Academic literature on the topic 'Nick Joaquin'

Nick Joaquin, one of the Philippines’ pillars of literature in English, is regrettably known locally for his nostalgic take on the Hispanic aspect of Philippine culture. While Joaquin did spend a great deal of time creatively exploring the Philippines’ Hispanic past, he certainly did not do so simply because of nostalgia. As recent studies have shown, Joaquin’s classic techniques that often echo the Hispanic influence on Philippine culture may also be considered as a form of resistance against both the American neocolonial influence and the nativist brand of nationalism in the 1950s and 1960s. Despite the emergence of Gothic criticism in postcolonial writing, Joaquin’s works have rarely received the attention they deserve in this critical area. In this context, this paper explores the idea of the Gothic in Joaquin’s writing and how it relates to Joaquin being the “most original voice in postcolonial Philippine writing.” In 1972, the University of Queensland Press featured Joaquin’s works in its Asian and Pacific writing series. This “new” collection, Tropical Gothic (1972), contained his significant early works published in Prose and Poems (1952) plus his novellas. This collection’s title highlights a specific aspect of Joaquin’s writing, that of his propensity to use Gothic tropes such as the blending of the real and the fantastic, or the tragic and the comic, as shown in most of the stories in the collection. In particular, I examine how his novella (Cándido’s Apocalypse) interrogates the neurosis of the nation—a disconnection from the past and its repercussions on the present/future of the Philippines.

Nick Joaquin (1917–2004) is often regarded as the greatest Filipino writer in English, yet he remains largely unknown outside his country. He published widely in all genres and was awarded the National Artist Award, yet he dropped out of high school and spent much of his youth holed up in libraries and walking Manila’s streets. He wrote some of his most powerful stories between the end of US colonial rule and the beginning of the postcolonial era, at a time when the very craft of storytelling was itself endangered. And he did so in another language, American English, which required setting aside his mother tongue, Tagalog, and an inherited tongue, Spanish. This article explores some of these contradictions, looking at the relationship between language and literature exemplified in Joaquin’s writings and situating him as a storyteller in the wake of Manila’s utter destruction by colonial wars and the uneven recovery from postcolonial strife. This article also asks how Joaquin sought to rescue not just the memory of the city but also the very faculty of remembering itself as well as the remembering self.

Language is an important device in the construction of an individual’s identity. However, Language not only identifies any particular individual but also sets its position inside the society. As a form of social behavior, language like other social behaviors, also distinguishes gender differences. This study investigates the linguistic features and the personal identity of Agueda in Nick Joaquin’s May Day Eve. This study can be used to apprehend how women were influenced by the society and the culture of the Philippines during the 1800s. The researchers use Lakoff’s Theory of Linguistic Features, and the Indexicality Principle by Bucholtz and Hall (2005) to analyze the language and identity of Agueda. Qualitative Content Analysis and descriptive research design are used to analyze thoroughly the utterances of Agueda which consist of linguistic features and stances. Based on the linguistic features and the stances analyzed, Agueda uses emphatic stress more to show assertiveness through her utterances, she also uses disalignment more, and she likes to position herself along the affective scale. The result of the study shows that Agueda is an assertive and strong willed young woman, who likes to do whatever she wants. Her utterances also show how resentful she has become after her marriage with Badoy. The conclusion can be drawn that language is an important factor in creating an identity of a person, and this identity can be formed through the stances and linguistic features, which are greatly affected by the society, culture, and people that surround an individual.

<p>W twórczości muzycznej hiszpańskich kompozytorów dostrzegamy dość wyraźnie wyodrębniony nurt dzieł, dla których źródła inspiracji wyłoniły się z geograficzno-kulturowych toposów ojczystego kraju. W tytułach tego typu utworów pojawiają się nazwy regionów Hiszpanii (m.in. Asturia, Kastylia, Aragonia, Katalonia, Baskonia, Andaluzja), jej miast (np. Granada, Kadyks, Ronda, Jerez, Kordoba), nierzadko w ścisłym powiązaniu z<span style="text-decoration: line-through;">e</span> różnymi znaczącymi fenomenami historyczno-kulturowymi i artystycznymi (np. malarstwem Francisco Goi). Uwagę naszą przyciągną kompozycje czołowych twórców hiszpańskich z końca XIX i początku XX wieku: Francisco Tárregi (1852-1909), Isaaca Albéniza (1860-1909), Enrique Granadosa (1867-1916), Manuela de Falli (1876-1946) i Joaquina Turiny (1882-1949). Zaznaczmy, że będzie to jedynie zasygnalizowanie wskazanego zjawiska, głównie dla celów edukacyjnych; jego pełne i wszechstronne przedstawienie wymagałoby obszerniejszego studium.</p><p>Różnorodność i kontrasty, które stanowią o specyficznym charakterze Hiszpanii, dają się zauważyć w wielu miastach tego kraju, a kultury arabska, żydowska i chrześcijańska – zarówno w swoich czystych przejawach, jak i tych będących rezultatem wzajemnych wpływów – tworzą dorobek historyczny i artystyczny trwale obecny do naszych czasów. Nadając utworom tytuły związane z ważnymi miejscami swojej ojczyzny – co istotne, z uwzględnieniem zakorzenionych w nich fenomenów kulturowych i muzycznych (folklor, tańce, pieśni, instrumentarium), kompozytorzy hiszpańscy, poprzez muzyczną „geografię”, utrwalili w pamięci kolejnych pokoleń „mapę” swojego kraju, zapewnili jednocześnie muzyce hiszpańskiej trwałe miejsce w kulturze światowej.</p><p><strong>Native Places in the Music of Spanish Composers of the 19th-20th centuries. A Didactic Suggestion</strong></p>SUMMARY<p>In the musical works of Spanish composers of the 19th and 20th centuries we can perceive a clearly distinguished trend of works for which inspiration sources emerged from the geographic-cultural topoi of their native country. The names of regions in Spain (e.g. Asturias, Castile, Andalusia), its towns (e.g. Granada, Cadiz, Cordoba) frequently appear in the titles of these types of work in close connection with various important historical-cultural phenomena, e.g. with the paintings of Francisco Goya). We see it in the compositions of leading Spanish composers of the late 19th and the beginning of the 20th centuries: Francisco Tárrega (1852-1909), Isaac Albéniz (1860-1949), Enrique Granados (1867-1916), Manuel de Falla (1876-1946), and Joaquin Turina (1882-1949). In the article, the author discusses inter alia: Wspomnienia z Alhambry [Memories of Alhambra] by Tárrega, I Suita hiszpańska [Spanish Suite no. 1] and Iberia by Albéniz, Goyescas by Granados, Noce w ogrodach Hiszpanii [Nights in the Gardens of Spain] by de Falla. By giving their works the titles connected with important places of their motherland, including also various cultural and musical phenomena rooted in them (folklore, dances, songs, instrumentation), the Spanish composers commemorated “the map” of their country in the memories of subsequent generations, and at the same time, ensured Spanish music a constant place in the world culture.</p>

Eskinita and Other Poems Eskinita and Other Poems is a collection of poems and sequences with Manila as its context and the city walker as its key figure. An eskinita - a Tagalog diminution of the Spanish word esquina, which means "corner" - is a term used to refer to sidestreet so narrow that even a car would find it hard to maneuver there; an eskinita that leads to a dead end, moreover, is called an interior. Grounded in, yet taking flight from, the language and imagery of Manila, the manuscript draws on the city's history and its present moment as it juxtaposes personal experiences and scholarly sources to portray a city whose development - considered in works like Nick Joaquin's Manila, My Manila, Manuel Caoili's The Origins of Metropolitan Manila, and Robert Reed's Colonial Manila - is bound up with political, social, economic, and postcolonial structures. Through this space goes the city walker, a figure considered in literary and theoretical texts like Walter Benjamin's study on the flâneur, Michel de Certeau's analysis of walking, and psychogeographic writings of the Situationists. The poems are concerned with formal strategies that take their cues from Anglo-American Modernism - collages of texts in lyric and prose, serial structures, and line splicings - and aim to express the complex experience of walking in Manila, of writing Manila: juxtapositions and interpenetrations between interior and exterior, scholarly and demotic language, past and present. The long poem Eskinita extends the use of these devices: apart from prose and verse combinations, it incorporates quotation, parataxis, and photography. Although the overt aim is to offer, using the aesthetic resources of poetry, multiple and refracted views of Manila, Eskinita nevertheless endeavours to express - by constraining words, lines, and page layout - a sense of containment and limit. By counterpointing multiple textual and visual modes - and including various sources and formal devices - Eskinita and Other Poems explores and sometimes rejoices in the tensions between polyphonic and disjunctive elements, and the way their structures generate resonance and dialogue between unlikely familiars. Form, Historiography, and Nation in Nick Joaquin's Almanac for Manileños This thesis argues that the Almanac - when contextualised within the long-standing tradition of the almanac genre, and examined using the theoretical underpinnings of Mikhail Bakhtin's notion of heteroglossia, Walter Benjamin's views of fragmentary historiography, and intertwining aspects of literary form and nation formation - expresses the multiple, not singular, temporalities that constitute and complicate the Filipino nation. Produced in 1979, during Martial Law in the Philippines, the Almanac's formal strategy - demonstrated by the accommodation of discrepant genres, compression and correspondence in the calendars, and fragmentation in the essays - is a kind of non-linear historical emplotment. Such an aesthetic - derived in part from Modernism - is distinct from, and critically interrogates, fixed and linear articulations of national history. The focus of the analysis is a reading of the Almanac's calendars and essays. The distinctions and interactions between these subgenres result in a text that is both cohesive and stratified: calendrical entries which are comprised of national and religious elements and have past and future orientations inhabit the same space as temporally disjunctive essays. Despite fragmentation, the Almanac is nevertheless held together by correspondences and associations. The Almanac's oblique and tangential strategy of representing Philippine history - when seen in the light of the obsolescence of a now-moribund but then-vital genre - critiques linear historiography. By accommodating accounts of missed chances and foregrounding seemingly irrelevant details, Joaquin's Almanac interrogates historical narratives which, in the name of progress, fail to incorporate materials that are aberrant and inconsequential.

Chapter One examines Nick Joaquin’s novella, The Woman Who Had Two Navels (which was published before the longer novel version with the same title) and two short stories from Mia Alvar’s In the Country in order to consider the critical role that writing plays in navigating the diasporic maternal. Joaquin’s novella mourns the failure of the Philippine revolution, which becomes metaphorized through a discussion about language. Alvar’s stories address both the prospects and limits of writing: “In the Country” depicts the lives of journalists working against the Marcos regime and the deleterious effects of subversive, embodied writing on the family. In “A Contract Overseas,” Alvar challenges us to think about what it means to imagine and creatively write about life abroad.