Aswang from a "rigidly static" to a semi-heroic ascension. 2442-305X / © 2021 The Author, this is open access article under the (CC-BY-NC) license (https://creativecommons.org/licenses/by-nc/4.0/), DOI: 10.19105/ojbs.v15i1.3828 * Corresponding Author: Email address: [email protected] (M.
    [Show full text]
  • SARE, Vol. 58, Issue 1 | 2021
    SARE, Vol. 58, Issue 1 | 2021 A Convergence of Filipino Worlds: An Onomastic Reading of Edgar Calabia Samar’s Janus Silang Novels Maria Rhodora G. Ancheta University of the Philippines-Diliman, Quezon City, the Philippines Abstract Edgar Calabia Samar’s Janus Silang book series is a significant body of contemporary young adult fantasy novels in the Philippines. Samar’s ambitious series that successfully melds alternate online tech -worlds, everyday Filipino life, and ancient supernatural, god-inhabited worlds, is worthy of study. In creating this fantasy world, the Janus Silang series underscores the richness of Filipino mythology and lore by cohesively layering these lived worlds by way of spatial and temporal play. This paper wishes to study the value of this “world(s)-building”, entering this by way of the study of onomastics, the study of proper names of all kinds and the origins of names. Using both toponomastics and anthroponomastics, or the study of place names and human naming, respectively, this inventive, powerful focus on naming solidifies the Janus Silang series’ development of unique Filipino characters and narratives and its reintroduction of the cultures of its imaginary worlds for young, contemporary Filipino and global readers. Keywords: Janus Silang, Filipino mythology, literary onomastics, anthroponyms, toponyms Edgar Calabia Samar’s Janus Silang book series is a significant body of contemporary young adult fantasy novels in the Philippines. Samar’s ambitious series that successfully melds alternate online tech -worlds,
    [Show full text]
  • Philippine Mystic Dwarfs LUIS, Armand and Angel Meet Healing and Psychic Judge Florentino Floro
    Philippine Mystic Dwarfs LUIS, Armand and Angel Meet Healing and Psychic Judge Florentino Floro by FLORENTINO V. FLORO, JR ., Part I - 2010 First Edition Published & Distributed by: FLORENTINO V. FLORO, JR . 1 Philippine Copyright© 2010 [Certificate of Copyright Registration and Deposit: Name of Copyright Owner and Author – Florentino V. Floro, Jr .; Date of Creation, Publication, Registration and Deposit – _________________, 2010, respectively; Registration No. __________, issued by the Republic of the Philippines, National Commission for Culture and the Arts, THE NATIONAL LIBRARY, Manila, Philippines, signed by Virginio V. Arrriero, Acting Chief, Publication and Special Services Division, for Director Prudencia C. Cruz, and Attested by Michelle A. Flor, 1 Copyright Examiner] By FLORENTINO V. FLORO, JR. Email: [email protected], 123 Dahlia, Alido, Bulihan, Malolos City, 3000 Bulacan, Philippines , Asia - Cel. # 0915 - 553008, Robert V. Floro All Rights Reserved This book is fully protected by copyright, and no part of it, with the exception of brief quotations embodied in critical articles and reviews, may be reproduced, recorded, photocopied, or distributed in any form or by any electronic or mechanical means, or stored in a database or retrieved system, without the written consent of the Author/publisher. Any copy of this book not bearing a number and the signature of the Author on this page shall be denounced as proceeding from an illegal source, or is in possession of one who has no authority to dispose of the same. First Printing, 2010 Serial No. _____________ LCCCN, Library of Congress Catalog Card Number: Floro, Florentino V., 2006, " Philippine Mystic Dwarves LUIS, Armand and Angel Meet Fortune-telling Judge", 1st edition, ____ p., FIL / ______ / ______ / 2010 2 ISBN ____________________ 3 Printed & Published by: FLORENTINO V.
    [Show full text]
  • Philippine Mythology and Folklore Include a Collection of Tales and Superstitions About Magical Creatures and Entities
    Publisher Steven K. Dowd Contributing Writers John Maurice Miller Dr. Jose P. Rizal Mabel Cook Cole Alfonso P. Santos John M. Miller Dr. F. Landa Jocano Nita Umali-Berthelsen Contents From the Publishers Desk Gods and Goddesses in Philippine Myth How the World Was Made Bathala How the Moon and the Stars Came to Be Mayari The Flood Story Kan-Laon When the Lilies Return Mythical Beings The Legend if Lake Ticob Aswang The Legend of Maria Makiling Manananggal Legend of the Firefly Mangkukulam The Legend of Marinduque Mythical Animals Legend of the Dama de Noche Bakunawa The Prowess of Aliguyon Sigbin The Story of Hinilawod Adventures of Datu Paubari and his Sons The Adventures of Humadapnon Bernardo Carpio Filipino Martial Arts Digest is published and distributed by: FMAdigest 1297 Eider Circle Fallon, Nevada 89406 Visit us on the World Wide Web: www.fmadigest.com The FMAdigest is published quarterly. Each issue features practitioners of martial arts and other internal arts of the Philippines. Other features include historical, theoretical and technical articles; reflections, Filipino martial arts, healing arts and other related subjects. The ideas and opinions expressed in this digest are those of the authors or instructors being interviewed and are not necessarily the views of the publisher or editor. We solicit comments and/or suggestions. Articles are also welcome. The authors and publisher of this digest are not responsible for any injury, which may result from following the instructions contained in the digest. Before embarking on any of the physical activates described in the digest, the reader should consult his or her physician for advice regarding their individual suitability for performing such activity.
    [Show full text]
  • Littératures Orales Des Philippines Elisabeth Luquin
    Littératures orales des Philippines Elisabeth Luquin To cite this version: Elisabeth Luquin. Littératures orales des Philippines. Licence. France. 2021. hal-03324293 HAL Id: hal-03324293 https://hal.archives-ouvertes.fr/hal-03324293 Submitted on 23 Aug 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Cours FIL3A08a/ FIL3B08a de licence de filipino, 2018-2019 Elisabeth Luquin LA LITTERATURE PHILIPPINE La littérature philippine est de nature hétérogène. Elle est philippine, bien sûr, mais aussi asiatique, ou plus précisément austronésienne ou encore malaise, tout en possédant certains traits de la littérature occidentale, voir même transnationale. Qu’elle soit écrite dans une des langues du pays, en anglais ou en espagnol, la littérature philippine consiste en un assemblage de plusieurs siècles d’influences diverses, d’intensité et d’impacts variés. C’est un mélange d’éléments étrangers que les groupes ethnolinguistiques de l’archipel ont assimilé. La littérature écrite en alphabet romain date d’environ 400 ans. Il existait une littérature écrite en alphabet scripto-syllabique tel le baybayin pour le Tagalog (Chirino 1604), l’alphabet des Mangyan Patag et des Bukid de Mindoro (Postma 1989) ou encore celui des Tagbanwa de Palawan.
    [Show full text]
  • Lagim-Rule-Book-Ed424may21.Pdf
    Lagim™ is an original collectible card game based on Filipino folklore and myths. Inspired by the traditional beliefs and customs of our Filipino ancestors, Lagim™ aims to bolster original Filipino content and storytelling. Players are introduced to enchanting worlds and mystical characters as they traverse and unravel this thrilling game of strategy and luck. Lagim™ was created by a group of designers that share a great interest and passion for storytelling and artistry. The group seeks to create platforms using storytelling and highly detailed visuals and illustrations that encourage human connection and reinforce relationships. Fiction Minds Team 2 I. Introdu ction. II. The Ca ..4 rds...6 III. The Co ins...1 IV. The Bo 5 ard...16 V. Get ing Star ted.. VI. Playing La 18 gim. me .19 Ga Actions.....2 at le 0 B Mechanics Advance ..21 d Moves.. Bat le Scen 22 ario..24 VII.Other Ite ms..26 3 DUCTION INTRO There is unrest between the Baryos in the 17th century, as mystifying beings and savage beasts freely roam about the world, infiltrating villages, and endangering the human population. The battlefield can become a free-for-all pandemonium, but only those who rise to the occasion and take advantage of the turmoil can survive the onslaught. As souls are lost to the battle, whoever has enough cunning and luck can outlive the rest. Until the next battle, that is… Game Overview Lagim—meaning dread, terror, or gloom in Filipino— is a survival card game of strategy and chance, inspired by the Filipino folklore and myths.
    [Show full text]
  • 5 Pananglet at 11 Pataasan Sa Panahon Ng Veerus
    5 Pananglet at 11 Pataasan sa Panahon ng Veerus John E. Barrios Pananglet *Ang Pananglet ay maiiksing naratibo na ginagawang “pantabon” sa mga espasyong bakante sa mga pahayagan noong bungad ng ikadalawampung siglo sa pahayagang Makinaugalingon sa Iloilo. Gagamitin ito ngayon bilang “paningit” na post sa Facebook. Ang mga pananglet sa koleksiyong ito ay napost sa FB simula Abril 21- 25, 2020. Pananglet 1 Dahil sa lockdown, ang mga kalaban ng tao ay nagsilabasan. Unang ibinalita ang paglabas ni Aswang sa Lapus, sumunod si Tikbalang sa Mina, at nitong huli ay si Engkantawo sa siyudad. Si Aswang ay lumabas sa kabila ng curfew dahil hindi nakatanggap ng rasyong dalawang kilo ng bigas at tatlong lata ng sardinas mula sa barangay. Si Tikbalang ay nagpalundag-lundag sa bubong ng kabahayan sa paghahanap ng Social Amelioration Card na itinago ng isang gahamang konsehal at ibinigay sa kanyang kabit. Samantala, si Engkantawo ay napilitan lamang magpakita sa mga tao dahil kailangan niyang gisingin at piliting manood ang mga tagabaranggay para may manood sa presscon ng kanyang amo na palagi na lang ginagabi ang pagbrodkas sa TV. 121 122 Dx Machina 2: Philippine Literature in the Time of COVID-19 Pananglet 2 Ang Iloilo City ay binansagang “Wakanda of the Philippines” sa kasagsagan ng pandemya, na para bang isa na itong bansa sa loob ng isang bansa. Ito ay dahil sa kailangan na ng siyudad na kalabanin ang veerus nang mag-isa dahil parang walang tulong na darating mula sa mga mahihinang superheroes sa Maynila. Heto ang mga patunay: 1. Nagtayo ang mamamayan ng sariling mga pasilidad para ma-test ang mga suspetsadong may veerus; 2.
    [Show full text]
  • Philippine Vampires & Other Mythological Creatures
    PHILIPPINE VAMPIRES & OTHER MYTHOLOGICAL CREATURES Documentary on supernatural creatures in Philippine folk beliefs. English language. Audience: 14+ Terms of use: The documentary can be streamed for free from my YouTube channel in 4K resolution (Google Chrome browser). If you want to download an .mp4 file with 2160 p, 1440p or 1080p resolution for offline presentation, I can make it available for you on my private server; please contact me via my website www.vampvault.jimdofree.com (also in case you want to download this script). This documentary was created for academic and educational, non-commercial purposes only. You are not allowed to use, present and/or distribute this documentary commercially, or to shorten or otherwise change it. Every public screening should be free of charge for the viewers and only take place in private, academic or educational settings. Charging an entrance fee automatically makes the presenter liable for copyright infringements, regarding the rights of the creator of this video and the rights of other artists/producers whose materials have been included in this video under the “Fair Use” doctrine. Copyright 2020-2021: Hans Corneel de Roos. By viewing the documentary, you agree to these conditions. Technical data: Length: 76:00 minutes Video format: Full color, 30 fps, 4 K (3840 x 2160 pixels); also runs as Full HD (1920 x 1080 pixels), 720p, etc. on YouTube. Only the Google Chrome browser has the option to display 4K. Encoder: H.264 (AVC) | Bit rate of the file uploaded to YouTube: 60,000 kbps Audio format: Stereo | Encoder: AAC | Bit rate: 320 kbps | Sample Rate: 48 KHz File format: .mp4 | File size of the file uploaded to YouTube: c.
    [Show full text]
  • Download Download
    DOI: 10.46586/er.11.2020.8691 Entangled Religions 11.1 (2020) License: Creative Commons Attribution 4.0 er.ceres.rub.de Observing the Transcendent Other Early Modern Christian Interpretations of a Philippine Religion Imke Rath Georg Eckert Institute, Braunschweig ଈ୪ഌഝ೶ଈ୽ഝ Transcendence and its interrelation with immanence play an important role in all religions. For a believer, the transcendent reveals itself through religious practices and can be communicated to others via various means. But when a religion is extinct, the only way of learning about its transcendence is via remaining sources, which often reveal only a biased image. This article deals with the analysis of the transcendent of an ancient Philippine religion and its distinction to the immanent. It discusses ways of approaching the transcendent with the help of three examples dealing with the consequences of diver- gent understandings of transcendence and immanence, with liminality, soul concepts, and death. ౖ஥൰ൠಧ೶ஐഌ transcendence/immanence, Philippines, indigenous religion, Christian mis- sion, Spanish colonial empire, Early Modern period, witchcraft, soul concepts, religious ritual Introduction The interrelation and distinction between immanence and transcendence are of main concern [1] in any religion. One way or another every religion deals with communication or contact with powers and a world that transcends earthly life. Similar to the concept of religion itself, the expressions and notions of transcendence and immanence are deeply rooted in an Occidental, Christian culture. However, non-Christian religions also contain phenomena that are com- parable to this kind of transcendence. For describing and analyzing them, it is necessary to determine emic understandings of transcendence and to keep in mind that these will differ from the Christian one.
    [Show full text]
  • Intersection of Asian Supernatural Beings in Asian Folk Literature: a Pan-Asian Identity
    The Asian Conference on Asian Studies 2013 Official Conference Proceedings Osaka, Japan Intersection of Asian Supernatural Beings in Asian Folk Literature: A Pan-Asian Identity Ronel Laranjo*1, Kristina Martinez-Erbite*2, Zarina Joy Santos*2 *1Korea University, Korea, *2University of the Philippines, Philippines 0102 The Asian Conference on Asian Studies 2013 Official Conference Proceedings 2013 iafor The International Academic Forum www.iafor.org 15 The Asian Conference on Asian Studies 2013 Official Conference Proceedings Osaka, Japan INTRODUCTION Asian nations have a rich cultural and literary tradition, through these; we can see the common features that bind these nations. This commonality can be considered as the Pan- Asian identity. Folklore, as being mirrored in folk literature, is a rich source of a community's cultural values. Jansen notes that the other significance of folklore is that it provides a group's image of itself and images of other groups (Dundes, 1965). In the era of globalization, folklore serves its function in literary and cultural realm. This study focuses on the cross-cultural intersections of Southeast Asian nations' folk literature in terms of names and descriptions of supernatural beings, and their functions in the society. The study will examine the commonality of terms and description of supernatural beings found in the narratives of folk literature (myths, legends, folktales and epics) of six nations (Cambodia, Indonesia, Laos, Malaysia, Philippines, and Thailand). The countries stated above will be collectively called as Pan-Asia in this paper. According to Foucault (1973), the study of space also known as heterotopia provides an avenue to describe places and spaces that function in non-hegemonic conditions.
    [Show full text]