Cinema Breaking Boundaries: Ronit Elkabetz

Likhaan: The Journal of Contemporary Philippine Literature, 2020

awan mula sa mga kuwento ng mga mangingisda sa amin. Isa itong malawak na fishing ground na dinarayo ng mga mangingisda ng Catanduanes sa karagatang Pasipiko. Dose oras ang binubuno pagpunta rito. Iyon ay kung malinaw ang panahon, di malikot o di kontra ang mga sulog. Mula buwan ng Pebrero hanggang sa mga unang linggo ng Abril kung kailan madalas ang paglitaw ng mga subasko, umaabot ang biyahe ng labing-anim hanggang dalawampu't apat na oras. Iyon ay kung makararating ka sa Kalipung-awan nang buhay. At nang buo. *** Dalawang linggo matapos ang libing ng nanay ko noong 2011, nagpasya akong pumunta ng Dariao-ang baryo ng asawa ko upang maligo sa dagat. Katulad ng Maygñaway kung saan ako lumaki, coastal barangay rin ang Dariao. Ang pagkakaiba ng dalawang baryo ay ang uri ng dagat mayroon ang mga ito. Sa Maygñaway na isang baryo ng banwa ng San Andres, natatanaw pa ang mahabang masa ng Camarines Sur at karugtong na kalupaan nito. Samantalang sa Dariao na sakop ng banwa ng

Synapse

The Journal of Medieval Religious Cultures

Oxford Art Journal, 1998

International Journal of Research Studies in Education, 2024

The study is an initial attempt to document idiomatic expressions used in oral conversations in the dialect spoken by the people in the town of Gubat, Sorsogon, Bicol Region, Philippines. Descriptive analysis was the method used in this research. Data was collected through interviews and focused group discussions that involved volunteer participants whose ages ranged between 28 and above. Thematic analysis was used in analyzing the answers to the question how well the people of Gubat understand the idiomatic expressions of their town. There are different themes that are inclusive in Gubatnon idiomatic expressions. These idioms reflect the culture of the town of Gubat, their geographic identity as well as their history. It is recommended that these idioms be used in making literary pieces like poems and stories so that the language of the town would be preserved and enriched. These idioms must also be used in schools most specially in the elementary so that the children will have a wider and clearer grasp of things using their very language. Parents are also encouraged to use idiomatic expressions at home so that it may be instilled in the minds of Gubatnon children hence the preservation of this beautiful culture of using idioms in everyday conversation.

Kritike: An Online Journal of Philosophy, 2017

This study is a tribute to the late great Filipino-philosopher Emerita S. Quito (11 September 1929-17 September 2017). This paper highlights her contention regarding the role of decolonization as a necessity for the restoration of Filipino identity. This paper is divided into three parts: the first part introduces Quito as one of the country's unique philosophers who aspired for the greater glory of the Filipino people; the second part features her thoughts on Filipino identity and decolonization as the ultimate symbol of her intellectual journey as a philosopher and patriot; and lastly, we shall try to show the weaknesses and limitations of Quito's views.

2017

Etudes kurdes, 2021

Tout en étant une constante géopolitique depuis le début du XIXe siècle, l’intérêt russe pour les Kurdes ne s’est jamais concrétisé en une doctrine politique ou un arrangement institutionnel. Cet article interroge les raisons de l’échec de la politique russe vis-à-vis des Kurdes à travers le prisme des subjectivités impériales impliquées dans l’instrumentalisation des populations kurdes durant la Grande Guerre. En nous penchant sur les différences institutionnelles et les changements des conjectures stratégiques, nous allons mettre en exergue leur impact sur la formulation de la question kurde. Il s’agit notamment de la présentation des Kurdes comme une « nation martiale » ; du discours du « danger existentiel » sur l’influence régionale arménienne ; de la vision classique orientaliste des périphéries tribales. Tandis que les deux premiers discours étaient fortement impactés par les subjectivités impériales de l’administration tsariste, la thèse orientaliste servait généralement de lien discursif dans la communication interinstitutionnelle. L’article conclut que ce fut l’hétérogénéité institutionnelle des avocats du rapprochement russo-kurde ainsi que leur imaginaire orientaliste qui empêcha aux autorités tsaristes d’exploiter efficacement la naissante conscience nationale kurde.

Journal of Electronic Imaging, 2020

African Arts, 2021

T his interview was recorded at Susan Vogel's home in New York City on August 5, 2018 and subsequently debated and edited by RM and SV. As this was recorded three years before the publication date, the authors have chosen to leave the content unchanged to reflect the date of the recording rather than to update to reflect subsequent developments. Risham Majeed (RM): Let's talk a little bit about how we started out. I came to Columbia University as a PhD candidate in medieval art, having no ideas about Africa that were not inflected with politics in some regard. What was attractive about your classes, for me, was that you represented Africa in the same language as any other part of the world. The alternative is to insist on its particularity, without giving it the kind of language and context that the rest of art history has. Until that point, I'm sorry to say, my only encounters with Africa were on the news, growing up in London, through Bob Geldoff and his savior complex or in natural history museums. Such exposures were distancing and off-putting. So the approach I heard in your lectures, using the regular language of art history for Africa, was new to me and made Africa immediately familiar. Susan Vogel (SV): I think I've always wanted students and museum visitors to connect with African art on a basic human level-to be aware of the individuals who made and used and lived with these things in their lives, and to recognize that we all share the desires and concerns and needs that they were made to satisfy, despite what looked like enormous differences. And of course to see African art as a normal part of art history. RM: So you created a recognizable context for African art, an easy point of entry for a subject that I came to realize I didn't know at all. Others dealing with African art frequently underpin their arguments with politics; postcolonial struggle, rejection, or self-determination have become integral to a certain line of discourse on contemporaneity in Africa. I think it's been really valuable for my teaching of African art, to have learned it from your perspective, because it allows me to convey a political message without engaging in political language. Such issues are both implied and rejected in the manner in which you present it, rather than having to deal with it explicitly. I think that has informed many of your exhibitions too. Would you agree with that? SV: Of course. Though I'm talking here about historic African art. Even in the early 2000s it still seemed to exist in an "honored but secluded space" as [Robert] Goldwater had put it thirty years before-admired, but somehow outside art history. I always tried to counter that by connecting it to artworks that people already venerated and loved and felt comfortable with-which would validate it too. RM: Your exhibition Africa Explores in 1991 (Fig. 1) was an extreme example of trying to create a recognizable context for some unfamiliar art-the first attempt to deal with contemporary art in an instrumental manner. The ensuing critiques chiefly address the aspects and arguments that are new, not what was already known.