Ateneo de Manila University: Journals Online
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Night Market as Conceived-Planned Space: The Case of Davao City, Philippines
Get PDFThis paper explores and tackles the meaning and issues of Roxas Night Market in Davao City as conceived space. Guided by Henri Lefebvre’s notion of space as conceived, which refers to the perspective of planners, designers, or engineers, the night market in Davao City is described as space created by the Local Government Unit (LGU) and regulated by rules that it has set. Recognizing that this notion of space impinges upon the life of the street vendors, the LGU’s account of the issues that beset the area as rules are applied and decisions are imposed is also identified and looked into. Consequently, such issues interface with the other two notions of space of Lefebvre as lived and practiced. More to the point, space as lived stands for the meanings that vendors attach to their experiences as they reflect on their past and imagine their future, and space as practiced pertains to the vendors’ day-to-day experiences as they subsist in their vending sites. Using case study as research design, the night market through Lefebvre’s space as conceived can be interpreted as the LGU’s economic rationalization of space use in the context of the changing needs of the city and the uses of its public space. Corollary to this, it is also in response to the increasing number of street vendors in the city center, a way of framing vendors as symbols of resilience against terrorism after the bombing incident in 2016, and as an expression of the uncertainty and limits of its plans as the LGU grapples with its responsibility to decide on the future of street vendors and the night market in the city
Panahon ng Transisyon: Ang Soap Opera sa Telebisyon 1963-1986
No full textIsinasalaysay ng sanaysay na ito ang kasaysayan ng soap operang telebiswal sa pagitan ng 1963 at 1986, isang yugtong tinatawag ng awtor na “Panahon ng Transisyon.” Dito binakas ang transisyon ng soap opera mula sa radyo patungo sa bagong midyum ng telebisyon noong dekada 60, hanggang 1986, ang taon ng tuluyang pagbagsak ng diktadurang Marcos. Ngunit bago nito, isinalaysay din ang pagsilang ng industriya ng telebisyon sa gitna ng mga nagkukrus na interes ng mga namuhunan ditong pamilyang oligarko sa negosyo at politika. Makikitang produkto ng masigalot na kasaysayan ng Filipinas, at ng kasaysayan ng telebisyon, ang soap opera, sa pagpapatuloy nito, kahit ba ginambala’t binansot ang midyum kalaunan ng diktadura. Pitong soap opera ang itinampok dito na pawang kumatawan sa proseso ng transisyong nabanggit. Period of Transition: Soap Opera on Television, 1963-1986 Abstract: This narrates the history of the televisual soap opera between 1963 and 1986, described by the author as the “Period of Transition.” This traces the transition of the soap opera from radio to the new medium of television during the 60s to 1986, the year of the ouster of the Marcos dictatorship. Foregrounding this is a recounting of the birth of the television industry amidst the intersecting interests of the oligarchic families in politics and business as they invested in it. It will be surmised that the soap opera was a product of the tumultuous history of the Philippines, and the history of television, as it had continued to exist despite the disruption and the consequent hampered growth of the medium during the dictatorship. Seven soap operas are showcased here, representing the aforementioned transition process.
Promoting Food Justice in the Catholic Church: The Eucharist, Transhistoricity, and Sustainability
No full textA call for just production, distribution, and consumption of food has arisen from various sectors in society as a response to the global food crisis. This emergent movement of exploring just food policies and reconfiguring food systems is called the food justice movement which is consistent with the Catholic mission of temporal liberation for the marginalized in the world. Christ invites the Church to build the Kingdom of Godin the world, and to do so, Catholics must encounter the call to feed the hungry. Therefore, authentic Catholic attitudestoward food must mirror this mission. An area of possible dialogue between the Catholic Church and the food justice movement is the Eucharist. Just as all humans eat their fill on various tables around the world, the Church partakes of its spiritual meal on the Eucharistic table. Given these things, some important questions must be raised: In what ways do food attitudes contribute to the persistence of hunger in the world? Are there ways in which the theology of the Eucharist can contribute to the conversation of food justice? How can this conversation lead to a model of authentic Catholic food attitudes not just in the present but also for the future
Identities in Exile: Re-membering Identities, Re-membering the Nation in Laksmi Pamuntjak’s Amba
Get PDFLaksmi Pamuntjak’s first novel, Amba (2012) is one of several contemporary Indonesian novels by the post-1965 generation that breaks the silence on the violent suppression of the Indonesian left in the mid-1960s. Like other recent creative responses and initiatives by Indonesian artists and civil society, Amba represents the “postmemory” of the 1965-66 events. This paper examines the modes of internal exile triggered by 1965 as portrayed in three characters in Amba and how exile disrupts and delays identity formation across different generations of Indonesians—hence, exiled identities. The history of Moluccan exile post-1950 is also crucial to the novel’s representation of people whose identities were displaced, ruptured, or in limbo as a result of political violence. The depiction of internal exile in Amba is examined based on work done by scholars on Indonesian exile narratives (Hill, Hearman) and concepts of transgenerational trauma (Schwab) and postmemory (Hirsch). This paper then discusses the various acts of “re-membering” to recover a coherent sense of self and of the nation depicted in Amba, such as through literal and figurative journeys, re-establishing kinship ties, narrating personal memories of the traumatic past, and the role of art in revealing suppressed memories of the 1965 event
