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I Want To Marry A Book

(Gusto Kong Mag-asawa ng Aklat) (By Jan - Hanzel M. Isirani)

"Ok Class, Turn your books to page..."

Eto na naman si Ma'am. Para sa karamihan ng estudyanteng tulad

ko, madalas na naka-ka-irita ang mga ganitong paulit-ulit na pahayag gaya ng isang sirang plaka. Marahil, para sa mga henyo at "nerd", isang karangalan ang sundin ang gintong utos na ito at buklatin nang paisa-isa at dahan-dahan ang bawat maninipis na pahina ng libro, lalo na kung mahihilig silang magbasa. Sila'y yung mga tipo ng taong halos asawahin na ang mga aklat at librong sa araw-araw ay kaulayaw.

Ngunit para sa mga tipo ng estudyanteng talagang walang kahilig-hilig magbasa, lalo lamang madaragdagan ang sakit ng ulo at hapdi sa tiyan dahil wala naman hinihintay kung hindi ang recess at uwian. Kapag sinabi lamang ng guro na "Ok class, open your books to page...."lalo lang sisidhi ang kanilang pag-aaklas na kulang na lang ay magdala ng plakards at sakupin ang buong silid sa pagsigaw ng, "Ayokong mag-asawa ng aklat!!!"

Distant Relations

The Place of Libraries in Museums (By Ana P. Labrador)

The significance of Gabriel Bernardo's work bears upon all of us in the academe today. Without his tireless effort to modernize the library system, many would have been lost in their effort to read a poem, find out who the first quantum physicist was or understand the kula ring exchange in the Trobriand Islands in the Pacific. In a sense, no matter how much we complain about the library not having enough books for our specialist knowledge, we would be poorer without a sound library system, which Prof. Bernardo has helped to create. Ultimately we would not have a proper library in which to absorb and wallow in the books that represent the incredible production of knowledge.

As you can surmise from my opening comment, I am not here to talk about Prof. Bernardo but of the effect of his dedication to lay the foundation for a University Library. More significantly, I am looking at efforts such as his in the context of museums. In many instances, librarians and museum curators have similar roles as keepers of collections, presenting expert knowledge and devising public access. Museums, libraries and archives are related with one another, bound by the materials they keep. Library Studies scholar Georgen Gilliam (2002) pointed out that they all keep documents. I have noted this in the past even art collections are documents, considering the different sectors who visit the exhibits.

Konsistensi

Ang Ikaanim na Memo para sa Bagong Milenyo (By Virgilio S. Almario)

Noong 1984, naimbitahang bumasa ng Charles Eliot Norton Lectures sa Harvard University si Italo Calvino. Anim na lektura ang ipinlano ni Calvino at tumatalakay ang bawat isa sa isang unibersal na katangian at bukal ng aliw ng panitikan. Pinamagatan niya ito sa Ingles na Six Memos for the Next Millennium. Sinimulan niyang sulatin ang mga panayam noong Enero 1985 at natapos na niya ang lima noong Setyembre 1985 nang patungo na sila ng kaniyang asawa sa Estados Unidos. Balak niyang tapusin ang ikaanim na lektura, ayon sa kaniyang asawang si Esther Calvino, sa pagitan ng pagtalakay sa natapos niyang lima. Sa kasawiang-palad, namatay siya sa bisperas ng kaniyang paglalakbay patungong Harvard University. Naisalin na noon sa Ingles ni Patrick Creagh ang limang lektura hinggil sa "Lightness," "Quickness," "Exactitude," "Visibility," at "Multiplicity." Naiwang ni walang pahiwatig man lamang ang dapat sanang lamnin ng ikaanim: ang "Consistency."

Ibig kong isakatuparan ang proyekto ni Italo Calvino bilang isang makata at Filipino. Ang pag-uri sa gagawin ko bilang trabaho ng "isang makata at Filipino" ay isa ring pasubali sa sinumang maghahaka na nais kong pantayan ang limang lektura ni Calvino. Taglay din nito ang pansarili kong pagsusuri na isinakatuparan ni Calvino ang kaniyang mga lektura bilang isang kuwentista at Italyano. Kailangan ko ring ipaunawa ang pansariling agam-agam hinggil sa kakayahan ng kahit sinong makatang Filipino na tumalakay sa isang bagay na ni wala sa wika ng kaniyang tribu. Marahil, ituturing kong higit pang magaang trabaho ang muling talakay sa limang sinulat ni Calvino. Matagal ko nang naituturo ang mga ito at angkop na angkop itanghal sa bisa at mahika ng ating katutubong talinghaga.

A History After Legaspi

Viewing the Exhibit Early Explorations From Legaspi to Malaspina (By Reinerio Alba)

For a full month and a half (March 3 to April 18) this year, about 200 pieces of original paintings, chinaware, furniture and other artifacts dating as far as the 16th century were exhibited at the Museum of the Filipino in Kalaw, with help from the State Corporation for Spanish Cultural Action Abroad (SEACEX) and Instituto Cervantes of Manila. All of which were brought in from Spain where they were also exhibited in November 2003, with many representative items coming from the Manila-Acapulco Galleon Trade between 16th to 18th century.

One could easily mistake the exhibit title "The Philippines: Gateway to the Orient from Legazpi to Malaspina" as an unabashed tribute to the country. But it is not. Philippines, Legazpi, and Malaspina are obviously mentioned in the same breath and the title seemed to actually have been two fused titles: "The Philippines: Gateway to the Orient" and "From Legazpi to Malaspina."

The Art Of Juan Luna

(By: Eric Torres)

In the 19th century, anybody in Europe who wanted to be somebody in the art world had to submit his works to the Salon. The Salon, which could make or break him, was annual exhibition run by an association of established artist largely connected with schools of fine arts. If he was lucky, his works passed the severe screening test and were shown to the public. These Salons were grand affairs attended by everybody---the bourgeoisie and the ruling classes, the culturati and the glamorosi---who could give the aspiring artist overnight success, instant respectability, social status, and money. If he won a prize, so much the better. He became, in time, part of the Establishment itself that dictated artistic taste. He had it made.

Juan Luna, like his colleague Felix Resurreccion Hidalgo, was the first Filipino artist to gain international fame this way. But for Luna it was not a simple matter of gaining personal glory for himself as an artist that made him join the Salons of Madrid, Barcelona, and Munich; it was also a matter of patriotic duty. He was an active member of that band of Filipino intellectuals in Europe dedicated to the principles of nationalism in the 1880s and 90s: Rizal, Del Pilar, Lopez-Jaena, among the leading lights. It is difficult to talk of Luna without taking into account the context of Philippine political history and the unusual position he occupied in it.

 

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