June 30, 2008

ce qui me passe par la tête

I emerge from the depths of the Black Hole Also Known as Work to geek out over the release--finally! after years of delay and one cancellation--of the monumental Dictionnaire du monde germanique, a 1000-page encyclopedia covering historical, cultural, artistic, economic, political, sociological, religious and scientific aspects of the German-speaking civilization published by Editions Bayard. Last September 2007. Which just goes to show how out of the loop I am since I've been waiting for this book for ages. I'm not a Germanist but projects of this sort are close to my nerdy little heart.

Under the general editorship of Jacques Le Rider (EPHE Sorbonne), Michel Espagne (Normal Sup) and Élisabeth Décultot (CNRS), the book features articles written by leading Germanists from around the world. Originally scheduled to be published by the Presses universitaires de France in 1999, the book was delayed until 2001, then 2002, and finally cancelled. Eventually there was talk that Bayard would publish it in 2005. 2005 came and still no book. Finally, in January 2007 Bayard indicated that it would most likely be released some time in Fall 2007. Priced at 129 Euros, I don't even want to think about what the Philippine retail price will end up being. If it does get here at all (most likely not). 

Fiche technique
Title: Dictionnaire du monde germanique
Sous la direction de Michel Espagne, Elisabeth Décultot et Jacques Le Rider
Publisher: Éditions Bayard
ISBN-10: 2227476524
ISBN-13: 9782227476523
Publication Date: 27 September 2007
Format: Broché, 24 x 17 cm, 1100 pages
Features: Illustrations en noir et blanc, cartes
Retail Price (France): 129 Euros

What follows is a preliminary partial list of contributors and article titles, pieced together from information found here and there on the web. I have no idea if all of these made it into the final product.

François Delpla

  • Hitler : vie
  • Hitler : politique

Jacques Ehrenfreund

  • Emancipation juive
  • Revues et associations juives
  • Assimilation juive
  • Communautés juives dans le monde germanique jusqu'en 1800

Stéphanie Buchenau

  • Schulphilosophie
  • Intersubjektivität

Guillaume Garner

Lutz Winckler

  • Littérature de l'exil
  • Littérature de l'immigration intérieure

Moussa Sarga

  • L’Orient littéraire au XIXe siècle

Thomas Serrier

  • Littérature allemande de la Baltique

Carlos Herrera

  • Rechtspositivismus
  • Reine Rechtslehre

Daniel Baric

  • Serbes, Croates et Allemands

Marielle Silhouette

  • Bertolt Brecht
  • Théâtre épique

Roland Krebs

Frank Muller

  • Renaissance

Cécile Schenck

Pierre Monnet (sub-editor of the Mediaeval section of the dictionary)

  • Communalisme et ligues urbaines
  • La forêt allemande au Moyen Âge
  • Grand commerce, foires et compagnies
  • Hanse
  • Historiographie et chroniques
  • Italies allemandes
  • Les Luxembourg
  • La monnaie dans l'Empire au Moyen Âge
  • Symbolique impériale jusqu'en 1806
  • Villes et tissu urbain au Moyen Âge en Allemagne

As time permits, I'll be adding more information to this preview.

March 22, 2008

A cool introductory tutorial to Ruby. I've been intrigued by Ruby for the longest time since I think that Rails has such great potential as a web applications framework. Of course whether or not we're going to use it for one of our sites is another issue altogether; I'm not being entirely tangential here though (heee).

In other news: It comes a surprise that people are actually reading this blog. Not to be disingenuous or anything, but I've sort of resigned myself to finding some direction content-wise, since when I'm not posting eulogies or pretentious life epiphanies, I am dorking out over dead languages and obscure books and programming syntax, among other things.  Have been advised to find a niche since it's apparently one of the tried-and-tested blogging methods nowadays, but surely there's still some space for miscellany in an increasingly balkanized digital space (which remains hospitable nonetheless).

I don't think anybody's blogged about Filipino tapsis before, have they.  (I may have a problem).

Tito Gio

Written on March 14, 2007:

A close friend of mine died last Friday of an aneurysm. Mr. G. I call him Tito Gio IRL, but it seemed weird to do so in writing. Funny how in Filipino there's no default mode of address for older people who aren't your blood relatives but with whom you share a degree of closeness. Everyone inevitably lapses to 'uncle' or 'auntie.'

I'm rambling, I'm sorry. I guess I'm trying to elucidate the nature of my friendship with Tito Gio and what it meant to me and I'm making a mess of it.

He was 48 when he died, so he was much older than I was, but in the year we spent together trying to launch the Cabuyao Literary Society, he never tried to use any of that against me. Not his age or his experience or even his considerable abilities. He was always very supportive and generous of his talent. He had a great love for the arts and he believed that there was a place for it in our community despite the lack of support and funding.

Before I met him, he already had a long record in civic work. He had served on the PTA board of our community high school for many years. The school was severely under-funded. It was often short of teachers, equipment, and basic services, so the PTA had a proactive role in trying to keep it together. As president and director, Tito Gio spearheaded fund drives, launched information campaigns, worried about break-ins and wayward students and no books in the library, wrote the student handbook, took photographs of important school events. He had a profound concern for the welfare of the students and yet felt impotent in the face of the odds stacked against them. He studied them minutely, these despairing, endangered young people, noting the lack of structures for socialization, the teaching of ethics, the right to self-definition. But he was frustrated in his efforts to channel his ambitions into a coherent plan for action, until, he said, CLS came into his life.

We used to joke in the group that we found each other by 'kismet.' We would have run into each other sooner or later, but when we did, it was at the right time and at the right place in our lives. Hence the crappy jokes about planetary alignments etc. Tito Gio always claimed that we were a bunch of lunatics, the biggest fools in town, but, typically, also approached our 'antics' with deadly seriousness. He had a really intuitive commitment to the group. There wasn't much to base your faith on, anyhow, except for intuition. Because he was right, we were fools, right from the beginning. We had high-minded ideas but he knew that our follow-throughs could sure do with a lot of work. And yet he stayed. He was there for the balagtasan, went around town talking about the website and promoting the group, finessed the founding of the theater, linked us up with people we needed to know, planned and dreamed.

I didn't know him for very long. When I went to the wake, the only people I recognized--aside from the other people in CLS (Kuya Mark, Dee, Tito Elmer)--were his wife and mother, so you could say that I didn't know him very well either, at least not in the conventional sense. Our circles of acquaintance outside of CLS did not intersect. He was much older, there was that, but there was also the fact that the work we wanted to do, our beliefs, were enough to bind us and establish a camaraderie that would otherwise be hard-earned, if not impossible. We shared not so much friendship as a communion. He said that he had always been hoping and waiting for something like CLS to happen. If he had not married young, if he did not have a family to support, he would have tried this long ago, but he was afraid to do it alone. So the group gave him the courage he needed. Kismet. He believed in it.

In some ways, CLS had been something that was private among us. Our families were usually disapproving of our 'activities.' It was not as if we had decided to overthrow the government, but, in a community which valued and inflated notions of propriety, asserting oneself, declaring difference and change merely through initiating something 'new', meant that you did not have to take up arms in order to be considered improper. It's hard to appreciate and project the importance we gave to the group. I think if I were to die now, my parents would consider CLS as just another one of those 'things' I wasted my time on. In the same way, perception of Tito Gio's part in the organization would probably be all out of proportion to how much of himself he gave to it. So I'm using this opportunity, on the record, so to speak, to make clear that he gave, and he gave a lot.

I passed by his house last Sunday and we outlined our plans for the summer. It was the last time I saw him alive. He wanted to develop a website covering candidates for the municipal elections this May (a print version could also serve as our newsletter for the summer), set a date for an initial meeting with prospective members of the classical guitar circle we both had an interest in setting up, plays for the theater, a possible photography exhibit the sinakulo in Bigaa. I told him about my trip to Hong Kong, the vagaries of my illness, how weak and discouraged I was after RodCon, and that now, for the first time in what seemed like a long, long time, I felt like I could enjoy the world again. He said, in his sincere, gentle way, that he was very happy for me. And also that it was a good thing I was up to snuff because there was an awful lot of work to do and he didn't think I was the sort to wallow in self-pity. Now, back to that newsletter idea.

We were supposed to have years to watch this thing unfold, you know. Make costly mistakes and pay for them, laugh at politicians behind their backs, meet every Sunday at the local McDonald's or Saturday nights at Mang Iking's and gossip interminably about our projects, how the kids were doing, winning the lotto. Kuya Mark was devastated when he heard the news. I still can't talk to him about it. Dee refused to believe it at first. I learned about it on Sunday via Tito Elmer (I had been trying to reach Tito Gio through phone for our usual weekly meeting) and thought it was a horrible joke.

I am grateful that I met him. I am grateful that in the last year of his life (it is exactly one year, how strange), being involved in the group managed to bring him a measure of happiness and fulfillment. And beyond this... I guess we have to continue moving forward, carry on. On my part I feel that his presence in my life was a very important lesson that I had to learn, only I don't know if I could ever figure out how to deconstruct it, commit it to heart.

Cls_4

Black Saturday

Have been reading Greek. I've forgotten what a pleasure this is. I'm not even remotely good at it--with some effort, I can do more than five lines a night, but the sense of accomplishment (dubious, at best) isn't where the pleasure lies. I'm flipping through Professor Trypanis' edition of the Penguin Book of Greek Verse. It's great, it goes from Homer to Elytis, straight to the Byzantine period. And like the other Penguin books of foreign verse (collect them all!), it has a simple, plain, prose translation at the bottom of the page. It helps even the most casual of readers to understand the Greek and it doesn't deform it by squeezing it into the meters of another language. My favorite poem is what Trypanis calls "On Sabinis" (it appears in the Oxford edition as "On a Tombstone in Tarm"). It took me a long time to work it out, but when I got it, it's just beautiful. No one cares, I know, but hey, I havent't spammed my own journal in a while.

Touto toi hemeteres mnemeion, esthle Sabine,
he lithos he mikre, tes megales philies

(Okay so I apologize for my bland non-Greek-appreciating keyboard for the lack of diacritics). 'This memorial, noble Sabinus, is only a stone,' he lithos he mikre, 'and a little one at that'--you know, a small one. The Greek is so concise you have to add a few words to make it understandable--'to communicate so great a friendship as ours.' Aiei zeteso se--this should reference the myth that when the dead came to Hades and crossed the River Styx, they came to the fountain of Lethe. Lethes means forgetfulness, and they drank of the fountain and forgot their past life. So the last two lines would say, 'I shall always search for you.' That's the literal meaning. Not 'long' or 'long for.' Literal meaning is always best when you do Greek poetry, I think. 'I shall always search for you.'

The next lines--Sy d', et themis, 'and of you'--themis is the main word in Homer for 'lawful' or 'proper'--'and if it be proper of you,' en phthimenoisi, 'down there among the departed.' Tou Lethes ep' emoi me ti pieis ydatos. 'If it be proper, please, for my sake, do not drink--even a drop--of the waters of forgetfulness.' Isn't that beautiful? There's also this really great poem by Callimachus which he dedicated to his friend, another poet, Heraclitus (not the philosopher). I liked the English translation (by a guy named Cory--can't remember the first name) but there's a jingoistic feel to it which seems missing from the Greek. And then a poem by Sappo about a rival whom she consigns to hell, translated by Algernon Swinburne and Thomas Hardy. The translations are in themselves very good poems but you've got to read Sappho in the original to appreciate her directness.

I really enjoy working with Penguin books. I have the ones on Greek verse, Latin, Hebrew, French, Japanese and German. I'm not linguistically gifted and I can't really afford the time and expense for proper tuition (plus I don't know who the heck in the Philippines would know Hebrew) so I've had to develop my own methods. It's good to work on short poems, I've found. It's not as complicated as when you tackle a long sentence (especially philosophical Latin? I don't think there's even a lexicon of philosophical Latin), and you get a certain sort of satisfaction. You work on a two-line couplet, it's not an endless task, and pretty soon you're completing a four-line elegiac hexameter.

I would love to be able to read modern Greek.  I can recognize certain terms. For example, in Sophocles' Antigone, you have the word astynomos, the law of the city in ancient times. And I was just indecently thrilled to find that in modern Greek, astinomos means--more or less--'town cop.' The law, as we say. Asty is town--not polis--and nomos is law or custom.

Would also love to be able to read the Chinese poets. But it must be very, very hard, Chinese (needless to say).

... Come to think of it, since I've resolved to dust off and complete hanging projects, time to earnestly nag the people doing the Urbana at Feliza translation.

March 20, 2008

PSA

Talk about a case of mistaken identity. Dear whoever, I think you're looking at the wrong blog.

There are times when I contemplate changing my name to something less generic like... I dunno, K140.

I haven't had time to email people. Will do so this weekend.

WikiPilipinas and Filnet

OK, it's official. I've been meaning to blog about this but kept getting derailed, until a friend called me up this morning because she saw the article linked from the Wikipedia Tambayan (hi, guys XD;; let's have coffee again?). Yes, I am the editor in chief of Filnet and WikiPilipinas, among others. I did start working part-time for Vibal Foundation about four months ago, when I embarked on something like a crash course in Philippine publishing. I felt that if I really wanted Read or Die to make a difference, I should at least learn the basics of the publishing industry. I had the time since I was in grad school and I didn't think that I could have another opportunity. With regard to Filnet, I felt that Gus Vibal was at the forefront of digital publishing in the Philippines and I was terribly interested in what he was doing. So I signed on and had the good fortune of being part of the staff when the entire project was in the midst of a fruitful transition.  Which is still ongoing, by the way.

I've read my share of blogs from last year, back when I myself was a disinterested observer. I've seen the posts expressing wariness of the project, which is understandable given everything that's happened. For the record, however, I think that it is a worthy endeavor. I truly believe in Gus Vibal's sincerity, commitment, and vision. I still don't quite understand how I ended up in this position but I am grateful that he trusted me with something which is obviously very important to him.

I've just come from a trip to Cotobato and Davao where I spoke with school teachers, students, and young journalists. It's really not a matter of getting eyeballs or page rankings or whatever. In the bigger scheme of things, they're kind of irrelevant. Of course the sites have to sustain themselves, but the measure of sustainability here is the ability to be relevant to the users. I support and promote the reading and writing of books, which is the advocacy closest to my heart, but I've never believed that literacy should be solely print-based. I think that Filipinos--especially young Filipinos--should be able to find what they need to know in a variety of ways, to express themselves using different mediums. Anything that empowers them on that level gets my vote.

So I hope we can all work together.  We welcome your comments and suggestions, but your support is what is most essential.  (The foundation is opening an internship program, by the way, so if you want to be in on the action, send your CV to Christian Pangilinan at chris@wikipilipinas.org.ph).

March 09, 2008

Leonila Mandigma, March 7, 1913-November 17, 2007

We look up at the stars and they are
not there. We see memory
of when they were, once upon a time.
And that too is more than enough.

March 04, 2008

More

Though, speaking of hieroglyphs -- I was browsing in a bookstore the other day and saw a rather extraordinary proliferation of 'guides' to learning hieroglyphs in the shop's 'foreign languages' section: teach-yourself-hieroglyphics! (it's hieroglyphs, you philistines; the system for writing is what's 'hieroglyphic' not the actual symbols themselves. Honestly!!!), idiot's-guide-to-colloquial-ancient-Egyptian (including instructions on how to greet the Pharaoh and how to hire a pleasure barge in the Delta hahaha), and 101-hieroglyphics-in-a-flash! (the microwave approach to languages, more like). Hrmph. Have nothing against self-help since I'm not exactly an expert on the field either, but I don't really see the point of learning that the hieroglyph which looks like a duck is in fact a duck but that it can also stand for 'son of' once it's used as an ideogram if you aren't even told just what differentiates a hieroglyph used as a pictogram from one used as an ideogram from one used as a determinative and yet again from one used as a phonetic component (since this hieroglyph can also be used phonetically to represent the sound 'sa' in the word 'saw,' meaning wooden beam).

I mean, it's rather like trying to learn Latin where one is presented with a sentence like Arma virumque and informed that it means "Arms and the man," after which one then sort of inevitably assumes, for lack of a proper methodological approach, that Arma = arms, virum = and, que = the man. Which is partly right, but very much more wrong. The Latin word for 'and' was usually et, but que could be used as a suffix for emphasis -- in this case added to virum, the word for 'man.' The man in this case would be Aeneas, and this particular sentence is the opening line of the "Aeneid" -- Arma virumque cano ("I tell of arms and the man.")

I'm just sayin'.

The Egyptologist said that learning Coptic would be indispensable for a deeper understanding of Middle Egyptian, but that it was not strictly necessary unless one was interested in learning how to pronounce Egyptian in some basic form since no one has quite figured out how to actually speak Middle Egyptian as it was spoken by the ancient Egyptians themselves. Coptic ought to bear some resemblance to the original language, but only in the same way that Latin bears a resemblance to English.

This is making me think -- again -- of the philological relationship between Akkadian and Sumerian... Akkadians from the Sargonic period onwards used the Sumerian cuneiform script to express their language -- but it is, by all scholarly accounts, a terribly delicate and awkward adaptation since the two languages are as unrelated to each other as, say, Chinese and Latin. Though the thing is, Akkadians and Sumerians existed in close quarters, and even borrowed words from each other, unlike Chinese philosophers and Latin rhetoricians. Can you imagine Tung Chung-shu and Horace...? (Come to think of it, before the hieroglyphs were deciphered by Jean-Francois Champollion, there were a few professors -- Joseph de Guignes, Professor of Syriac at the College of France in Paris, being one of them -- who came up with the strange idea that Chinese was the true uncorrupted form of Egyptian. Through his studies of Chinese writing, de Guignes recognized that cartouches were used to highlight proper names and that they were therefore probably used for royal names in Egyptian inscriptions. From establishing this coincidence he leapt into the theory that Chinese and not Coptic was the way forward in hieroglyphic decipherment. Ah, Orientalists).

PS: Books on Middle Egyptian (which I have and use): "Middle Egyptian" by James Allen; "Egyptian Grammar" by Alan Gardiner (grammatical theory is outdated but it's still terribly comprehensive and useful); "Middle Egyptian Grammar" by James Hoch; "Grammaire de l'Egyptien classique" by Gustave Lefebvre.

March 02, 2008

Sundays

I do not go home to the province as frequently as I used to ever since my grandmother died. There's also work, of course, but mostly it's because I don't think I can bear to just yet.  Christmas was painful; my cousins and I made a half-hearted effort at holiday cheer but in the end spent most of the time lapsing into brooding silence.

My parents are abroad for most of the year, my sister studies in Manila and has her own apartment, and my brother works in Alabang, occasionally sleeping over at my maternal grandparents' house while our own house stands empty. There was a time when I couldn't imagine weekends without family activities being part of the traditional repertoire, so to speak. I would wake up on Sundays to  the sound of Miles Davis slowly and coolly spinning a jazz abstraction out of the intersection of sunlight and dew-spotted leaves, the unique timbre of my mother's voice as she heckled the gardener, the phone ringing (my grandmother calling again to ask what we were having for breakfast). The rustle of newspaper pages as my father dawdled over coffee and pretended to know how to distinguish between chromatic descent and a standard harmonic progression.

Now I structure my Sundays around an early breakfast in Sinangag Express where I almost always order tapsilog, which I stopped eating for some time, back when I first lived in Manila. I can't remember why -- might be because I thought it had gone out of fashion in the city or something since Jollibee, for example, only used to sell pancakes and hotdog meals. And then I started noticing the increasing number of  'tapsis' in Manila and how people would invariably eat all the variations of the menu for breakfast, lunch, and dinner. Tapsilog--and the associated 'silogs'--has become something like a fastfood staple, no longer just the iconic Filipino almusal.

In any case , I don't suppose I could be accused of eating it because it has become the fad. There's certainly an element of nostalgia -- Sinangag Express serves their tapsilog with a generous helping of delicious atchara, which inevitably reminds me of the atchara my relatives used to make. We would receive jars of atchara as gifts... I do miss it. At the same time, I have also come to realize the value of making and observing my own rituals. They're inevitably less rich than childhood traditions, which tend toward the colorful and the expansive. It's true that you learn to reduce parts of yourself to the most common denominator as you grow older. The relief of dwelling in binaries as opposed to constructing your life like an overwrought exercise in differential calculus... I've always appreciated the mathematical definition of elegance, that is, the appearance of simplicity under great difficulty. In some ways I still feel like I'm treading water after my grandparents died, but more and more, by the grace of God and the kindness of people, my feet connect with solid ground.

More touchstones: having coffee in a nearby coffeeshop, reading a book, working. Perhaps a haircut later this afternoon. A phone conversation with my parents or my siblings. Listening to music at night. The grace of being alone.

Speaking of fathers and Trojan gifts

Dad's Christmas gift to me is a software program for writing Middle Egyptian hieroglyphs. HE WINS. I think he must have sensed that I was planning to spend part of his vacation hounding him to finish copying out yet another table of triliteral signs. My mechanical drawing skills are just not up to par. I did copy and draw the uniliterals, biliterals and multiliterals on index cards ages ago, but they're mostly for memorization, and they're not really erm true to form. Now that I'm spending an inordinately long time on sorting out pseudoverbal constructions, I definitely need a polished and accurate set of hieroglyphs to work from. My father wrote me an email telling me that I ought to just 'print out the damn things' and presumably to leave him out of it (I nagged him mercilessly a few Christmases ago to draw me charts of biliterals in every possible combination).

... I really should have thought of this software idea myself though I think I still need to refine the symbols with Photoshop filters to get better resolutions since the software is geared towards actually writing in hieroglyphs (for textbooks or scholarly articles) and not for printing them out like concert posters. Amused myself for a bit by writing out the five names of Tutankhamun without looking at the grammar or the dictionary (well, except for the Nebti Name, that always trips me up).

I think anyone with a cursory interest in Egyptology will know that Egyptian pharaohs -- after around 2000 BC, at least, when their titulary system has evolved into its lasting form -- all have a unique combination of five names, though only two are usually contained in cartouches. The pharaoh's Birth Name (or the nomen), the name given to him at birth, was contained within a cartouche preceded by the hieroglyphs for "Son of the god Ra" (Sa-ra) to emphasize the pharaoh's divine origin. His other name within a cartouche was his Throne Name (sometimes called a prenomen), which he took when he succeeded to power, a name that was preceded by the hieroglyphs (nesu-bity) which literally mean "he of the sedge and the bee." This has the meaning of "King of the Dualities," a title with a range of complex interpretations which reflect the stark contrasts that characterize Egypt, such as farmland and desert, and so it is usual to concentrate on the political duality of Upper and Lower Egypt (since the sedge is the symbol of Upper Egypt and the bee the symbol of Lower Egypt) and translate the hieroglyphs as "King of Upper and Lower Egypt." Three other names, which were also given to the pharaoh when he took the throne, are actually honorific titles emphasizing his power and divinity rather than real names. These were the Horus Name, preceded by the hieroglyph for the god Horus; the Nebti Name (sometimes called the "Two Ladies Name", preceded by the hieroglyph representing the goddesses Nekhbet of Upper Egypt and Wadjet of Lower Egypt; and the Golden Horus Name, preceded by the hieroglyph trasnliterated as Hor-nebw (or Golden Horus), the sign for Horus of Gold.

For pharaohs reigning after this system was fully developed, the full set of names could be quite extensive. I memorized Tutankhamun's on the section about 'Adjectives.' (Sorry,  this keyboard doesn't support Middle Egyptian so I can't actually write the hieroglyphs here since you'll be just treated to unsightly long blocks of squares.):

Horus Name: Ka-nakht tut-mesut, meaning "Strong bull, fitting of created forms."

Nebti Name: Nefer-hepu segereh-tawy sehetep-netjeru nebu, meaning "Dynamic of laws, who calms the two lands, who propitiates all the gods."

Golden Horus Name: Wetjes-khau sehetep-netjeru, meaning "Who displays the regalia, who propitiates the gods."

Throne Name: Nebkheperure, meaning "The lordly manifestation of the god Ra."

Birth Name: Tutankhamun heqa-iunu-shema, meaning "Living image of the god Amun, ruler of Upper Egyptian Heliopolis." (Though the original birth name of Tutankhamun was Tutankhaten (living image of the god Aten) when his brother Akhenaten was ruling).

I was introduced to an Egyptologist when I visited the Cairo Museum -- a very interesting person. We got to talking about king's names, and she mentioned that while the combination of five names was unique to each pharaoh, in practice their two names in cartouches are usually sufficient to distinguish between pharaohs, even when they shared the same Birth Name. For example, the Pharaoh Tuthmosis I had the Birth Name Thothmes ("born of the god Thoth"), which is exactly the same as the Birth Name of the Pharaoh Tuthmosis II, who succeeded him. However, the Throne Name of Tuthmosis I was Akheperkare ("Great is the soul of the god Ra"), whereas the Throne Name of Tuthmosis II was Akheperenre ("Great is the form of the god Ra"). The difference is slight, but enough to establish distinction.