PInay: Culture Bearers of the Filipino Diaspora eds. by Virgie Chattergy and Pepi Nieva

Biography ◽  
2018 ◽  
Vol 41 (2) ◽  
pp. 402-406
Author(s):  
Kim Compoc
Keyword(s):  
Filipino Diaspora ◽  
Culture Bearers

BAHALA NA: In Search of an “Ordinary Theology” for the Filipino Diaspora

2018 ◽  
Vol 22 (2) ◽  
pp. 234-252
Author(s):  
Rowan Lopez Rebustillo
Keyword(s):  
Latin American ◽  
Catholic Theology ◽  
The Real ◽  
Filipino Diaspora ◽  
The World ◽  
Filipino Migrants ◽  
Real Essence

Abstract In the contemporary theological landscape Filipino theology has remained marginal compared to Latin-American theologies. Hence, this paper attempts to present Bahala Na as a Filipino articulation of Astley’s Ordinary Theology in the context of Filipino diaspora. With this, we assert that the importance of ordinary Filipino migrants’ input in the current theological enterprise cannot be overlooked because the churches in the world are now phenomenally populated by the millions of Filipinos who possess a unique faith that has sustained them amidst the precariousness of their diasporic life. We believe that ignorance of this inculturated theology is ignorance of the real essence of “catholic” theology.

The Work of Mothering

2017 ◽  
Author(s):  
Harrod J. Suarez
Keyword(s):  
The Philippines ◽  
Domestic Labor ◽  
Reading Practice ◽  
Jessica Hagedorn ◽  
Filipino Diaspora ◽  
Carlos Bulosan ◽  
The World ◽  
Political Conditions ◽  
Alternative Practices ◽  
The Relationship

The Work of Mothering: Globalization and the Filipino Diaspora argues for a strict relationship between the world-historical situation of the Philippines under empire, nationalism, and globalization and the phenomenon of overseas domestic labor, drawing on the contours that inform the latter but arguing that it is part of a much larger framework of nurture, care, and service structuring the relationship between the postcolonial Philippines and the world. It analyzes maternal figures in novels by Carlos Bulosan, Jessica Hagedorn, and Brian Ascalon Roley; short stories by Nick Joaquin and Mia Alvar; poems by Luisa Igloria; and a film by Kidlat Tahimik. By developing incisive readings of subtle, passing moments in these texts, The Work of Mothering opens up narratives within which the cultural, political, and economic logics of overseas Filipina/o migration, especially but not only domestic labor, emerges. It does so by advancing an archipelagic reading practice that addresses diasporic literatures and cultures without reinscribing them either within nationalist or global paradigms. In doing so, it draws crucially on debates within the sociology of globalization and cultural studies, offering a critical and innovative vantage point that identifies alternative practices of the maternal, pushing up against the historical and political conditions that manage Filipina/o identity for nationalism and globalization.

Diasporic media and migrant worker consumerism: Thematic critique of magazine advertisements for the Filipino community in Taiwan

2016 ◽  
Vol 12 (3) ◽  
pp. 247-258
Author(s):  
Francis Raymond Calbay
Keyword(s):  
Thematic Analysis ◽  
Migrant Workers ◽  
Consumer Goods ◽  
Migrant Worker ◽  
Consumer Society ◽  
Capitalist System ◽  
Business Interests ◽  
Filipino Diaspora ◽  
Social Inequities ◽  
Financial Burdens

The financial burdens of Filipino migrant workers are exacerbated by the lure of miscellaneous consumer goods peddled to them by businesses looking for a lucrative share of their remittances. This study examines a profit-oriented model of diasporic media that directly serves the business interests of its publisher and its advertisers. It analyses the Taiwan-based EEC Now magazine and criticizes the duplicity of its proclaimed mission of ‘Caring for Migrant Workers Now and in the Future’. Through a thematic analysis of advertisements published in selected issues of EEC Now, the study reveals the consumerist ideology espoused by the magazine: the commodification of the migrant worker’s body, the obligatory sending of balikbayan (repatriate) cargo boxes and cash remittances and the search for the next overseas destination. Applying concepts from Baudrillard’s theory of consumer society and San Juan’s critique of Filipino diaspora formation, the themes from the analysis reveal how profit-oriented diasporic media reflect social inequities and service the global capitalist system that ultimately spawned labour migration.

Christianization in the Fourth Century: The Example of Roman Women

1976 ◽  
Vol 45 (2) ◽  
pp. 149-165 ◽  
Author(s):  
Anne Yarbrough
Keyword(s):  
Small Group ◽  
Fourth Century ◽  
Upper Class ◽  
Next Generation ◽  
Religious Attitudes ◽  
Religious Attitude ◽  
Christian Religion ◽  
Religious Extremism ◽  
Culture Bearers ◽  
Roman Women

At the beginning of the fourth century the Roman aristocracy was, for the most part, pagan in its religious attitude. By the end of that century the aristocracy had undergone what Peter Brown has described as a “sea change”: its pagan values had become redefined within the context of Christianity. This “drift into respectable Christianity” was the result of the process of socialization in the households of the Roman senatorial class over several generations. Brown suggests that the fourth-century Christianization of the aristocracy was the achievement of those upper-class Roman women who, by continuing to practice their Christian religion in the households of their pagan husbands, established the syncretistic milieu which would influence the religious attitudes of the next generation. But the apparent calm of Brown's anonymous culture-bearers is disturbed by a small group of women whose religious extremism delineates them sharply from their peers. Rejecting wholly the society into which they were born, they fled the cloying Roman atmosphere for the harsh air of the desert. The “respectable Christianity” that Rome was adopting offered them no satisfaction.

scholarly journals NEW RESULTS OF DIRECT RADIOCARBON AMS DATING OF THE POTTERY FROM THE BUH-DNISTER SUB-NEOLITHIC СULTURE

2020 ◽  
Vol 37 (4) ◽  
pp. 310-328
Author(s):  
D. L. Haskevych ◽  
E. Endo ◽  
D. Kunikita
Keyword(s):  
Radiocarbon Dates ◽  
Carpathian Region ◽  
Culture Bearers ◽  
Linear Band ◽  
Ams Dating ◽  
Wide Scatter ◽  
Freshwater Reservoir ◽  
University Laboratory ◽  
Neolithic Cultures ◽  
Shed Light

Traditional ideas about the origin of the Buh-Dnister Culture (BDC) and its synchronisation with the Neolithic cultures of the Danube-Carpathian region were questioned by series of radiocarbon dates measured on bones at the Kyiv laboratory in the 1998—2004. To start addressing this problem, 11 AMS dates on organic inclusions in the ceramic paste and charred residues on the surface of vessels were obtained at the Tokyo University laboratory. The set of new dates has given a wide scatter of their values within the entire period outlined by the previous BDC dates. Moreover, the two results of the second quarter of the 7th millennium BC for the Hlynske 1 and Bazkiv Ostriv site are beyond it and may potentially be the oldest dates of the culture. However, analysis of the samples in terms of carbon content, their susceptibility to the influence of the freshwater reservoir effect, correspondence to the stratigraphy of the sites and typology of materials detected only six more credible dates. Their order on the timeline coincides with generally accepted ideas about the sequence of existence of the different BDC pottery types. The youngest is the vessel of the Savran type from Shumyliv-Cherniatka has yielded two dates falling into the range of 4723—4491 cal BC, when the Trypillia culture bearers already populat the region. Two vessels of the Samchyntsi type from Bazkiv Ostriv yield three dates within the range of 5288—4847 cal BC, which corresponds to their finding next to fragments of fine «music-note» bowls of the Linear Band Pottery Culture. The Skybyntsi type vessel from Bazkiv Ostriv yield the oldest plausible date of 5621—5514 cal BC, which corresponds to the age of the Criş monuments in Moldova. Unfortunately, the new dates did not shed light on the issues of the time and direction of the first pottery spreading in the region. Thus, this needs further research including reliably direct radiocarbon dating on pottery.

scholarly journals Means of Language Objectification of the German Knight Image in the Artistic Picture of World in Middle Ages

2020 ◽  
pp. 158-176
Author(s):  
Olga N. Obukhova ◽  
Olga V. Baykova
Keyword(s):  
Middle Ages ◽  
German Culture ◽  
Hartmann Von Aue ◽  
European Literature ◽  
Surrounding World ◽  
Culture Bearers ◽  
The World ◽  
Semantics And Pragmatics ◽  
Western European ◽  
The Middle Ages

The analysis of historical, culturally motivated ideas about the German knight, which are objectified in the language not only in conventional, unified standards, but primarily in socio-ethnocultural assessments and stereotypes, is presented. The material of the study was German knightly novels: “Tristan” (“Tristan”) by Gottfried of Strasbourg, “Poor Heinrich” (“Der arme Heinrich”) by Hartmann von Aue, “Eneasroman” by Heinrich von Veldeke. Particular attention is paid to the study of indicators of the national specificity of the image of the German knight. It is proved in the work that the actualization of lexical units that serve to represent the image of a knight is largely specific and due to the genre specificity of Western European literature texts of the Middle Ages. It is stated that the knowledge of medieval German culture bearers about the surrounding reality, objectified by the semantics and pragmatics of linguistic and speech units, structures, compositions, united as a whole by the characteristics of the surrounding world are accumulated in the artistic picture of the world in the Middle Ages. It is concluded that the image of a knight embodies the complex of worldview coordinates and values of the knightly estate, which are recorded in a verbal (artistic) text in the form of a specially organized system of knowledge and ideas about the world.

“Pour préserver la mémoire”

2018 ◽  
pp. 388-402
Author(s):  
Christopher Orr
Keyword(s):  
Collective Memory ◽  
Documentary Film ◽  
Cultural Preservation ◽  
Algerian War ◽  
War Of Independence ◽  
Individual Culture ◽  
Culture Bearers ◽  
Algerian War Of Independence ◽  
Definition Of ◽  
First Time

This chapter examines the documentary film El Gusto through an expanded definition of music repatriation. The film captures the reunion of Jewish and Muslim sha‘bī musicians who perform together for the first time since the Algerian War of Independence. Using theories of collective memory, the author explores how the film’s director, Safinez Bousbia, presents this reunion both as a repatriation of individual culture-bearers who embody a tradition and as a reconstitution of their shared memories. The film’s subsequent publicity and Bousbia’s ongoing initiatives have enabled the musicians to advocate for their music and their shared oral history as intangible cultural heritage. Using Bousbia’s project as a model, the author argues for an approach to ethnographic representation that empowers subjects of repatriation to become agents in cultural preservation.

scholarly journals Enculturation of the Russian Youth in the Modern Digital Educational Environment

2019 ◽  
Vol 70 ◽  
pp. 06012
Author(s):  
Svetlana S. Zubareva
Keyword(s):  
A Priori ◽  
Social Institutions ◽  
Modern Society ◽  
Academic Community ◽  
Educational Process ◽  
Digital Culture ◽  
Culture Bearers ◽  
Science And Education ◽  
Sociocultural Characteristics ◽  
The One

On the cusp of the 20th and 21st centuries, during the period of progressing globalization processes, all social institutions, including science and education, saw major changes. On the one hand, the transitivity of the modern society has influenced the changes in the system of social values and attitude to the information, a priori knowledge and university as the place of tits production and accumulation. On the other hand, the penetration of digital culture, containing new values and meaning of education has had a massive effect on the formation of certain patterns of subject-subject relations in the educational process. The purpose of this study was to explore the opportunities and risks associated with education of Russian students and to analyze social and axiological aspects of this process. In the course of our study we analyzed the differences between generations that are subjects of the educational process and presented key sociocultural characteristics of the student youth determining their approach to studies. The conducted analysis shows that as digital culture bearers Russian students adapt quickly to ongoing social and technological transformations/ as well as perceive and share the values of the academic community and future profession.

“Smooth Criminals”: Mimicry, Choreography, and Discipline of Cebuano Dancing Inmates

2008 ◽  
Vol 40 (S1) ◽  
pp. 197-202
Author(s):  
Lorenzo Perillo
Keyword(s):  
Music Video ◽  
Rehabilitation Center ◽  
The Gaze ◽  
Filipino Diaspora ◽  
Security Consultant ◽  
Epistemological Shifts

On July 17, 2007, Byron Garcia, Cebu provincial security consultant, uploaded the Cebu Provincial Detention and Rehabilitation Center inmates' performance of Michael Jackson's iconic, record-breaking music video “Thriller,” which has gained enough popularity to be ranked You-Tube's fourth all-time favorite video. I ask how 1,500 Cebuano prisoners performing “Thriller” hold the global gaze so captive? Also, how do issues of sexual, racial, and cultural desire and anxiety inform “Thriller” in both content and reception? I analyze the filmed “Thriller” dance in Cebu in order to open up its ambivalent success as explicated through issues of mimicry, choreography, and reception. I argue that “Thriller” takes part in a century-long conversation on Philippine representation, discipline, and imperial meanings. What subjects are formed through this experiment designed to literally choreograph discipline onto “deviant” bodies? Finally, when situating this user-generated spectacle in the contexts of Filipino diaspora, postcolonialism, and bakla performance, what epistemological shifts do we make from the gaze-spectacle binary?

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