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A Double-edged Reading of Gourlay’s Children Fiction Books
Get PDFThis paper conducts a double-edged reading of Candy Gourlay’s two children’s novels, Tall Story (2010) and Shine (2013). It argues that on the one hand, these two award-winning books empower the “invisible” community of Filipinos in the UK by foregrounding the “subalterns” and narrating (with subtle social commentaries) their migrant motivations and woes. These narratives are further enriched by folkloric and supernatural twists that orient global audiences as well as younger generations of Filipinos abroad on Filipino cultural heritage. On the other hand, the representations embedded in these narratives contain traces of self-orientalism, reinforcing essentializing binary divisions where Filipinos or “Orientals” are stuck with the negative attributes and the “happy endings” also push the minority group further into the margins vis-à-vis the privileged British center. Hence, the kind of visibility accorded to the Filipinos by these market-approved children’s novels may be deemed problematic and the role of Gourlay as an immigrant writer bearing the burden of representation is then explored
Jonathan Paul Marshall, James Goodman, Didar Zowghi, and Francesca Da Rimini's Disorder and the Disinformation Society The Social Dynamics of Information Networks and Software
No full textEmancipatory Faith: Reflection on Alain Badiou and the Christians for National Liberation
Get PDFAlthough Badiouian political thought maintains an obvious distance from theology, theisms, and all forms of transcendental conceptualizations of human liberation, itdoes allow the most universal form of democratic mass participation, including by Christian believers. This crossover, far from being a domination of either politics orreligion, is possible because of their common affirmation of and fidelity to an Event. This paper aims to show the crossover between the radical politics of Alain Badiou and the revolutionary potential of the Christian religion proposed by a revolutionary organization. It further clarifies that radical politics, which seemingly veers towards atheism, and religion can be united to a common conception of democracy and emancipation. Drawing from this crossover, this paper criticizes the current notions of democracy espoused and preached under the current system, and presents a more genuine notion of the same. The discussion hinges on the more than four decades of ardent revolutionary struggle of the Christians for National Liberation (CNL), a revolutionary Christian mass organization in the Philippines.Keywords Emancipation politics, Christians for National Liberation,Event, subject, fidelity, National Democratic Revolutio
The (Mis)Education of the Filipino Writer: The Tiempo Age and Institutionalized Creative Writing in the Philippines
Get PDFAccording to Merlie Alunan, the writers Edilberto and Edith Tiempo, founders of the Silliman University National Writers Workshop, have so influenced Philippine literary production that the latter half of the twentieth century and “a few more decades hereafter” can be called “The Tiempo Age.” This essay examines the relationship of aesthetics and politics in institutionalized creative writing in the Philippines by unpacking the politics of the Silliman Workshop’s autonomous aesthetics. It situates the origins, pedagogy, and imagined community of the Silliman Workshop within the network of American colonial education in the Philippines, American cultural diplomacy, and institutionalized creative writing in the United States. It explores how New Criticism, as appropriated by the Iowa Writers’ Workshop-trained Tiempos, conflates the autonomy of the literary text with the autonomy of the literary space in which it is produced. The lack of institutional self-critique authorized by this conflation results in the propagation by the Silliman Workshop of colonialist and classist ideas about language andliterary production, which are camouflaged, if not naturalized, as principles and mechanisms integral to the craft of writing. The essay calls on the successors of the Tiempos who currently run the Silliman Workshop to scrutinize the historical contingency of the aesthetic values they inherited and to revise their New Critical pedagogy, which continues to uphold the primacy of English as the language of creative writing education and literary production