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Cuentos de Juana 1

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It was originally called Barrio Simancas after a town in the province of Valladolid, Spain, because it was under the jurisdiction of the city of Valladolid, Negros. Paris of Negros": "The spectacular development of the haciendas in La Carlota was the most important achievement of these years. He was one of the first hacenders to submit to the land registry system established by the Colonial Office in the late 1870s.

Having been born two years after the end of Spanish rule, Adelina was educated in the American educational system, which was instrumental in First-generation fiction writers of the American colonial period first tried their hand at the Gothic short story. Palabrica respectfully keeps the word in his translation thus: “Everyone, go to the camarín of the sugar mill.

The word is not only incongruent with the Negros hacienda landscape, but also illogical in the context of the paragraph in which the sentence appears. Adelina Gurrea.” This follows the Philippine naming system, that is, the last name is the father's last name, and the inclusion of the mother's last name is optional.

Cuentos de Juana

Álvarez Tardío's introductory commentary on the stories, in "Sombras en el Trópico" (Cuentos 25-30), consists essentially of summaries, paraphrases, and explanations of the already clear meaning of the details in Gurrea's stories. One can find a faint echo of Cuesta's stereotype of black peasant folk in Álvarez Tardío's (29) remark, albeit more carefully worded, that [e]n el ambiente rural filipino se considera que la sociedad es a su vez parte de un universo habitado por espíritus y humanos ("In the rural environment of the Philippines, society is considered part of a universe inhabited by spirits and humans." And her explanation of the supernatural beings that populate Gurrea's stories ends in inconsistently with a lament on the ecological problem that has put "the trees, the supernatural progatonists and the animals that populate Gurrea's stories in danger of extinction" because "the forest cover in the Philippines has been reduced to two percent". pues se calcula que la masa forestal en filipinas se ha reducido a un dos por ciento.

However, Álvarez Tardío offers occasional, albeit isolated and singular, readings of supernatural beings as personifications of the colonial situation. She tentatively offers the interpretation that the natives' "inhuman suffering" may be "Bagat himself incarnate" (Cuentos 28; Writing 53), and that is why she stands in the way of any attempt to save the Spanish masters from the mountain bandits. who kidnapped them and held them hostage. And, at the conclusion of her general introduction to Scripture, she suggests a postcolonial study of Juana's Tales (29), “which may provide an interesting analysis of the condition of.

Academic readers may regard the differences between the original 1943 Gurrea edition and the Álvarez Tardío edition as either substantive or the omens of the text, depending on their purpose for reading Cuentos. This transformation of the geographic map of the island was also the restructuring of the cognitive map of the population. However, this meant not so much the loss of the people's teleological worldview as its dispersion in the Spanish world of meanings.

A tamao living in a tamarind tree appears in the first story, "La Doncella," and another tamao living in a lunuk 'banyan' tree appears in the last, "El Lunuk del Remanso Verde." Therefore, tamao frames the entire collection. And then again, the last sentence of the first story (Gurrea 39; Álvarez Tardío 75): Así me lo contaron, y así lo cuento (“So I was told, so I say”). It is the seven-year-old's voice when Gurrea conveys a sense of wonder at supernatural phenomena.

But because Gurrea's stories are realistic in fashion, the conventions of the realistic genre assert the actual existence of these spiritual beings whose actions influence plot and character and thus have moral and political power.

In the year 1901 we lived in the Far East, very far from the capital, where there were trams, water pipes and a sewage system. Esto le hubiera causado a Juana aún más terror que bajar de nuevo la escalera y seguir buscando a Pinang a la luz del farol agonizante bajo el viento y la lluvia (“No matter how serious the event, the native servant could not imagine it disrespect to awaken the masters. This would have given Juana even more anxiety than going down the stairs and continuing to look for Pinang by the light of the lamp, flickering in wind and rain "). These versions from the Spanish period are derived from the Spanish encanto and encanta ("bewitched beings"); the kapre is derived from the Spanish cafre, or English "kaffir", which is "Islamic for 'infidel'" (Aguilar 33; 235, note 4).

In one episode of the epic, Labaw Donggon, despite his name, is temporarily defeated by the mighty tamao, Saragnayan, the Sun God, in a battle between their dungs. She is saved by the cook of the house, who knows what magic and ritual to use to overcome the tamao's power over Pinang. It once lived, and apparently still lives—in the trunks of great trees; but within them, I know not what infernal, or at least unknown power, rose magnificent palaces with floors of the most exquisite and perfumed oriental wood and columns of narra and camagong, which have withstood the action of time, moisture for hundreds of years, even though they are buried.

In the Ulahingan, which is an epic of Mindanao that has a cultural affinity with the epic of Panay, the hero, Agyu's balay tulangan, or palace, is described in almost exactly the same detail as the palace of Gurrea's tamao (Castro et al. 223) ). Batunlinaw of Sugbu, Banat-i ​​​​of Simugay, As-as of Milung-ilung. 8 When the poles were erected, They only stopped digging When they reached The forehead of In-agnay. 9 Proof of the strong foundation In event of a major earthquake, It occurs. The historical and factual basis for such a description of indigenous architecture can be found in the reports of Spanish officials during the early years of conquest.

Antonio Morga, a Spanish lieutenant-governor of the Philippines between the years 1593 and 1603, reports that the houses of native chiefs were "built on logs and thick poles and very spacious and comfortable. In the second tamao story, "El Lunuk", Gurrea describes tamao's dwelling under the tree and next to the pool thus (200; Álvarez Tardío 203): Las raíces precisely son la visera de la entrada a su reino subfluvial; detrás de ellas debe estar la grandiosidad cavernosa de las estancias negras ("The roots are just the awning of the entrance to his underwater kingdom. Behind them was supposed to be the grand cave of black mansions"). There is a municipality in the province of Iloilo, Panay Island, named Dingle, famous for its thirteen "black caves" where tamaos are believed to land and take off on their biday, their magical boat.

Thus the supposedly nonexistent supernatural abode of the tamao, described in Gurrea's seemingly innocuous phrase, "a cave of black palaces," is itself a palimpsest of the entire history of the Philippines, from the mythical realm of a god of invincible, to the kingdom. the residence with the meeting hall of the pre-colonial chiefs, in the church castles and palaces of the colonial rulers.

Era mucho sacrificio para un pie acostumbrado a la santa libertad ("In those days, all the laborers of the neighboring haciendas attended the festivities, with their families, wearing new clothes. The servant feet of the Lord Jesus Christ were nailed to this cross By the vagabonds and traitors, Such lines from the passion, despite their pious Catholic undertones, imply the subversive character of Christ, whose feet must be nailed to serve as an example to "the vagabonds and traitors" of the land.

Despite Juana's insistence on personally witnessing Pinang's abduction by the tamao, the narrator's peninsular grandmother chooses to interpret it within the logic of the hacienda's capitalist system (Gurrea 28; Álvarez Tardío 67): Juana, eres tonta de remate On the other hand, none of the indios are ever harmed by the tamao, because they simply keep a respectful distance, hurry past it and "wear a semi-circular path several meters from it". By Gurrea's time, an indio or India's kidnapping and imprisonment by the tamao had taken on the romantic motif of the Spanish corrido ("medieval . romance"), the tamao "falling in love" and casting a spell over the object of his or her love

Her perception belies the colonialist description of the colony as a heart of darkness, "manichean and essentially unchanging" (JanMohamed 90). Tamao is the entire palimpsest itself: the epic god and the monstrous colonizer; Self and Other; Otherness of Self. She was not of this world, nor of that world, to which the world belonged during the second life, inside the palace enclosed by the navy tree").

Insurat ken impablaak ni Gurrea ti Cuentos idi ngudo ti panawen ti Mankomunidad ti Filipinas, nga adda iti sidong ti panangimaton ti E.U. Plato ti Puso, Kilt ti Rebelion: Ti Tradision ti Panangidadaulo iti Lamisaan ti Tagalog. U ti Filipinas Baro a Delhi. Jonathan Chua, a nakakita iti daytoy a papel manipud rugi agingga iti ngudo ken timmulong a nangipatarus kadagiti teksto nga Espaniol, agraman ni Concepcion L. Chua, a timmulong a nangipatarus kadagiti teksto nga Espaniol, agraman ni Concepcion L.

They are both of the Interdisciplinary Studies Department of the Ateneo de Manila University. I also thank Wystan de la Peña, chair of the Department of European Languages ​​of the University of the Philippines, for enlightening discussions. Monasterio's "La Odisea de un Hacendero" (1896), in which he vividly recounts his adventures as a colonizer, shows evidence of the writer's gift for storytelling that also runs through the veins of his granddaughter Adelina Gurrea.

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