Women, religion and social change in the Philippines : refractions of the past in urban filipinas' religious practices today

This research is an exploration of the place of religious beliefs and practices in the life of contemporary, predominantly Catholic, Filipinas in a large Quezon City Barangay in Metro Manila. I use an iterative discussion of the present in the light of historical studies, which point to women in pre-Spanish ‘Filipino’ society having been the custodians of a rich religious heritage and the central performers in a great variety of ritual activities. I contend that although the widespread Catholic evangelisation, which accompanied colonisation, privileged male religious leadership, Filipinos have retained their belief in feminine personages being primary conduits of access to spiritual agency through which the course of life is directed. In continuity with pre-Hispanic practices, religious activities continue to be conceived in popular consciousness as predominantly women’s sphere of work in the Philippines. I argue that the reason for this is that power is not conceived as a unitary, undifferentiated entity. There are gendered avenues to prestige and power in the Philippines, one of which directly concerns religious leadership and authority. The legitimacy of religious leadership in the Philippines is heavily dependent on the ability to foster and maintain harmonious social relations. At the local level, this leadership role is largely vested in mature influential women, who are the primary arbiters of social values in their local communities. I hold that Filipinos have appropriated symbols of Catholicism in ways that allow for a continuation and strengthening of their basic indigenous beliefs so that Filipinos’ religious beliefs and practices are not dichotomous, as has sometimes been argued. Rather, I illustrate from my research that present day urban Filipinos engage in a blend of formal and informal religious practices and that in the rituals associated with both of these forms of religious practice, women exercise important and influential roles. From the position of a feminist perspective I draw on individual women’s articulation of their life stories, combined with my observation and participation in the religious practices of Catholic women from different ethnic and socio-economic backgrounds, to discuss the role of Filipinas in local level community religious leadership. I make interconnections between women’s influence in this sphere, their positioning in family social relations, their role in the celebration of All Saints and All Souls Days in Metro Manila’s cemeteries and the ubiquity and importance of Marian devotions. I accompany these discussions with an extensive body of pictorial plates.

Sleeping with the enemy : creative writing and theory in the academy

This paper will contend that as literary studies elevates creative writing to the highest level, by studying and analysing creative texts; creative writing is similarly enhanced when it is underpinned by theory. This flies in the face of the view that theory has no relevance to the needs of contemporary writers. This paper will examine the way in which theoretical insights and their applications are essential to the creative writing process and propose that without theory, creative writing classes might be at risk of constantly going over the same ground, with no way of being elevated to the next level.
Without the study of literary theory in creative writing, writers are in danger of producing imitations of acclaimed literature. Similarly, without studying creativity in literary studies, writers are at risk of imitating the language of French theorists in translation and failing to harness imaginative ways to create new ideas and theories. This paper encourages new ways of thinking about the union of literary studies and creative writing by focusing on theories and poetry of the sublime. This can assist creative and analytical writers with the anxiety of the blank page and the problem of the ineffable, through an examination of the role of imagination and reason in this process. Creative writing and theory should be studied simultaneously; they invigorate one another and this paper focuses on this important reciprocal relationship.

Joyce and the ‘Cultic Twalette’: Jocoserious jousts in the nationalist arena in the Cyclops episode of Ulysses

Set in a richly detailed Dublin of 1904, there has never been serious debate about the Irishness of Ulysses, but early critics and commentators, abetted by Joyce, made more of its European intertexts especially Homer, Dante, and closer to Ireland, Shakespeare. Its deep and suppressed debt to the Irish tradition was not fully explored until Maria Tymoczko’s The Irish Ulysses (1994). This paper examines how ancient Irish poetic material is used and strategically coopted for political use in the so-called Cyclops chapter of Ulysses, and demonstrates how Joyce reworked ancient Irish poetry to express a rather more inclusive and celebratory relationship with his cultural heritage than is sometimes recognised by commentators who more commonly insist that his use of ancient Irish material is parodic and satiric.

Fear of music : sounded poetry and the poetry soundtrack

This essay proposes the term ‘poetry soundtrack’ for a form of sounded poetry that I have been practising for some years (examples of which can be found in this issue of Axon). The poetry soundtrack is a sonic object made up of original poetry, music, and sound design. Such a form is now being produced—under various names—by numerous poets, thanks to the development of the Digital Audio Workstation (or DAW). In my essay, I argue that the poetry soundtrack has occupied an aesthetic no man’s land between avant-garde ‘sound poetry’ and documentary-style recordings of poetry readings. I propose that a general ‘fear of music’ has led critics to favour such forms, and concomitantly to ignore musico-poetic forms of sounded poetry. In addition, I analyse the ‘digital poetics’ that can be found in producing sounded poetry with a DAW, especially with regard to the ‘vocal staging’ that such technology can produce in the poetry soundtrack.

Poetic boundary conditions : Australian poets in the ivory tower

This article explores the experience of women poets in academe and posits that by institutionalising themselves in universities, women poets gain financial stability by working in the wider field of poetry. However, they also face discrimination and a lack of opportunity in these workplaces. The article uses two case studies of poets Maria Takolander and Jill Jones, who work at Deakin University and the University of Adelaide, Australia, respectively. These case studies show the way in which these poets explore the experience of academe in their poetry.

"Kind of, In Kind: The Politics of Circulating Feelings in the Writing of Juliana Spahr"

Through the life-writing of American poet Juliana Spahr, this essay investigates not only how the lyric is being used by contemporary poets to represent compound feelings but also what relationship affect might have to the political. It considers how Spahr constructs a porous subjectivity that circulates through a system that is simultaneously social, biological, and textual in its environment. Spahr demonstrates how the continually changing relation of self to place and other may lead to a confusion and complexity of feeling. In particular, it focuses on the nested or interrelated nature of what Sianne Ngai has termed ‘ugly feelings’, particularly in terms of sexuality, colonialism, and globalisation. It is argued that Spahr’s poetic navigation of such feeling seeks to locate possibilities for cultural adaptation and transformation.

Eliza Hamilton Dunlop's 'the aboriginal mother': romanticism, anti slavery and imperial feminism in the nineteenth century

This paper positions the work of colonial poet Eliza Hamilton Dunlop amongst international Romantic poetry of the period, and argues that Dunlop’s poetry reflects a transposition of Romantic women’s poetry to Australia. Dunlop’s poetry, such as ‘The Aboriginal Mother’, demonstrates the relationship of Romantic women’s poetry to early feminism and Social Reform. As with the work of Felicia Hemans, Dunlop was interested in the role of women, and the ‘domestic’ as they related to broader national and political concerns. Dunlop seems to have been consciously applying the tropes, such as that of the mother, of anti slavery poetry found within American, British, and international poetic traditions to the Australian aboriginal context. Themes of indigenous motherhood, and also of Sati or widow burning in India, and human rights had been favored by early women’s rights campaigners in Britain from the 1820s, focusing on abolition of slavery through the identification of white women with the Negro mother. Dunlop’s comparative sympathy for the situation of aboriginals in Australia has been given critical attention as the aspect which makes her work valuable. However, in this essay I hope to outline how Dunlop’s poetry fits in to the international context of the engagement of Romantic women poets with Western Imperialist models and colonial Others.

Having sex with capitalism: parodic in-citation in the prose poem sequence

In his Spleen de Paris or Petits poèmes en prose [Little Prose Poems] Baudelaire (1869) forges an instrument of supple and radical potential, declaring the prose poem a ‘dangerous’ hybrid, which he wills elastic enough and staccato enough, to register the flows, jolts and distractions for the flâneur in the increasingly industrialised Paris. Here,by the mid-19th century, plate glass and gas lighting enable conspicuous consumption. Itis most strikingly the romantic-erotic and the relation between poet and his delicious, execrable wife, his inescapable, pitiless Muse (Baudelaire 1989: 177] that provides the nexus for radical questioning of the whole socio-political economy. Departing from Johnson’s Défigurations (1979) and using Irigaray’s (1984) hypothesis that the economy of sexual difference is the founding trope for the discursive and thus political economy of differences – of culture, ethnicity and class – this article first looks at theway Baudelaire activates the heterosexual relation as a site for social critique. It examines how Perec continues Baudelaire’s prose poetry experiment, offering, pre-May 1968, a revolutionary critique of desire by exploiting formal constraints to deconstruct still further the consumer subject of capitalism. It then investigates Brossard’s ‘hologrammatic’ challenge (1991) to patriarchal regimes of representation and the forms of desire they outlaw. Finally, it suggests how new work by Walwicz (2015)develops and displaces this radical inheritance.

The Role of the (In)visible and the Secret in the Translation of Harryette Mullen s Muse & Drudge

This paper, based on Jacques Derrida’s thoughts in Des Tours of Babel, addresses the issue regarding the (in)visible in translation, by arguing that the latter, beyond the traditional conception of communication, produces a complex set of relations between the visible and the invisible, which highlights the values of the non-dit and the secret that take place in their relation to interpretation. This line of thought underpins the discussion of my translation of two poems from Muse & Drudge (1995), by the African-American poet Harryette Mullen, whose dense poetry displays un(expected) possibilities of meanings and associations that proliferate in translation. It is argued that every act of translation entails a relationship between that which is translated (and made visible or intelligible through this act) and that which remains invisible and secret by resisting a definitive translation, which, as such, requires further interpretations in search for intelligibility (or “visibility”). We analyze the extent to which such relation between the visible and the invisible takes part in the translation of the notion of blackness raised by Mullen’s poems and how her translated poetry dialogues with issues of reception in Brazilian culture.

Criminal career-related factors among female robbers in the State of Sao Paulo, Brazil, and a presumed 'revolving-door' situation

Introduction: Risk-taking behaviors, family criminality, poverty, and poor parenting have been frequently associated with an earlier onset of criminal activities and a longer criminal career among male convicts. Objective: This study aims to identify factors related to the onset and recurrence of criminal behavior among female robbers in the State of Sao Paulo - Brazil. Method: It was a cross-sectional study carried out inside a feminine penitentiary in Sao Paulo. From June 2006 to June 2010, 175 inmates convicted only for robbery were recruited to be evaluated about family antecedents of criminal conviction, alcohol and drug misuse, impulsiveness, depressive symptoms, and psychosocial features. Results: Having family antecedents of criminal conviction consistently predicted an earlier onset of criminal activities and a longer criminal career among female robbers. Drug use in youth and the severity of drug misuse were significantly related to the initiation and recurrence of criminal behavior, respectively. Discussion: Prisons must systematically screen detainees and provide treatments for those with health problems in general. Children of inmates should obtain help to modify the negative consequences of their parents' incarceration in order to mitigate the negative consequences of pursuing this 'static' factor.

Not in the Legends

In writing “Not in the Legends”, one of the images and concepts which constantly returned was that of pilgrimage. I began to write these poems while studying abroad in London, after having passed the previous semester in France and travelling around Europe. There was something in the repetition of sightseeing— walking six miles in Luxembourg to see the grave of General Patton, taking photographs of the apartment where Sylvia Plath ended her life, bowing before the bones of saints, searching through Père Lachaise for the grave of Théodore Gericault— which struck me as numinous and morbid. At the same time, I came to love living abroad and I grew discontent with both remaining and returning. I wanted the opportunity to live everywhere all the time and not have to choose between home and away. Returning from abroad, I turned my attention to the landscape of my native country. I found in the New England pilgrims a narrative of people who had left their home in search of growth and freedom. In these journeys I began to appreciate the significance of place and tried to understand what it meant to move from one place to another, how one chose a home, and why people searched for meaning in specific locations. The processes of moving from student to worker and from childhood to adulthood have weighed on me. I began to see these transitions towards maturity as travels to a different land. Memory and nostalgia are their own types of pilgrimage in their attempts to return to lost places, as is the reading of literature. These pilgrimages, real and metaphorical, form the thematic core of the collection. I read the work of many poets who came before me, returning to the places where the Canon was forged. Those poets have a large presence in the work I produced. I wondered how I, as a young poet, could earn my own place in the tradition and sought models in much the same way a painter studies the brushstrokes of a master. In the process, I have tried to uncover what it means to be a poet. Is it something like being a saint? Is it something like being a colonist? Or is to be the one who goes in search of saints and colonists? In trying to measure my own life and work based on the precedent, I have questioned what role era and generation have on the formation of identity. I focused my reading heavily on the early years of English poetry, trying to find the essence of the time when the language first achieved the transcendence of verse. In following the development of English poetry through Coleridge, John Berryman, and Allison Titus, I have explored the progression of those basic virtues in changing contexts. Those bearings, applied to my modern context, helped to shape the poetry I produced. Many of the poems in “Not in the Legends” are based on my own personal experience. In my recollections I have tried to interrogate nostalgia rather than falling into mere reminiscence. Rather than allowing myself poems of love and longing, I have tried to find the meaning of those emotions. A dominant conflict exists between adventure and comfort which mirrors the central engagement with the nature of being “here” or “there”. It is found in scenes of domesticity and wilderness as I attempt to understand my own simultaneous desire for both. For example, in “Canned Mangoes…” the intrusion of nature, even in a context as innocuous as a poem by Sir Walter Raleigh, unravels ordinary comforts of the domestic sphere. The character of “The Boy” from Samuel Beckett’s Waiting for Godot proved such an interesting subject for me because he is one who can transcend the normal boundaries of time and place. The title suggests connections to both place and time. “Legends” features the dual meaning of both myths and the keys to maps. To propose something “Not in the Legends” is to find something which has no precedent in our histories and our geographies, something beyond our field of knowledge and wholly new. One possible interpretation I devised was that each new generation lives a novel existence, the future being the true locus of that which is beyond our understanding. The title comes from Keats’ “Hyperion, a Fragment”, and details the aftermath of the Titanomachy. The Titans, having fallen to the Olympians, are a representation of the passing of one generation for the next. Their dejection is expressed by Saturn, who laments: Not in my own sad breast, Which is its own great judge and searcher out, Can I find reason why ye should be thus: Not in the legends of the first of days… (129-132) The emotions of the conquered Titans are unique and without antecedent. They are experiencing feelings which surpass all others in history. In this, they are the equivalent of the poet who feels that his or her own sufferings are special. In contrast are Whitman’s lines from “Song of Myself” which serve as an epigraph to this collection. He contends for a sense of continuity across time, a realization that youth, age, pleasure, and suffering have always existed and will always exist. Whitman finds consolation in this unity, accepting that kinship with past generations is more important that his own individuality. These opposing views offer two methods of presenting the self in history. The instinct of poetry suggests election. The poet writes because he feels his experiences are special, or because he believes he can serve as a synecdoche for everyone. I have fought this instinct by trying to contextualize myself in history. These poems serve as an attempt at prosopography with my own narrative a piece of the whole. Because the earth abides forever, our new stories get printed over the locations of the old and every place becomes a palimpsest of lives and acts. In this collection I have tried to untangle some of those layers, especially my own, to better understand the sprawling legend of history.