Kritika Kultura, the international refereed journal of language, literary, and cultural studies of the Department of English, Ateneo de Manila University, is launching its 26th issue on Mar. 28, 2016, 5:00 p.m., at CTC 413, Ateneo de Manila University.
For its regular section, KK 26 features articles by Preciosa de Joya and by Muhammad Alkali and Rosli Talif titled “Exorcising Communist Specters and Witch Philosophers: The Struggle for Academic Freedom of 1961” and “Reconstructing the Female Sex in Emergent Novels” respectively.
This issue includes a Forum Kritika on Arts, Peace, and Conflict, guest edited by Brian Desmond (University of Chester), Antoinette McKane (Liverpool Hope University), Terry Phillips (Liverpool Hope University), and Zoe Zontou (Liverpool Hope University). It contains the articles “From Leonardo to Picasso (1939-1953): The Masters Who Marked War and Peace in Milan” by Silvia Colombo; “German Art About War Today and a Century Ago: A Curator’s View” by Martin Bayer; “From Healing to Hope: The Continuing Influence of the Chilean Arpilleras” by T. Randahl Morris; “Truth, Justice, and Performative Knowledge: Chokri Ben Chikha’s Theatrical “Truth Commission” on (Neo)colonial Injustices” by Klaas Tindemans; and “Education of Today Is the Security of Tomorrow!: Strengthening the Capacities to Create Secure Environments with Cultural Education” by Hannah Reich and Raphael Vergin.
KK 26 also features a Forum Kritika on Manga Culture and Critique, which is guest edited by Jaqueline Berndt (Kyoto Seika University). It begins with an introduction by Berndt titled “Manga Beyond Critique?” This section contains the essays “Post 3-11 Japanese Political Cartooning with a Satirical Bite: Non-Newspaper Cartoons and Their Potential” by Ronald Stewart; “Communicating Emotions: How Commercial Manga for Women Approaches 3.11” by Olga Antononoka; “Kouno Fumiyo’s Hiroshima Manga: A Style-Centered Attempt at Re-reading” Takeuchi Miho; “Re-viewing Thomas Lamarre’s The Anime Machine after Hayao Miyazaki’s The Wind Rises: On the Critical Potential of Anime” by Selen Çalik; and “From ‘Game-like Realism’ to the ‘Imagination-oriented Aesthetic’: Reconsidering Bourdieu’s Contribution to Fan Studies in the Light of Japanese Manga and Otaku Theory” by Zoltan Kacsuk.
Also featured in this issue of Kritika Kultura are the articles culled from a symposium about critic E. San Juan, Jr. Edited by Charlie Samuya Veric—who also organised the symposium on San Juan—this section is titled “Critical Futures: The Places of E. San Juan, Jr.” It begins with “Pasts and Futures of E. San Juan, Jr.,” Veric’s introduction to the section. This is followed by a series of essays: Efren R. Abueg’s “Alaalang Pampanitikan: Si Epifanio San Juan, Jr. Sa Panitikang Filipino”; Rolando B. Tolentino’s “E. San Juan, Jr. at ang Diskursong Kulturang Popular”; Michael D. Pante and Leo Angelo Nery’s “Migration, Imagination, and Transformation: Revisiting E. San Juan’s Carlos Bulosan and the Imagination of the Class Struggle”; Elmer A. Ordoñez’s “E. San Juan, Jr.: Remembering the Struggles During Martial Law”; Rachel Peterson and Joseph Wedland’s “Lessons from E. San Juan, Jr. on Resistance, Diversity, and Anti-Materialism in the Academy”; Michael Joseph Viola’s “‘Land is Life’: Reflections on E. San Juan, Jr., Considerations for Filipino Critical Theory, and Notes for Environmental Justice in the United States and the Philippines”; Kenneth E. Bauzon’s “Themes from the History of Capitalism to the Rise of US Empire in the Pacific, With Annotations from Selected Works of E. San Juan, Jr.”; and Charlie Samuya Veric’s “Vernacular World Making: E. San Juan, Jr. and the Rehearsal for the New International,” These essays are followed by a response from E. San Juan, Jr. titled “Metakomentaryo sa Pagkakataon ng Kolokyum Ukol sa ‘The Places of E. San Juan, Jr.’” The section ends with an essay by Delia Aguilar titled “Memory Work.”
The Monograph Section—edited by Ma. Socorro Q. Perez—features Cirila Limpangog’s study of the career impediments and opportunities of Filipinas living in Australia: “Resuming the ‘Skilled Worker’ Identity: The Filipinas’ Strategies in Labour Market Participation in Melbourne, Australia.”
The Monograph is followed by the Short Takes Section, a suite of curated reviews on a single work (book, performance, film, or exhibit). For this issue, this section—edited by Charlie Samuya Veric—considers the work Rays of the Invisible Light: Collected Works by Young Moro Writers (ed. Gutierrez Mangansakan II). Short Takes includes three reviews: Charlson Ong’s “Shadow Lands, Strange Light”; Kristoffer Brugada’s “Mga Bintana ng Liwanag sa Hilaga”; and Jose Maria de Nazareno’s “The Noble Jihad.”
KK 26 ends with a special Literary Section guest edited by Ramon Guillermo (University of the Philippines Diliman) and Martin Villanueva (Ateneo de Manila University). It features the following pieces: Neobie Gonzalez’s “What do I call this beating:”; an excerpt from Carlos Quijon, Jr.’s “Dossier on Specific Fabrications”; Robert Nery’s “The Wait on Quezon Avenue”; Richard Calayeg Cornelio’s “Ablation”; Ian Rosales Casocot’s “Bamboo Girl”; John Bengan’s “Outside”; Denver Ejem Torres’s “Restoring the lost hiniktan”’ Carissa Pobre’s “After Beethoven”; Arbeen Acuna’s “Reverse Carnival, Reactionary Laughter: Critique of an Intermission”; Janine Go Dimaranan and Ivan Emil A. Labayne’s “The Economic Aspect in Contemporary Writing and the Matter of Class in Literature: Reading Selected Conceptual Works”; J. Neil Garcia’s “Myth and the Poetics of Self: The Critical Corpus of Gémino H. Abad”; and Eulalio R. Guieb III’s “Jandayan Island: Symphony of dry winds in a time without rain.”
A simple reception follows the launch. The event is open to the public.
Kritika Kultura is indexed in Thomson Reuters (formerly ISI), SCOPUS, EBSCO, DOAJ and a host of other important indexes and databases.