Balikbayanocrpdf.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Balikbayanocrpdf.Pdf Feltrine1.J.i/rraveller BALIKBAYAN RACCONTI FILIPPINI CONTEM PORAN El a cura di Ubaldo Stecconi OSS I GENO © 1999, Feltrinelli 'Ihlveller S.r.l.- via Andegari 6-20121 Milano INTRODUZIONE Prima edizione maggio 1999 Ubaldo Stecconi ISBN 88-7108-307-5 Ossigeno è una collana Feltrinellifl'raveller Ossigeno: libri per respirare scelti da Stefano Benni Traduzione di Ubaldo Stecconi La storia Questa storia inizia un pomeriggio di febbraio del 1995, nel campus di Ateneo de Manila alla fine di una giornata di lezioni, quando il poeta Danny Reyes mi chiese se potevo consigliargli dei romanzi italiani. 11Potrei darti quelli che ho a casa, ma capisci l'italia­ no?" "Neanche una parola, infatti li voglio leggere in inglese." Cercando una risposta per il mio amico sco­ prii che gli autori italiani disponibili a Manila erano pochissimi. Riuscii a trovare Dante, Machiavelli, - An Lim. J., The Axolotl Colony, in Ricardo de Uogria (a cura di). Cat(ish Manzoni, e fra i contemporanei, Calvino, Primo Levi, Arriving in Little Schools. Anvii Publishing, 1996. Calasso e i romanzi di Eco. La cosa mi parve abba­ - Apostol, G., Fredo Avi!Jz, in Ricardo de Uogria (a cura di), Catfìsh Arri­ ving in Little Schools, Anvil Publishing, 1996. stanza strana. Perché erano cosi pochi? E perché - Dalisay, J.Y., Jr., Ki.ss me Goodbye, Oldtimers and Other Stories, Aspho­ proprio questi quattro in rappresentanza dei moder­ del, l984. tutti i - Dalisay, J.Y., Jr., The Body, Sarcophagus and Other Stories U.P. Press ni? Guardai meglio e vidi che titoli che avevo 1992. trovato erano stati tradotti altrove e successivamente - Dayrit, J.T, Scoring, The Walk, O.R.P. Ateneo de Manlla Uoiversity, importati nelle Filippine. Senza accorgermene, ero_ 1992. in - Gamalinda, E., Magicians in My 1ime. Peripheral Vzsion , New Day, entrato un'inaspettata regione della condizione 1992. l postcoloniale. E per capire cosa significa, dobbiamo - Ong, C., Downshifi, Co r1version & Other Stories, Anvil Publishing, 1992. dare un'occhiata alla storia. - Palanca, C., In Days ofRain, Landscapes, U.P. Press, 1997. - Tan, B .. In theName ofthe Father, in "Chjmera", 1,2. I.:arcipelago che oggi chiamiamo Filippine è stato - Yuson, A., A Balikbayan Christmas, The Music Child and Other Stories, una colonia dal 1571 fino alla fine della Seconda Anvil Publishing, 1991. guerra mondiale. In precedenza, nessuna popolazio­ - Zafra, J.,-Was H ere, Manananggal1èrrori.zes Manila Anvil Publishing 1992. ' ' ne locale si era data pena di unificare le settemila - Zafra, J., The *de Open Eyes of Madness, Manarwnggal Terrorizes Ma­ isole che lo compongono. I primi a pensarci furono i nila, Anvil PubHshing, 1992. navigatori europei che, giunti presso l'isola di Cebu, 7 presero possesso di tutto l'arcipelago per conto del Dopo alcune incertezze, la scelta cadde sull'inglese re di Spagna. Le Filippine, quindi, diventarono una che, cosl, diventò obbligatorio in tutte le scuole del' colonia nel momento stesso in cui vennero identifi­ territorio come lingua di istruzione. cate come un solo territorio. I.:evento non è raro nel­ L'iniziativa, della quale oggi sono noti i disastrosi la storia dell'espansione europea nel mondo, tuttavia effetti culturali e sociali, ebbe immediato successo. è meno comune che da un paese venga cacciata una Una rivista curata da alcuni studenti filippini all'uni­ potenza coloniale solo per vedeme arrivare un'altra. versità di Berkeley in California pubblicò le prime Questo è proprio ciò che successe nel 1898 quando, poesie in inglese di autori filippini già nel 1905. Era alla fine del conflitto noto come Guerra di Cuba, l'ar­ solo l'inizio: una recente antologia (Man of Earth, a cipelago venne ceduto agli Stati Uniti. Per quasi cin­ cura di Gemino Abad ed Edna Manlapaz, Ateneo de quant'anni, quindi, le Filippine ebbero la rara distin­ Manila Press, Quezon City 1989) conta ben ottanta zione di essere l'unica colonia diretta mai posseduta poeti in inglese fra il 1905 e la metà degli anni cin­ dagli Usa. Cosa fecero gli americani di questi territo­ quanta. Ciò sta a dimostrare che l'inglese fu accolto ri d'oltremare? Prima di tutto il nome. Gli architetti con entusiasmo, a volte persino eccessivo. Un amico della nuova amministrazione capirono che dovevano mi ha raccontato che nella scuola elementare di una evitare di ripetere gli errori dei precedenti padroni cittadina di provincia, negli anni settanta, gli alunni coloniali. Gli spagnoli, fra le altre cose, avevano proi­ venivano invitati a fare un gioco. Durante le ore di ri­ bito l'apprendimento del castigliano ai sudditi filip­ creazione dovevano appuntare su un quadernino il pini, fatta eccezione per l'esigua élite di collaboratori nome di tutti i compagni sorpresi a parlare ilonggo,la e amministratori locali. Difatti a cento anni dalla loro lingua madre. Gli zelanti delatori - ma parliamo prima sollevazione contro gli spagnoli, quasi nessu­ di bambini- andavano poi a mostrare il risultato del­ no parla più il castigliano a Manila. Gli americani le indagini ai maestri che appioppavano pubblica­ lanciarono invece un vasto programma di istruzione mente una multa agli scolari rei di espressione lin­ i cui formidabili effetti si avvertono ancora. Oggi ol­ guistica illegale. E ciò sta a indicare cosa intendo per tre il90 per cento della popolazione sa leggere e scri­ disastro culturale. Tenuto conto delle proporzioni fra vere, almeno secondo gli ottimistici funzionari del la velocità con cui cambia il tempo e quella con cui ministero dell1struzione, ed è un fatto straordinario cambia una cultura, è stato come se sulla grande di­ se confrontato con i paesi vicini. n programma di versità linguistica delle Filippine una notte fosse ca­ scolarizzazione, però, arrivò con su attaccato il car­ duta la neve. Non era mai successo prima che gli abi­ tellino del prezzo. All'inizio del secolo, nell'arcipela­ tanti dell'arcipelago, così dissimili per appartenenza go si parlavano oltre cento lingue diverse, assai più etnica, religiosa e culturale, potessero intendersi fra diverse fra loro di quanto non lo siano le lingue e i loro. Le lingue autoctone non scomparvero, ovvia­ dialetti d'Italia, anch'essi un centinaio, e nessuna ve­ mente, ma rimasero sotto; un po' nascoste e gelate niva compresa in tutto il paese. La situazione era nello sviluppo. Soprattutto, acquistarono una posi­ chiaramente inaccettabile sotto il profilo ammini­ zione subordinata rispetto all'inglese, diventato pre­ strativo. n primo governatore americano si sarà cer­ stigioso grazie al suo impiego esclusivo a scuola, nel tamente chiesto come farsi intendere da tutti i nuovi governo e nei tribunali. Era stata introdotta la lingua amministrati; doveva scegliere una lingua comune. del potere, ma certamente non la lingua nazionale. 8 9 Sogni a occhi aperti Restituzione Ed è a causa di questa differenza di prestigio che A questo punto, invece di festeggiare l'avvenimen­ non riuscivo a dare un buon consiglio a Danny. Mi to, mi venne un dubbio. Non è che, al di là delle no­ spiego: non solo le opere scritte in inglese vengono stre migliori intenzioni, avevamo compiuto un altro percepite come superiori rispetto a quelle scritte nel­ atto di colonizzazione culturale? Insomma, di scrit­ le lingue autoctone, ma la posizione di dominio del­ tori e poeti validi nelle Filippine ce ne sono tanti, che l'inglese è tale che anche le opere scritte originaria­ bisogno c'era di importare racconti dall'Italia? Di mente in altre lingue sono tradotte in un paese anglo­ questa tristitia che segue non il fallimento ma la rea­ sassone prima di entrare in circolazione a Manila lizzazione dell'opera parla George Steiner in After Non sto dicendo che nelle Filippine non si traduce af­ Babel (Oxford University Press, Oxford e Londra fatto, alcuni progetti recenti hanno portato sugli scaf­ 1975, pp. 296 ss.) e la si trova in un famoso discorso fali traduzioni in fìlipino Oa progettata lingua nazio­ sulla traduzione. In esso, Steiner sostiene che quan­ nale) di opere scritte da autori filippini in spagnolo, do si traduce da una lingua all'altra si entra in una inglese o altre lingue autoctone; inoltre esistono spa­ transazione alla fine della quale tutti guadagnano rute versioni di Shakespeare e di libri per l'infanzia qualcosa: coloro che appartengono alla cultura da stranieri. Ma si tratta di progetti sporadici. Che male cui proviene l'originale e coloro che vivono in quella c'è a importare il lavoro dei bravi traduttori inglesi e dove va a finire la traduzione. Questo perché, se da americani bell'e fatto? Nessuno, tranne che non me la una parte la traduzione rapina l'originale dalla sua sentivo di consigliare a Danny L'isola del giorno pri­ cultura, dall'altra gli restituisce importanza e presti­ ma, perché, conoscendolo, ero sicuro che non gli sa­ gio sul piano simbolico; ed è vero che i testi che ven­ rebbe piaciuto. E non si tratta di una sua antipatia gono considerati degni di essere tradotti acquistano personale. Eco, molto apprezzato e venduto in Ame­ una certa distinzione. Secondo Steiner: 'Tl]e frecce rica, non ha lettori entusiasti nelle Filippine perché, del significato, del beneficio culturale e psicologico in barba a Coca-Cola e Colgate, a Michael Jordan e vanno in entrambe le direzioni. Idealmente, si tratta Michael Crichton, il gusto dei lettori filippini è rima­ di uno scambio senza perdita" (ivi, p. 302). Ma il di­ sto- grazie a Dio - diverso da quello dei lettori ameri­ scorso non mi convinceva. Con Daydreams non si cani. Sono andato, così, a parlare con un paio di edi­ trattava di tradurre un autore tedesco in francese - tori di Manila e ho proposto loro di mettere insieme la situazione tipica che Steiner sembra avere in men­ una raccolta di racconti italiani recenti che potesse te - bensì scrittori italiani per lettori filippini.
Recommended publications
  • Alvin Pang, Ed. Tumasik: Contemporary Writing from Singapore
    ASIATIC, VOLUME 4, NUMBER 1, JUNE 2010 Alvin Pang, ed. Tumasik: Contemporary Writing from Singapore. Iowa City, IA: Autumn Hill Books, International Writing Program at the University of Iowa & National Arts Council of Singapore. 243 pp. ISBN 978-0-9843036-2-5. Most writers would rather write their own works than compile anthologies, particularly when they are not in academia where teaching a particular corpus of literature requires compilation of relevant sources in any case. So anthology editors who are also writers tend to create anthologies more as a service to the literary community and, in the case of national anthologies, as a service to one’s country as well. In this regard, Singapore has been well served as several comprehensive anthologies have emerged in the last quarter of a century. Given the multilingual context of Singapore, several early anthologies have adopted the approach of having four sections: Malay, Chinese, Tamil and English. The definitive anthology of Singapore poetry by Thumboo, Wong, Lee, Salikun and Arasu (1985) provides translations as well while its companion volume on Singapore fiction (Thumboo, Wong, Maaruf, Elangovan, Yap, Govindasamy, Wong, Salikun and De Souza, 1990) does not. In the 1990s, notable works include Thumboo, Wong, Ban, Govindasamy, Maaruf, Goh and Chan’s (1995) Journeys: Words, Home and Nation and Goh’s (1998) Memories and Desires: A Poetic History of Singapore. While Thumboo is still active in this area of work, for example, as the lead editor of two recent anthologies in 2009, among the younger generation of authors now based in Singapore, Alvin Pang has firmly established himself as a leader in the compilation of anthologies of Singapore poetry in English, having produced anthologies with Aaron Lee (2000) residing in Singapore and other editors in other countries (Sunico, Yuson, Lee and Pang, 2002; Kinsella and Pang, 2008; Pang and Fratus, 2009).
    [Show full text]
  • Magical Orality in Tess Uriza Holthe's When the Elephants Dance Debra Tisoy Pacio Bachelor of Arts Honors Candidate in English
    Magical Orality in Tess Uriza Holthe’s When the Elephants Dance Debra Tisoy Pacio Bachelor of Arts Honors Candidate in English Literature Stanford University May 15, 2015 Thesis Advisor: Professor David Palumbo-Liu Second Reader: Professor Michele Elam Graduate Mentor: Connie Zhu Dedicated to Gerardo Pimentel Pacio, my Lolo, who worked as a civil engineer under the Japanese during the occupation and risked his life by dropping food from the trains to the guerrillas under the cloak of the night. This work is my humble contribution to the revolution. Table of Contents Introduction Chapter One: Magic Chapter Two: Orality Conclusion Pacio 6 Introduction “If history were told in the form of stories, it would never be forgotten.” -Rudyard Kipling It is no coincidence that I begin this work with the words of Rudyard Kipling. As a coveted English poet and storyteller in the late Victorian era, Kipling wrote a number of works, among the best remembered being the children’s story collection, The Jungle Book (1894), and his famous 1899 poem, “The White Man’s Burden.” The poem appears to be a favorite accompaniment to lectures and lessons on Joseph Conrad’s Heart of Darkness, published in the same year. Indeed, the poem is best known for its influence as a literary justification of imperialism. In an imperative tone, Kipling’s poem honors the imperialist movement of the 19th century as one of progress and sacrifice. The initial stanza reads, “Take up the White Man’s burden, Send forth the best ye breed Go bind your sons to exile, to serve your captives’ need To wait in heavy harness, On fluttered folk and wild- Your new-caught sullen peoples, Half-devil and half-child.”1 “Take up the White Man’s burden.” The first two words command citizens to save and civilize their imperial subjects –but to whom specifically are these imperative clauses directed? Due to Kipling’s background as an English poet, readers may easily mistake “the White Man’s burden” as an expression alluding to the expansion of the British Empire.
    [Show full text]
  • The Real and the Imaginary: Selected Filipino Literature from the Philippine Revolution to the Marcos Era an Honors Thesis (HONR
    The Real and the Imaginary: Selected Filipino Literature from the Philippine Revolution to the Marcos Era An Honors Thesis (HONR 499) by Ian Gonzales Thesis Advisor Dr. Kenneth Hall Ball State University, Muncie Indiana April 2019 Expected Date of Graduation May 2019 Abstract Historical literature is valuable to understanding the past as authors are allowed to distort history to heighten certain themes of change and continuity while also expressing the complexities of historical events. This is especially true for the Philippines, as Dr. José Rizal’s Noli Me Tángere and El Filibusterismo began the Filipino Nationalist movement. That tradition of literature is continual celebrated by Filipinos today. The following analysis tracks themes throughout several novels written about Philippine history. In Noli Me Tángere, El Filibusterismo, The Three- Cornered Sun, My Sad Republic, Great Philippine Energy Jungle Café, and the Rosales Saga, Philippine historical literature highlights the inequities caused by the Philippines’ colonial legacy and how individuals strive to counter and fight against those historical limits. I analyze these twelve novels to analyze the three key divisions in Philippine history — those of religion, location, and national identity. Acknowledgements I would like to thank Dr. Kenneth Hall for advising me through this research process. Early on as an undergraduate student he engendered a love of historical literature and has always supported me in my pursuit to create a deeper connection with my familial homeland of the Philippines. I would also like to thank Jack, who has continually supported me throughout this process — reading drafts, running ideas, or just general emotional support. Lastly, I would like to thank my family for encouraging my love of Filipino history and procuring various books that I would have otherwise been unable to obtain.
    [Show full text]
  • Towards Writing and Performing a Contemporary Epic Poem Merlinda Bobis University of Wollongong
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1994 Circling the mountain: from naming to namelessness: towards writing and performing a contemporary epic poem Merlinda Bobis University of Wollongong Recommended Citation Bobis, Merlinda, Circling the mountain: from naming to namelessness: towards writing and performing a contemporary epic poem, Doctor of Creative Arts thesis, School of Creative Arts, University of Wollongong, 1994. http://ro.uow.edu.au/theses/948 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] CJIRCUNG THE MOUN'rAJIN: FROM MAMJING TO MAMlBJLJBSSNBSS Towards Writing and Performing a Contemporary Epic Poem A thesis submitted in partial fulfilment of the requirements for the award of the degree DOCTOR OF CREATIVE ARTS from THE UNIVERSITY OF WOLLONGONG by MERLINDA BOBIS B.A. (AUL), M.A. (UST) SCHOOL OF CREATIVE ARTS 1994 ABSTRACT Circling The Mountain: From Naming To Namelessness is an annotated document which supports a 20,000 word epic poem (in two versions: English and Filipino) entitled Kantada ng Babaing MandirigmalCantata of The Warrior Woman Daragang Magayon. This explanatory text documents the process involved in writing and performing my epic, in which I recast a traditional myth about the active volcano Mt. Mayon in my region Bikol in the Philippines. Through a discussion on feminism, language and the epic genre, this story of my creative process also explains the thesis of my epic poem: re-inventing the Self beyond rigidified and oppressive definitions of identity. This process of becoming is examined through three principal sections: naming, unnaming and namelessness.
    [Show full text]
  • A Carnival of Mirrors
    A CARNIVAL OF MIRRORS The state of freedom of expression in the Philippines 85th PEN International Congress 2 Manila, September 2019 By Carles Torner Introduction 3 By Salil Tripathi What is Thirty Years?: 5 Cover image: Ezra Acayan/Getty Images Writing Against the Odds Report authors: Sheila S. Coronel, Inday Espina-Varona, By Sheila S. Coronel Manuel Mogato, Criselda Yabes, H. Francisco V. Peñones Jr. Introduction by Salil Tripathi Time Warped: Space for 9 Editors: Joel Pablo Salud, Emma Wadsworth-Jones, Salil Tripathi, Lianna Merner Press Freedom Narrows in With Special Thanks to: Philippine PEN, Faith Scott Deuchar, the Philippines Ingrid Brandvik, Sahar Halaimzai, Rebecca Sharkey, Megan Betterton, By Inday Espina-Varona Brett Evans Biedsheid and Getty Images Published by PEN International with the support of the Swedish International Development Cooperation Agency (Sida) The Maguindanao Massacre: 14 PEN International Trickle Down Justice Unit A, Koops Mill Mews 162-164 Abbey Street By Manuel Mogato London SE1 2AN United Kingdom The Newsroom’s Fighting Women 19 PEN International promotes literature and freedom of expression By Criselda Yabes and is governed by the PEN Charter and the principles it embodies: unhampered transmission of thought within each nation and between all nations. Founded in 1921, PEN International connects an international community of writers from its Secretariat in London. Writing in the Margins 22 It is a forum where writers meet freely to discuss their work; it is also a voice speaking out for writers silenced in their own countries. By H. Francisco V. Peñones Jr. Through Centres in over 100 countries, PEN operates on five continents.
    [Show full text]
  • Unitas Journal
    ISSN: 0041-7149 ISSN: 2619-7987 VOL. 92 • NO. 1 • MAY 2019 UNITASsemi-annual peer-reviewed international online journal of advanced research in literature, culture, and society Transpacific Connections Razones del Modernismo of Philippine Literature in Spanish hispanoamericano en Bancarrota de EditEd by JorgE MoJarro almas de Jesús Balmori: (“Ventura bajo la lámpara eléctrica leía vagamente el A Mexican Princess in the Tagalog Azul de Darío”) Sultan’s Court: Floripes of the bEatriz barrEra Doce Pares and the Transpacific Efflorescence of Colonial Philippine Teodoro Kalaw lee a Gómez Carrillo: Romance and Theater Hacia la Tierra del Zar (1908), un John d. blanco ejemplo de crónica modernista filipina JorgE MoJarro Bad English and Fresh Spaniards: Translation and Authority in Philippine Quijote-Sancho y Ariel-Calibán: and Cuban Travel Writing La introducción de Filipinas en la ErnEst rafaEl hartwEll corriente hispanoamericanista por oposición al ocupador yankee Recuperating Rebellion: Rewriting rocío ortuño casanova Revolting Women in(to) Nineteenth-Century Cuba Transcultural Orientalism: Re-writing and the Philippines the Orient from Latin America and The kristina a. Escondo Philippines irEnE villaEscusa illÁn La hispanidad periférica en las antípodas: el filipino T. H. Pardo de Reframing “Nuestra lengua”: Tavera en la Argentina del Centenario Transpacific Perspectives on the axEl gasquEt Teaching of Spanish in the Philippines paula park From Self-Orientalization to Revolutionary Patriotism: Paterno’s Reading Military Masculinity in Fil-
    [Show full text]
  • Lino Brocka and the New Cinema of the Philippines
    91 THE STRUGGLE OF THE OPPRESSED: LINO BROCKA AND THE NEW CINEMA OF THE PHILIPPINES THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Arminda V. Santiago, B.A., M.A. Denton, Texas August 1993 Santiago, Arminda V., The Struggle of the Oppressed: Lino Brocka and the New Cinema of the Philippines. Master of Arts (Radio, Television, Film), August 1993, 227 pp., appendix, bibliography, 115 titles. This study is an examination of Lino Brocka's development as a filmmaker of the New Cinema of the Philippines. It provides a close textual analysis of two recent Brocka films, Macho Dancer (1988) and Fight for Us (1989) using a sociocultural approach to the study of the representation of aspects of social reality and their relationship to contemporary Philippine society. The study is divided into six chapters: Chapter I contains the introduction to the study, Chapter II traces the development of Philippine cinema in relation to Philippine socio-political history, Chapter III describes the New Cinema film movement in the Philippines, Chapter IV provides a biographical sketch of Lino Brocka in which the development of his critical attitude, notions of social reality, and significant works are discussed, Chapter V contains the film analyses, and Chapter VI contains the conclusions to the study. ACKNOWLEDGMENTS The author would like to thank the following institutions and individuals for helping make this thesis possible: The Fulbright-Hays Scholarship Program of the United States Information Agency The Institute of International Education The Philippine American Education Foundation The Institute of Library Science, University of the Philippines The College of Mass Communication, University of the Philippines The Film Center, University of the Philippines The Filipiniana Section of the Main Library, University of the Philippines Professor Grace Javier Alfonso, University of the Philippines Professor Joel S.
    [Show full text]
  • Everyday, Elsewhere: Allegory in Philippine Art
    Contemporary Aesthetics (Journal Archive) Volume 0 Special Volume 3 (2011) AESTHETICS AND THE ARTS IN SOUTHEAST Article 3 ASIA 2011 Everyday, Elsewhere: Allegory in Philippine Art Patrick D. Flores University of the Philippines, [email protected] Follow this and additional works at: https://digitalcommons.risd.edu/liberalarts_contempaesthetics Part of the Aesthetics Commons Recommended Citation Flores, Patrick D. (2011) "Everyday, Elsewhere: Allegory in Philippine Art," Contemporary Aesthetics (Journal Archive): Vol. 0 , Article 3. Available at: https://digitalcommons.risd.edu/liberalarts_contempaesthetics/vol0/iss3/3 This Article is brought to you for free and open access by the Liberal Arts Division at DigitalCommons@RISD. It has been accepted for inclusion in Contemporary Aesthetics (Journal Archive) by an authorized editor of DigitalCommons@RISD. For more information, please contact [email protected]. Everyday, Elsewhere: Allegory in Philippine Art Patrick D. Flores About CA Abstract Journal The essay traces certain contexts of the allegorical impulse in Philippine image making and art, specifically as it marks the self- Contact CA consciousness of the maker of image and art to render time, place, and event legible. It conceives of it as an aesthetic of Links migration, prefiguring an elsewhere that is aspired to as well as a phantasm of affinity that describes a present condition. The Submissions allegorical, therefore, bears the desire to belong to the world, referencing both the critique of coloniality as well as the Search Journal possibility of transcending it at the very moment of revealing its ethical failure. Key Words Allegory, colonialism, diaspora, globalization, migration, nation, Philippines, post-colony Editorial Board Permission to Reprint Every day a Filipino leaves home.
    [Show full text]
  • In Search of Excellence: Historical Roots of Greek Culture
    DOCUMENT RESUME ED 417 112 SO 028 539 AUTHOR Makedon, Alexander TITLE In Search of Excellence: Historical Roots of Greek Culture. PUB DATE 1996-00-00 NOTE 75p.; Based on a lecture by the same title presented to the All Nations Women's Group of the YWCA of Manila, Inc. (Makati City, Philippines, November 15, 1995). PUB TYPE Reports Descriptive (141) Speeches/Meeting Papers (150) EDRS PRICE MF01/PC03 Plus Postage. DESCRIPTORS *Ancient History; Area Studies; Foreign Countries; *Greek Civilization; Philosophy; Western Civilization; World History IDENTIFIERS *Greece ABSTRACT This paper seeks to discover conditions that motivate people to achieve excellence and uses the Greek culture as an example of excellence. The document addresses the basic questions:(1) What were the social conditions that resulted in what is widely known as the "Greek Miracle"?; (2) What motivated the ancient Greeks to excel, especially their young people?; (3) Why were others, especially in the west, so bedazzled by the achievements of the ancient Greeks, that they decided to adopt numerous of their beliefs and values?; and (4) What can we learn from the ancient Greeks today to help motivate our own people to achieve or raise our moral and educational standards? Sections of the paper include:(1) Introduction; (2) "Influence of Ancient Greek Culture in the Philippines"; (3) "Greek Culture from Ancient Times to the Present"; (4) "Genesis of Excellence in Ancient Greek Culture"; and (5)"Synthesis and Conclusion of Reasons for the Genesis of Excellence in Ancient Greek Culture." Contains 26 references. (EH) ******************************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document.
    [Show full text]
  • Humanities: Ben Cabrera, Ahmad Zakii Anwar & Putu Sutawijaya Venue
    Humanities: Ben Cabrera, Ahmad Zakii Anwar & Putu Sutawijaya Venue: Andrewshire Gallery, Los Angeles Date: 24 October - 21 November 2009 This October, Andrewshire Gallery brings a group of Southeast Asia's most highly acclaimed painters to Los Angeles for the first time. Southeast Asia has long been recognized by the international art community as a vital and unique hub in global contemporary art practice. In the past few years, contemporary Southeast Asian art has also rapidly gained an international following in the market. The exhibition 'Humanities' introduces the work of Ben Cabrera, Ahmad Zakii Anwar and Putu Sutawijaya. These three artists come from three different countries and three different generations of artists, yet all have achieved broad acclaim through the Southeast Asian region, leading the way in figurative painting. Ben Cabrera, or ‘Bencab’, as he is better known, is one of the youngest artists to be recognized as a National Artist of the Philippines, a rare and prestigious accolade. Born in 1942 in the Philippines, Bencab emerged as a fresh and powerful force in the Social Realist movement which dominated Filipino art in 1970s and 1980s, moving on to become one of the Philippines' most esteemed figurative artists. Ahmad Zakii Anwar was born in 1955 in Johor, Malaysia, began exhibiting in the 1990s in Malaysia, and has gone on to carve out a formidable reputation throughout the region and beyond, holding successful exhibitions in Singapore, Jakarta, Hong Kong and New York. Putu Sutawijaya, a Balinese artist based in Yogyakarta, was born in 1971, and is a leading light within a fast-rising generation of contemporary Indonesian artists.
    [Show full text]
  • Philippine Poetry, Metropolitan Trains, and the Tulaan Sa Tren Project
    HAcrossUMANITIES the City, DILIMAN Toward (J ANUARYthe Nation-JUNE 2014) 11:1, 30-56 Across the City, Toward the Nation: Philippine Poetry, Metropolitan Trains, and the Tulaan sa Tren Project Oscar Tantoco Serquiña Jr. University of the Philippines Diliman ABSTRACT In 2008 and 2010, the Philippine government’s National Book Development Board (NBDB) and Light Railway Transit Authority (LRTA) launched Tulaan sa Tren, a project “designed to provide train passengers with an appreciation for Philippine Literature as they listen to their favorite celebrities reading poems about Manila over the public announcement system of LRT Line 2 stations” (goodnewspilipinas.com). This project also initiated a poetry writing contest and produced poetry anthologies that predominantly depicted views of the city and city life. Part appreciation, part revaluation, part critique, this paper initiates a sensing of: (1) the train as a figure of modern life; (2) NBDB and LRTA’s enterprise as a state measure to bridge the disparity between the public’s reception to Philippine literature and the intelligentsia’s academic way of life; and (3) literary representations of the city in the poetry anthologies this project produced, namely Train of Thought: Poems from Tulaan sa Tren and Off the Beaten Track: Poems from Tulaan sa Tren 2. This paper argues that the institutional intervention of popularizing travel, literature, and the city may be seen as a way of generating a socio-political and literary consciousness among train commuters who are linked to and implicated in the issues and anxieties of their lives in the urban environment. By analyzing the poems in the anthologies, this essay ultimately critiques Tulaan sa Tren’s attempt at nation building, identity making, and city mapping.
    [Show full text]
  • Fernando Amorsolo
    Fernando Amorsolo /Fernando Amorsolo was born on May 30, 1892 in Calle Herran in Paco, Manila to Pedro Amorsolo and Bonifacia Cueto. Although born in the nation͛s capital, Amorsolo would spend most of his childhood in the small town setting of Daet in Camarines Norte where his love for the simple rural life would become the foundation for his artistic output for which he is most well-known. The Early Years Amorsolo͛s earliest memories would bring him back to a quiet life in the countryside. When he was only seven months old, his father moved the family to Daet to work as a bookkeeper for two abaca firms. Pedro was able to earn a modest income, enough to keep his family comfortable. Fernando showed early signs of his artistic talent. He would go out to the coast to draw pictures of the ships by the wharves. It was his mother who recognized the young Amorsolo͛s talent. She would send her son͛s drawings to her cousin Fabian dela Rosa, a prominent painter in Manila. At this early age, Amorsolo displayed an affinity for the rural landscape --- a reflection of his own small world. Tragedy struck early in Amorsolo͛s life. One night, when Fernando was still very young, his father was awakened by shouts coming from outside his window. It was the head of the revolutionary movement fighting against the Spaniards demanding that Amorsolo͛s half brother, the eldest son Perico, join the group. Against his father͛s wishes, Perico relented and went down to join the rebels. The family never saw him again.
    [Show full text]