Plaridel最新文献_第5页

Comparative analysis on the photographic self-presentations of the top Philippine universities in their official websites 菲律宾顶尖大学官网图片自我展示对比分析

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Plaridel Pub Date : 2021-10-01 DOI: 10.52518/2021-13dcgmrd

AARichela L. Dela Cruz, Christian Gopez, Henry Leen Magahis, Analiza D. Resurreccion, F. Demeterio III

{"title":"Comparative analysis on the photographic self-presentations of the top Philippine universities in their official websites","authors":"AARichela L. Dela Cruz, Christian Gopez, Henry Leen Magahis, Analiza D. Resurreccion, F. Demeterio III","doi":"10.52518/2021-13dcgmrd","DOIUrl":"https://doi.org/10.52518/2021-13dcgmrd","url":null,"abstract":"This paper is a visual analysis on photographs that were gathered from the main and secondary pages of the websites of the Philippines’ top four higher educational institutions (HEIs), namely University of the Philippines Diliman (UPD), Ateneo De Manila University (ADMU), De La Salle University (DLSU), and University of Santo Tomas (UST). Specifically, this paper used denotative reading, analysis of visual grammar, and connotative reading on the photographs to ascertain how each of these four Philippine HEIs represented their self-images in contradistinction with each other in terms of their teaching, research, extension, internationalization, campus and facilities, and student life, as well as their overall positioning. This paper was able to establish that UPD has strongest self-representation in teaching, and campus and facilities; ADMU in campus and facilities, and teaching; DLSU in teaching and student life; and UST in student life, and campus and facilities. This paper was also able to establish that UPD has the weakest self-representation in extension and internationalization; ADMU in research and extension; DLSU in extension and internationalization; and UST in research and internationalization. This paper is significant as it is the first publication that analyzes the websites of Philippine HEIs and even of Philippine corporations, while contributing to meager international literature on websites of HEIs and corporations. By looking at individual and collective self-representations of the top Philippine HEIs, this paper aims to gather insights on the status of Philippine higher education including the challenges it faces.","PeriodicalId":40520,"journal":{"name":"Plaridel","volume":"7 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84318668","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Initiating gay relationships in the Philippines: A history of mediatization and place-making 在菲律宾发起同性恋关系:媒介化和场所制造的历史

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Plaridel Pub Date : 2021-10-01 DOI: 10.52518/2021-18solis

R. Solis

引用次数: 0

YouTube vlogging as access to possibilities: A phenomenological study of an OG Filipino vlogger YouTube视频记录是通往可能性的途径:对OG菲律宾视频博主的现象学研究

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Plaridel Pub Date : 2021-10-01 DOI: 10.52518/2021-17dvesal

M. De Vera

引用次数: 0

Gender Representation in Cambodian Television Advertisements 柬埔寨电视广告中的性别代表

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Plaridel Pub Date : 2021-10-01 DOI: 10.52518/2021-20prldom

M. Prieler, Vannak Dom

引用次数: 0

Organizing bell hooks’ Frameworks for Interrogating Representations 组织bell hooks的讯问表征框架

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Plaridel Pub Date : 2021-09-02 DOI: 10.52518/2021-10biana

Hazel T. Biana

引用次数: 0

Indonesian Millennials: Building Metrosexual Capitalist Industry through Instagram #cowokmilenial 印尼千禧一代:通过Instagram # cowokmillennial打造都市美男资本主义产业

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Plaridel Pub Date : 2021-09-02 DOI: 10.52518/2021-09pssa

T. Putranto, D. Susilo, Bagong Suyanto, S. Ariadi

引用次数: 3

Manuel L. Quezon and the Filipino women’s suffrage movement of 1937 曼努埃尔·奎松和1937年的菲律宾妇女选举权运动

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Plaridel Pub Date : 2021-09-02 DOI: 10.52518/2021-08valpor

Veronica C. Alporha

{"title":"Manuel L. Quezon and the Filipino women’s suffrage movement of 1937","authors":"Veronica C. Alporha","doi":"10.52518/2021-08valpor","DOIUrl":"https://doi.org/10.52518/2021-08valpor","url":null,"abstract":"Manuel L. Quezon is often credited by historians like Encarnacion Alzona (1937) as a staunch advocate of women’s right to vote. Indeed, the history of the struggle for women’s suffrage often highlights the role that Quezon played in terms of supporting the 1937 plebiscite as the president of the Philippine Commonwealth. Various print media of the period like dailies and magazines depicted him, and consequently, the success of the women’s suffrage movement, in the same light (e.g., Philippine Graphic, Manila Bulletin). However, closer scrutiny of Quezon’s speeches, letters, and biography in relation to other pertinent primary sources would reveal that Quezon was, at best, ambivalent, on the cause of the suffragists. His appreciation of the women’s suffrage’s merits was tied and anchored on certain political gains that he could acquire from it. In contrast to the appreciation of his contemporaries like Rafael Palma, Quezon’s appreciation of the women’s right to vote was based on patronage politics and not on the view that the right to suffrage is a right of women and not a privilege. His support for the cause was aimed at putting himself at the forefront of this landmark legislation and thus the real champions of the cause—the women—at the sidelines","PeriodicalId":40520,"journal":{"name":"Plaridel","volume":"92 5 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83676137","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Dapat, kita: Representations of the Schema of Heteronormativity and the Visibility of Abuse in Domestic Violence 家庭暴力中异性规范图式的表征与虐待的可见性

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Plaridel Pub Date : 2021-09-02 DOI: 10.52518/2021-12lmibao

Ma. Aurora Liwag-Lomibao

引用次数: 0

All Hail, the Baklang Kanal!: Subversive frivolity in two Filipino influencers 巴克朗运河万岁!:两位菲律宾影响者的颠覆性轻浮

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Plaridel Pub Date : 2021-09-02 DOI: 10.52518/2021-11cabben

Samuel Cabbuag, C. Benitez

{"title":"All Hail, the Baklang Kanal!: Subversive frivolity in two Filipino influencers","authors":"Samuel Cabbuag, C. Benitez","doi":"10.52518/2021-11cabben","DOIUrl":"https://doi.org/10.52518/2021-11cabben","url":null,"abstract":"In November 2020, in a now-deleted tweet, twelve queer Filipino influencers on Twitter were branded as “baklang kanal,” for their noted expressions of dissent against the Rodrigo Duterte regime. Soon after, an online debate ensued: among these twelve influencers, who are the most rightful to be considered as baklang kanal ? While the term as commonly used now in Twitter is understood to refer to “gay individuals who are unapologetically outspoken about their views” (Vilog, 2020a), this paper intuits baklang kanal as a means to symbolically negotiate with the audience, toward construction of a seeming authenticity that is crucial for the establishment, maintenance, and expansion of their influencer status—what can be nominated as subversive frivolity, or the “generative power…arising from (populist) discursive framing as marginal, inconsequential, and unproductive” (Abidin, 2016, p. 2). We explore such harnessing of baklang kanal as generative power through a case study of two social media influencers, namely Pipay (@pipaykipayy) and Sassa Gurl (@Itssassagurl), exemplary not only for their large followings, but as well as their inclusion in the inaugural Bardy’s, a parodic people’s choice award facilitated over Twitter, for the Cannes’al (i.e., “kanal”) category.","PeriodicalId":40520,"journal":{"name":"Plaridel","volume":"35 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88858596","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Performing Darna: The Role of Entertainment Press in Spectacularizing Darna Actresses 表演达纳:娱乐新闻在达纳女演员表演中的作用

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Plaridel Pub Date : 2021-09-02 DOI: 10.52518/2020-09brllon

Cherish Aileen A. Brillon

{"title":"Performing Darna: The Role of Entertainment Press in Spectacularizing Darna Actresses","authors":"Cherish Aileen A. Brillon","doi":"10.52518/2020-09brllon","DOIUrl":"https://doi.org/10.52518/2020-09brllon","url":null,"abstract":"This paper looks at the actresses who portrayed Darna and how they are presented as spectacles in the entertainment articles that promote the film and television adaptations. This frame of inquiry comes from the notion that the visual aesthetics of Darna in komiks is largely informed by the superhero genre’s dependence on spectacle as shown in the superhero’s feats of greatness and in her actions and movements which are all larger than life and extraordinary. If this is the case for Darna in print, then how about the actresses tasked with performing her in the movies and television series? How are their bodies being turned into a spectacle in promotional materials in order to conform to the needs of the capital (entertainment industry)? In using the spectacle of the body as framework, the paper also draws on the star system and the role of producers of text in the creation of Darna as we know her today. The aim is to reveal how female bodies were made part of the construction of Darna’s image outside of its fictional universe which results in a discourse that highlights the body of the celebrities rather than Darna’s continuing relevance as a Filipino icon. This sets aside her representational power to embody the struggle and demand of Filipinos for justice and a better life as audience’s attention is diverted towards how these actresses prepared their bodies to perform Darna.","PeriodicalId":40520,"journal":{"name":"Plaridel","volume":"4 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88653857","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0