Ateneo de Manila University: Journals Online
Not a member yet
2140 research outputs found
Sort by
Exhibiting the Exotic at the Exhibition:Music and the Evolutionary Sociocultural Continuum at the 1904 St. Louis World’s Fair
Get PDFThe World’s Fair had long been a showcase of the progress and enlightenment of the modern Western nation, justified partly through the popularization of the new field of sociology that provided a linear evolutionary model of human sociocultural development. This model was available for illustration in St. Louis in 1904 largely due to the American possession of the Philippines. The new colony boasted many ethnic groups at various levels of social and cultural development, allowing the Fair organizers to display both the range of the evolutionary sociocultural continuum and the benefits of American colonialism in one large 47-acre “habitat.” Another effective method through which the continuum was realized was popular music at the Fair, especially in the many military-style bands that performed there, including the Philippine Constabulary Band. Popular bands of the day “reached up” to the highest levels of art music culture, performing symphonic overtures and opera arias while also “reaching down,” appropriating and adapting the music of other cultures, internal and external to the United States. In this way, the Fair organizers established a Western-dominated social commentary on a grand scale.KEYWORDS: World's Fair; sociocultural evolution; Americancolonialism; the Philippine Reservation; musical appropriatio
Imagining Modern Democracy: A Habermasian Assessment of the Philippine Experiment by Ranilo Balaguer Hermida
No full text
The Identity of a Young Intellectual of Colonial Korea: Focusing on Into the Light by Sa-ryang Kim
No full textThis article explores the theme of diasporic identity as represented in Into the Light (1933), a novel written in the Japanese language by the Korean writer Sa-ryang Kim (1914-1950). The story is set in the days of Japanese imperialism and revolves around the relationship between Minami sensei, a young Korean intellectual studying abroad at the University of Tokyo, and Haruo Yamada, a boy of mixed heritage who was born to a Japanese father and a Korean mother. Like reflections in a mirror, the two figures portray certain contradictions within the empire with their “virtual” identities, which refer to identities borrowed or imagined by the colonized self. While briefly introducing Sa-ryang Kim’s literary achievements, this paper discusses the writings of Koreans during the era of Japanese imperialism. And by delving into the two characters, the paper examines how their identities are defined by Japanese imperialism. Then, as the analysis reveals that the two are complementary figures reflecting each other’s hybrid identity, this study explores how the identity of imperialist diaspora during the colonial period was represented. The protagonist eventually accepts the Korean title Nam sensei together with the Japanese title Minami sensei, and confirms his membership in the colonial diaspora. In contrast, Haruo Yamada identifies his projected self as Japanese, deriding the Korean teacher. This inconsistency is a testament to the wide spectrum of types of identities internalized within the people in “colonial diaspora,” who are, in this case, Koreans who had dispersed outside their colonized homeland and settled in the empire of Japan. The novel demonstrates how the virtual identities held by the members of colonial diaspora are liable to fall apart at any moment
A Portrait of a Modern Chinese Youth in Diaspora: Re-reading Yu Da-fu’s Novels
No full textYu Da-fu is a writer who marked the beginning of modern Chinese literature. Working as a member of Creation Society (Chuangzao she, 創造社), Yu became a pioneer of new style in Chinese literature in the sense that he initiated the new style of lyrical novels in Chinese literature and portrayed the awakening and frustrations of the modern self. As many young Chinese intellectuals did at the time, he developed the awakening of the modern self in the empire of Japan. Yu became a literary figure during his study in Japan, where he experienced diaspora by living right in the belly of the empire. He borrowed a form of modern Japanese literature, the “I-Novel (shishōsetsu, 私小說),” for his fiction, in a sense, mirroring in his novels his own life. Yu borrowed the form of I-Novel, a confessional genre, and created a representation of a modern Chinese youth in diaspora. The stories of the “self” he created present both the awakening of the modern self and the frustration of diaspora. In this sense, Yu’s novels are important texts that show a representation of a modern Chinese youth in diaspora—how they have desired the empire and how they have failed
