Tagalog, the language of the Philippines, is spoken by millions of people. Learn how to communicate with them in fifty carefully planned, eminently practical lessons in this self-study guide. Basic Tagalog intends to teach Tagalog to English speakers with a minimum of time and effort. It includes a structured introduction of eight hundred words of vocabulary, sufficient to cover daily needs; common idioms; and offers hints and study methods suggested by previous students of this method. After a small investment of time, you'll find yourself prepared for everyday situations and have a glimpse of the lives and culture of Filipinos around the world.
Publisher: Center for the Study of Language (CSLI)
Category: Language Arts & Disciplines
Over the last twenty years or so, most of the work on the syntax of Philippine languages has been focused on the question of whether or not these languages can be said to have grammatical subjects, and if so which argument of a basic transitive clause should be analysed as being the subject. Paul Kroeger's contribution to this debate asserts that grammatical relations such as subject and object are syntactic notions, and must be identified on the basis of syntactic properties, rather than by semantic roles or discourse functions. A large number of syntactic processes in Tagalog uniquely select the argument which bears the nominative case. On the other hand, the data which have been used in the debate to assert the ambiguity of subjecthood are best analysed in terms of semantic rather than syntactic constraints. Together these facts support an analysis that takes the nominative argument as the subject. Kroeger examines the history of the subjecthood debate and uses data from Tagalog to test the theories that have been put forth. His conclusions entail consequences for certain linguistic concepts and theories, and lead Kroeger to assert that grammatical relations are not defined in terms of surface phrase structure configurations, contrary to the assumptions of many approaches to syntax including the Government-Binding theory. Paul Kroeger is presently doing fieldwork in Austronesian languages and teaching linguistics to fieldworkers from around the world.
The Rough Guide to the Philippines is the ultimate companion for exploring this stunning Southeast Asian archipelago. Discover the Philippines highlights in full-colour with information on everything from the sun-kissed islands of the Visayas to the lagoons of Palawan and the tribal villages of the northern Cordilleras. This revised 3rd edition includes detailed listings and essential information on where to stay -regardless of budget-, where to eat the best Filipino food, where to see the most exuberant festivals and the best places to drink, dance, surf, trek kayak and sail. You'll find updated in-depth coverage of major destinations and new details on emerging destinations in Mindanao. The Rough Guide to the Philippines offers an informative background on Filipino history, culture, society, music and politics, and comes with new maps and plans for every area, to make sure you don't miss the unmissable. Make the most of your holiday with The Rough Guide to the Philippines.
Winner of the 2012 Outstanding Book Award in Cultural Studies, Association for Asian American Studies Puro Arte explores the emergence of Filipino American theater and performance from the early 20th century to the present. It stresses the Filipino performing body's location as it conjoins colonial histories of the Philippines with U.S. race relations and discourses of globalization. Puro arte, translated from Spanish into English, simply means “pure art.” In Filipino, puro arte however performs a much more ironic function, gesturing rather to the labor of over-acting, histrionics, playfulness, and purely over-the-top dramatics. In this book, puro arte functions as an episteme, a way of approaching the Filipino/a performing body at key moments in U.S.-Philippine imperial relations, from the 1904 St. Louis World’s Fair, early American plays about the Philippines, Filipino patrons in U.S. taxi dance halls to the phenomenon of Filipino/a actors in Miss Saigon. Using this varied archive, Puro Arte turns to performance as an object of study and as a way of understanding complex historical processes of racialization in relation to empire and colonialism.