The romance of magno rubio 2005 pdf download

Deploying a geographical approach to transnational culture, Rogers analyses the cross-border relationships that exist within and between Asian American, British East Asian, and South East Asian theatres, investigating the effect of transnationalism on the construction of identity, the development of creative praxis, and the reception of works in different social fields.

This book therefore examines how practitioners engage with one another across borders, and details the cross-cultural performances, creative opportunities, and political alliances that result. By viewing ethnic minority theatres as part of global — rather than simply national — cultural fields, Rogers argues that transnational relationships take multiple forms and have varying impetuses that cannot always be equated to diasporic longing for a homeland or as strategically motivated for economic gain.

This argument is developed through a series of chapters that examine how different transnational spatialities are produced and re-worked through the practice of theatre making, drawing upon an analysis of rehearsals, performances, festivals, and semi-structured interviews with practitioners.

The book extends existing discussions of performance and globalization, particularly through its focus on the multiplicity of transnational spatiality and the networks between English-language Asian theatres. Its analysis of spatially extensive relations also contributes to an emerging body of research on creative geographies by situating theatrical praxis in relation to cross-border flows. Performing Asian Transnationalisms demonstrates how performances reflect and rework conventional transnational geographies in imaginative and innovative ways.

In downtown Stockton, they created Little Manila, a vibrant community of hotels, pool halls, dance halls, restaurants, grocery stores, churches, union halls, and barbershops. Mabalon draws on oral histories, newspapers, photographs, personal archives, and her own family's history in Stockton. The Routledge Companion to Asian American and Pacific Islander Literature offers a general introduction as well as a range of critical approaches to this important and expanding field.

Divided into three sections, the volume: Introduces "keywords" connecting the theories, themes and methodologies distinctive to Asian American Literature Addresses historical periods, geographies and literary identities Looks at different genre, form and interdisciplinarity With 41 essays from scholars in the field this collection is a comprehensive guide to a significant area of literary study for students and teachers of Ethnic American, Asian diasporic and Pacific Islander Literature.

Ho, Hsuan L. Hsu, Mark C. Six days a week they provide dedicated support to their employers. But on the seventh day they transform into a homespun, sassy musical drag act. Meet the Paper Dolls! An extraordinary true story exploring an unlikely collision of cultures and the universal desire to find 'home'.

Historical Dictionary of the Contemporary American Theater, Second Edition contains a chronology, an introduction, and an extensive bibliography. All Languages. More filters. Sort order. Start your review of The Romance of Magno Rubio. Krisha Jane rated it it was amazing Mar 03, Anusha Bansal rated it liked it Feb 07, Iliana rated it liked it Jul 08, Phurichaya rated it liked it Jan 07, Via Abellanosa rated it it was amazing Feb 20, Ricardo rated it it was amazing Sep 09, Kate Jamella rated it it was amazing Nov 18, Elijah Diaz rated it it was amazing Jul 12, Tia rated it it was ok Nov 30, Charlie Rogers rated it it was amazing Oct 01, Bill rated it really liked it Nov 25, Quynh Van rated it liked it Dec 02, Suchaeta rated it it was ok May 30, Ryankimiganacio rated it it was amazing Jul 19, Melanie marked it as to-read Nov 20, I was raised to avoid debt, and to pay it off as rapidly as I can.

That has served me well. Minori- ties should be taught this. Let us for once consider the lessons that the illiterate offer to the literate rather than the other way around. The contractually illiterate spelled out for all of us what was and is so clearly a systemic hoax. Filipino diaspora returns to and transforms modes of storytelling that return to and transform anticapitalist traditions of reciprocity, mutuality, and obligation.

In this way, we might be able to glimpse what an alternative ethical economy of anti-accumulation might look like. At first glance it makes no sense at all to sign those subprime mortgage loans. Indeed, the white settler American Dream can be said to be symbolized and embodied by the dream home. Perhaps it was a form of squatting. Perhaps it was a worthy gambit so as to provide shelter for, typically, multiple generations under one roof according to the laws of reciprocity and other forms of debt, like loob debt and kapwa the self in the other in the indigenous Filipino worldview.

How do we reckon with this story of fieldworkers throwing their money away on gambling, pornography, dance halls, prostitution, and drink, thus invoking all the stock stereotypes of Filipino men and working-class and underclass masculinity in general?

How do we account for the contradictions of its homosocial economy of outrageous exploitation and extravagant generosity? What do we make of its doubled portrayal of aspirational assimilationism and anti-accumulative reciprocity? We see the Filipino reduced to nothing but labor, the laboring body. Yet Magno Rubio is desperately in love with a white woman, Clarabelle, whom he has never met. A literary form of prostitution, if you will. Magno shells out dollar after dollar and takes out loan after loan from his foreman to pay his coworkers to write letters for him and, eventually, to buy and send increasingly extravagant presents to Clarabelle.

Gambling with Debt It generally is assumed that the immigrant achieves assimilation and the American Dream by accumulating material goods and cultural capital. But I would like to analyze the story against the grain of that reading. I am interested in the naive and the illiterate. I am interested in people who make the worst, most glaring, and embarrassing calculations and decisions because, as it turns out, Magno Rubio is an unexpected source of literacy for American studies and Filipino American studies today.

Magno allows us to see what is glaringly obvious. For when it comes to both the wages of romance and the romance of wages, we do not see what is right before our eyes. Foreign in a Domestic Sense There are of course several aspects to the problem of recognition and non- recognition when it comes to the intersection between the commodification of racialized, gendered living labor and the noncitizen nonalien.

But I would like to highlight the dimensions of the problem of nonrecognition or invis- ibility that I find most relevant for Filipino Americans especially in relation to the broader narratives and paradigms current in Asian American studies and American studies. The problem of Asian American invisibility generally has been defined in terms of exclusion from the body politic. The narration of Asian American history has been subtended by the logic of exclusion, a civil rights framework underpinned and motivated by the desire to be included.

Thus the solution in Asian American studies to the problem of exclusion has been that of inclusion. Supreme Court coined at the turn of the last century to describe the predicament that the new colonies posed for the American constitutional republic. That is to say, Filipinos are the external other to the internal contradictions of the imperial, racial state.

Historically, legally, rhetorically, and materially, the problem that Filipinos pose for America has revolved around the innate and endless violence of the conversion of land and people into objects, the capitalist colonial logic of power.

Why endless? There is, moreover, an additional violence innate to this process that has to do with the continual occlusion of that process of permanently unincorpo- rating people and lands. As Oscar Campomanes has noted, the forgetting of the Filipino is integral to the imperial constitution of the United States as a free and democratic republic.

The original New York City cast and crew staged it in Stockton in in the Central Valley, informally dubbed the foreclosure capital of the nation. According to the historian Dawn Mabolon, whose tour of the Little Manila area I joined in October , Stockton was for Filipinos the place to be—to find jobs, to reunite with friends, to gamble, to eat some Chinese or Filipino food, to join a fraternal society, to go to church, or to find out about the unions.

He hires a coworker, Claro, to write letters for him. Who is the john and who is the prostitute? They make twenty-five cents per hour picking tomatoes, for example. Ralph B. About the Director. Loy Arcenas Director Loy Arcenas has established career as a theatrical set designer as well as director. Antonio Del Rosario. Ramon De Ocampo. Ron Domingo.

Jojo Gonzalez.