Search engine for discovering works of Art, research articles, and books related to Art and Culture
ShareThis
Javascript must be enabled to continue!

Interlude

View through CrossRef
Following two sides of a sponsorship story, this interlude experiments with a narrative approach to further highlight the irresolution and silences that constitute global relations. It should be read alongside chapters 6 and 7, both of which raise questions about what it’s like to keep in touch and lose touch during sponsorship. The interlude is based on interviews with individuals I have called Carol and Rizal in 2017 and 2018, respectively. My conversation with Carol lasted nearly three hours and was supplemented by her written recollections and follow-up emails. I contacted Rizal on Facebook and we were in touch for a few months before conducting a phone interview with the help of Kristel Kabigting, a colleague at my university who graciously offered to translate. Carmen Tomas, a Manila-based contractor with whom I have worked many times, transcribed and translated Rizal’s responses into English. I underline phrases that are directly from the transcripts for both interviews (changing first person to third). The rest is paraphrased, with small details added for narrative flow. The final product is thus a result of its creation as I stitched together a patchwork of overlapping voices. Rizal’s story is undoubtedly colored by mistranslations and emotions (“I was nervous,” he said at the end, “This is the longest I ever spoke to someone from another country”). Carol’s bore traces of her own multiple retellings, including a version she wrote in 2015 that I mention in the timeline below....
Princeton University Press
Title: Interlude
Description:
Following two sides of a sponsorship story, this interlude experiments with a narrative approach to further highlight the irresolution and silences that constitute global relations.
It should be read alongside chapters 6 and 7, both of which raise questions about what it’s like to keep in touch and lose touch during sponsorship.
The interlude is based on interviews with individuals I have called Carol and Rizal in 2017 and 2018, respectively.
My conversation with Carol lasted nearly three hours and was supplemented by her written recollections and follow-up emails.
I contacted Rizal on Facebook and we were in touch for a few months before conducting a phone interview with the help of Kristel Kabigting, a colleague at my university who graciously offered to translate.
Carmen Tomas, a Manila-based contractor with whom I have worked many times, transcribed and translated Rizal’s responses into English.
I underline phrases that are directly from the transcripts for both interviews (changing first person to third).
The rest is paraphrased, with small details added for narrative flow.
The final product is thus a result of its creation as I stitched together a patchwork of overlapping voices.
Rizal’s story is undoubtedly colored by mistranslations and emotions (“I was nervous,” he said at the end, “This is the longest I ever spoke to someone from another country”).
Carol’s bore traces of her own multiple retellings, including a version she wrote in 2015 that I mention in the timeline below.

Related Results

The Eloquence of The Qur’anic Interlude the Characteristics of The Prophets from Verse 49 - 56 In Surat Maryam as An Example
The Eloquence of The Qur’anic Interlude the Characteristics of The Prophets from Verse 49 - 56 In Surat Maryam as An Example
This study aims to describe the eloquence of the Qur’anic interlude and its miraculousness in a number of verses from the Qur’an. The use of the interlude does not consider the pro...
Black Wax(ing): On Gil Scott-Heron and the Walking Interlude
Black Wax(ing): On Gil Scott-Heron and the Walking Interlude
The film opens in an unidentified wax museum. The camera pans from right to left, zooming in on key Black historical figures who have been memorialized in wax. W.E.B. Du Bois, Mari...
Interlude
Interlude
This interlude imagines a sponsor-child connection through an elaboration of historical sources. Belinda Coles was a woman in upstate New York and “Belinda” was a girl she renamed ...
Time Passes: Virginia Woolf, Post-Impressionism, and Cambridge Time
Time Passes: Virginia Woolf, Post-Impressionism, and Cambridge Time
Virginia Woolf's experiments begin with Impressionism. But knowing Roger Fry's criticism of Impressionism as analyzing commonsense appearances but destroying design, she adopted Fr...
Interlude
Interlude
Abstract The Interlude observes how various marginalized members (disabled people, queer people, people of color) of the American Musicological Society (AMS) entered...
Interlude: Interview with Maud Casey
Interlude: Interview with Maud Casey
In this interlude, Tougaw and Casey discuss her novel The Man Who Walked Away in the context of cultural and historical fluctuations in the diagnosis of mental experience as pathol...
Interlude
Interlude
The interlude maps out how hijras are placed within the male/female binary. It offers a critical examination of the way hijras have been defined—as the third gender, neither man no...
The long interlude: (12th century to 7th century bc)
The long interlude: (12th century to 7th century bc)
Abstract In the early twelfth century bc, the Greek and Near Eastern worlds were shaken by a series of catastrophic upheavals that brought the Bronze Age to an end. ...

Back to Top