Sumbing Median (Midline Cleft) (original) (raw)

Huling Dalagang Bukid: Isang Authograpiya na Mali

Scientia - The International Journal on the Liberal Arts

The paper is a comprehensive reading and in-depth analysis of the renowned Filipino author Jun Cruz Reyes. It highlights the 10 important aspects of the work that are critical in its literary interpretation. It also emphasized the embedded meanings in the title, literary composition, style, genre, linguistic aspects, and the prevailing literary tone of the text. References Almario, Virgilio S. "Binagong Gabay sa Ortograpiya ng Wikang Filipino". Komisyonsa Wikang Filipino, Edisyon 2014. Ikalawang Limbag, 2014. ____________________. UP Diksiyonaryong Filipino (Binagong Edisyon). UP Sentro ngWikang Filipino-Diliman: Anvil Publishing, Inc., 2010. ____________________.F_l_p_no ng mga F_l_p_no: Mga Problema sa Ispeling, Retorika,at Pagpapayaman ng Wikang Pambansa. Mandaluyong City: Anvil Publishing,Inc., 2009. Panitikan .com.ph: Philippine Literature Portal. http://www.panitikan.com.ph/content/jun-cruz-reyes Reyes, Jun Cruz. ANG HULING DALAGANG BUKID at ANG AUTHOBIOGRAPHY NAMALI...

Susan Mullin Vogel: Disturbing Expectations

African Arts, 2021

T his interview was recorded at Susan Vogel's home in New York City on August 5, 2018 and subsequently debated and edited by RM and SV. As this was recorded three years before the publication date, the authors have chosen to leave the content unchanged to reflect the date of the recording rather than to update to reflect subsequent developments. Risham Majeed (RM): Let's talk a little bit about how we started out. I came to Columbia University as a PhD candidate in medieval art, having no ideas about Africa that were not inflected with politics in some regard. What was attractive about your classes, for me, was that you represented Africa in the same language as any other part of the world. The alternative is to insist on its particularity, without giving it the kind of language and context that the rest of art history has. Until that point, I'm sorry to say, my only encounters with Africa were on the news, growing up in London, through Bob Geldoff and his savior complex or in natural history museums. Such exposures were distancing and off-putting. So the approach I heard in your lectures, using the regular language of art history for Africa, was new to me and made Africa immediately familiar. Susan Vogel (SV): I think I've always wanted students and museum visitors to connect with African art on a basic human level-to be aware of the individuals who made and used and lived with these things in their lives, and to recognize that we all share the desires and concerns and needs that they were made to satisfy, despite what looked like enormous differences. And of course to see African art as a normal part of art history. RM: So you created a recognizable context for African art, an easy point of entry for a subject that I came to realize I didn't know at all. Others dealing with African art frequently underpin their arguments with politics; postcolonial struggle, rejection, or self-determination have become integral to a certain line of discourse on contemporaneity in Africa. I think it's been really valuable for my teaching of African art, to have learned it from your perspective, because it allows me to convey a political message without engaging in political language. Such issues are both implied and rejected in the manner in which you present it, rather than having to deal with it explicitly. I think that has informed many of your exhibitions too. Would you agree with that? SV: Of course. Though I'm talking here about historic African art. Even in the early 2000s it still seemed to exist in an "honored but secluded space" as [Robert] Goldwater had put it thirty years before-admired, but somehow outside art history. I always tried to counter that by connecting it to artworks that people already venerated and loved and felt comfortable with-which would validate it too. RM: Your exhibition Africa Explores in 1991 (Fig. 1) was an extreme example of trying to create a recognizable context for some unfamiliar art-the first attempt to deal with contemporary art in an instrumental manner. The ensuing critiques chiefly address the aspects and arguments that are new, not what was already known.