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June 29th, 2005
03:26 pm - Spoken Malay; Basic Course
by Isidore Dyen Published by the U.S. Armed Forces (listed as the "War Department" on the copyright page) and the Linguistic Society of America; July 1, 1945. (Units 1 through 30 in two volumes.)
Of all the Malay language manuals I've gotten my hands on in the last three months, this two-volume course is the best, at least for what I need. It is set up very much like other language courses I've taken, with a short basic text/topic or dialog followed by practice and review and a vocabulary list at the end. The study texts are more mundane (that is, they lack the war references seen in the other two manuals reviewed here). I can personally identify with many of the scenarios and vocabulary sets having to do with shopping, eating, family life, and so forth.
Interesting to me as well is the introduction which states that the course is "based on the principle that you must hear a language if you are to understand it when spoken, and that you must practice speaking in order to master its sounds and its forms" (iii). After going on to discuss regional dialect differences, it goes on to say, "A Native Speaker is the only good source of first-hand knowledge of teh pronunciation and usage of any language" (iv) and "The Native Speaker is always right...in cases of differences between speaker and book" (xiii). In fact, the authors do not recommend using the manual alone but to enlist the help of a Native Speaker as a language guide.
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June 28th, 2005
04:41 pm - Handbook of the Malay Language (Containing Phrases, Grammar and Dictionary with Special Attention to
Military and Vocational Requirements) South Pasadena, CA: P.D. and Ione Perkins, 1944 by Eduard F. Winckel
This is another book from Ohio University Library/OhioLink. Like the R.A.A.F. publication previously reviewed, this book was written for the Allied forces in WWII. However, the tone and approach could not be more different.
The author’s dedication reads as a heartfelt plea for the liberation of a beloved country:
'Dedicated to Indonesia, my native land. May this book help in the early liberation from the usurpers. Salam dan Behagia!
Before the Japanese occupation of southeast asia, Malaya was a British colony and Indonesia a Dutch colony. I suspect the author is Dutch-Indonesian.
While the opening lessons are fairly conventional (covering pronunciation, numbers, time, months, days of the week, money, weights and measures, lists of common nouns and verbs and so forth), the next section, “Practices in Conversation” is fascinating. Titles for the conversations include, “In a Hotel,” “Troops Lost in The Jungle,” “Foraging in A Native Village,” “Arrest of Native Traitors,” and “Rehabilitaion of Oil Fields.” The book also contains an excellent review of Malay grammar, idiomatic words and a fairly extensive English-Malay dictionary.
The scenario in the “Arrest Native Traitors” conversation is interesting because it assumes that the villagers can and want to be helpful, and that it is important to treat the locals with respect by not ordering them around. (Were that the colonial powers were so civilized!) The largest portion of the lesson covers polite requests of the village chief, such as, “If Chief can give me some sarongs and turbans, the enemy can not recognize us and we can hide our weapons under the sarongs” and “Captain perhaps has one flashlight,” which is the way I remember Malays asking for assistance—to suggest rather than to order someone to do something. At the end of the little scenario, though, the Brits surround the terrorists with the help of the villagers and bark orders: Get out! (Kaloe’war!) Stick your hands up! (Ang’kat tang’an!) Higher! (Lebih’ ting’gi!) The story then turns to the maintenance of the prisoners (5 Malays and 6 Japanese): “Do not mistreat them” (Djang’an di menja’kiti); “They will be tried and sentenced”…how to assess wounds…how to interrogate... how to thank and reward the villagers.
I think I’ll copy and use the “conversation practice” pieces as much for my amusement as for drill on word order, etc.
Current Music: gamalan Current Mood: amused
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01:01 pm - Elementary Malay (R.A.A.F. Publication #513)
For several projects I've doing involving my childhood in Kuala Lumpur, I'm on the lookout for Malay language instructional texts and dictionaries that pre-date the spelling reform. (Here's a good site in English about the Malay/Indonesian: www.spellingsociety.org/journals/j11/malay.php ) I don't know which is more amazing: a) that I can find such books in Ohio or that b) the ones I find are so uneven in quality.
Borrowed Elementary Malay (R.A.A.F. Publication #513) from Ohio University Library/OhioLink. No publication date is listed, but there are clues in the introductory chapter, “Notes on Some of the Habits and Customs of Malays, Chinese, Southern Indians and Eurasians,” which plainly place this book in the time of the Japanese occupation of the Malay peninsula during WWII. This early chapter is blatantly bigoted and ethnocentric. Shockly, actually. Malays are described as “an easy-going and rather lazy race,” yet the paragraphs above and below this statement detail Malay agricultural methods and products--rice, rubber, fruit trees—their entrepreneurial spirit, and their devotion to their religion. Lazy indeed! The section on Malays praises the British and the Dutch for doing various things to “protect Malay interests” and the ends with the baldly racist and impossibly naïve conclusion: “There is no doubt that the great majority of the Malays will welcome the return of the white man.”
Numbers, time, money, lists of nouns, the simplest of phrases, and occasional, bizarre instructions about how to “order” Malays to do something for you comprise the short lessons in this short book. I rate this book USELESS for my purposes but an interesting view into the minds of British Colonial overlords near the midpoint of the 20th century.
Current Music: gamalan Current Mood: disappointed
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June 7th, 2005
04:21 pm - Spic-O-Rama: A Dysfunctional Comedy, by John Leguizamo New York: Bantam Books, 1994
As often happens, I go to the library for one book and come home with two or more. Last week, I was in the stacks of Maag Library, looking for a copy of Ursula K. Leguin’s *Left Hand of Darkness*, and ran into the book version of John Leguizamo’s one-man show, *Spic-O-Rama: A Dysfunctional Comedy.* What a wonderful find!
When I think of John Leguizamo, I think of ChiChi, the character he played in the movie *To Wong Foo, Thanks for Everything! Julie Newmar.* Or Benny in *Carlito’s Way.* With those characters as background, it was very easy for me to imagine Leguizamo playing all six characters in his one-man play. The book makes wonderful use of black and white still shots of the characters on stage (and John in various costume and facial expressions), but Leguizamo also made wonderful use of slides and graphic effects when he conceived of and wrote the play originally. The very first act of the play features nine-year-old Miggy, who is doing a show-and-tell presentation for his teacher and class (offstage), in which he uses slides to introduce his schoolmates to his family and his father’s girlfriends.
Miggy’s the character who *gets* to me most, because he’s a kid and we get to see what his family does to him emotionally. His family consists of a drunken and lecherous father, a jealous and preoccupied mother, and three older brothers—-one a Desert Storm vet, one an angry cripple confined to a wheelchair, one an actor who wants to be a white. No one is having any fun, least of all Miggy. He gets the worst of it because his family ignores him while they wage verbal warfare on one another.
In the final scene, Miggy has been sent to his room while his parents fight in another part of the house. He finally looses his temper and turns on God: "Okay, God, I’m warning you! If you don’t make them stop, I’m never gonna believe in you. Okay, you asked for it, I’mma take the Virgin Mary and tie her up, put her in a brown paper bag, and if you ever wanna see your mother again, you’ll do what I tell you."
A very dark yet very funny script. On the back flap of the cover jacket is a quote from a review from *Newsweek*: "Astonishing . . . Every laugh [Leguizamo] gets is booby-trapped with pain and pathos. He’s a remarkably mature writer and a born performer.”
My sentiments, exactly. Current Mood: impressed
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11:56 am - Last Friday at Cedars Appetizers are the best part of the Cedars menu. Usually I order the hummous and pita (at $2.95, it's a steal!), but Friday I ordered the spinach-artichoke spread with pita. Very very creamy and lemony with LOTS of spinach and a fair spattering of artichoke chunks. What I like about their appetizers is that they are handmade from the family's original Lebanese recipes. When I'm feeling extravegant, I order the "mezza" plate, which includes hummous, pita, kibbe balls, and stuffed grape leaves. Cedars's appetizers list is so good, in fact, that I have many times ordered one or two appetizers and treated them as my meal.
Their soups are generally good, too. The one they usually have is their best--"Italian Wedding Soup," a regional dish. It's basically a good homemade chicken soup with Italian greens and tiny meatballs. Excellent any time of the year.
It's in the sandwichs, pizzas, salads and entrees where I find fault with Cedars's cuisine. 'Homemade' as a theme goes straight out the window with things like "perogie pizza," deep-fried cheese sticks and PA-style salads (I'm sorry...do NOT put hot French fries on my nice, crisp salad!! Augh!!). One reason for this, I realize, is strictly the pressure of the local culture. This is Youngstown, Ohio, after all, and to survive, Cedars obvious has had to cater to the Midwestern palate.
I ordered the crab cakes for dinner, departing from my usual (lamb kabobs). The side salad below standard: Big unmanageable chunks of iceberg and a single slice of green bell pepper. The 'chunky blue cheese' dressing was more like buttermilk ranch, and came in a sealed plastic container, which I find simply tacky for formal dining. I abandoned the salad before I'd eaten half of it. Wrestling with iceberg always makes me sad.
The crab cakes were excellent--dense with crabmeat chunks and finely minced herbs and light on breading and filler. I focused on those, ignoring the other stuff on the plate...overcooked (and previously frozen) broccoli and something that looked like Rice-a-roni that they were trying to pass off as "wild rice pilaf." I complained about the salad and the broccoli...as I have numerous times in the past.
"The menu promised me 'fresh vegetables,'" I pointed out, "but this broccoli has been improperly frozen and then boiled to death."
He wondered how I could know the broccoli was frozen. "Frozen is almost as good as fresh. Nobody can tell the difference."
"What planet do you live on?" I asked. "Since when does Earth broccoli taste like freezer burn?" At $10.95 for the meal, I didn't exactly feel ripped off, because the crab cakes alone were easily worth that. But the desecration of vegetables and the mutilation of carbs ... Why do I have to witness these things every time I order an entree there?
I have to remember that--to the detriment of its menu--that Cedars makes its money from the bar. It's a neighborhood bar, basically, with a dining room and outdoor patio attached. And drunks aren't big on cuisine or veggies.
The real reason I love Cedars is the ambiance. Wooden floors and old-fashioned fixtures. High, high ceilings and tall, tall walls covered in original art created by local artists. On most Thursdays and Fridays, you'll find live music there, too, and Cedars hosts many a musical event through the year. It's my favorite spot to meet up with writer friends from Fallen City Writers Workshop--good appetizers, good conversation, good music, and--yes--cheap booze. Current Mood: chipper Current Music: Melanie Safka: "...appetite's a human vice I'm guilty of..."
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June 2nd, 2005
10:12 am - Purpose of This Journal After I wrote the first informal 'review' for this blog and posted it yesterday, it occurred to me that I should state my purpose here. Basically, this is a sub-journal to my 'maprovencher' LiveJournal. Here, I will focus exclusively on book, film, music, food and other types of reviews that I tend to clutter up my main journal with normally.
I am a voracious reader, and now that I've decided to return to graduate school after twenty-six years in the Real World, the number of books and articles I read has easily tripled in volume. Film is also a passion, so commentary on videos and the The Big Screen is another common feature of my ongoing journal work. This blog is a way for me to continue commenting on all those things without boring potential readers to death with my personal opinions!
I am also writing reviews now to get used to reviewing things. With any luck, I hope to start reviewing for professional journals as part of my graduate school experience and training. Current Mood: hopeful
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June 1st, 2005
03:30 pm - Publishing In Rhetoric and Composition Gary A. Olsen and Todd W. Taylor, editors. Albany, NY: State University of New York Press, 1997.
Just finished reading this one at lunch today. In some ways, this book was disappointing, as I was expecting more nuts-and-bolts advice about writing papers for conferences and for professional composition and rhetoric journals. Also, rather than being directed at graduate students and other new scholars, the articles seem to be written for established writers in the field. The last chapter, "Graduate Students as Active Members of the Profession: Some Questions for Mentoring," by Janice M. Lauer, for instance, is specifically directed at mentors of grad students, not grad students themselves.
The one surprising and, for me, enlightening article was by Thomas Kent, "The Consequences of Theory for the Practice of Writing," in which the author discusses the claim that "theory possesses no direct consequences for practice" (147). A number of revelations for me are contained in discussion, not the least of which was that Mr. Kent is off his mark.
Classroom discourse about writing (that is, the ways in which we talk about what writing is, how we believe it is created [or is *best* created], what writing means to us as a society, and the personal value writing has to the writer-student, the writing instructor, and the writing's intended audience) has much to do with how students "receive" their education of how to writing and what writing means. Whether it's stated plainly or not, ANYthing said about writing is, in fact, a kind of theory, or a series of assumptions, at least, that direct our understanding of that thing we call 'writing.' I don't see how writing theory can escape being the shaper/author of writing "practice." It's simply impossible. The very act of teaching writing, in which the teacher *talks* about writing and makes assignments involving writing, influences how the student(s) will view and define writing. The whole processes is, by its very nature as a verbal activity, completely molded by social influences and interpersonal interaction. So, how can you say that theory doesn't have consequences for practice?
A more convincing article is Linda Flower's "Observation-Based Theory Building," which I thoroughly enjoyed because it discusses an anthropological research method that I'm planning to use...whenever I get to the point of actually doing research in composition. At one point, she writes, "Data is only data: a theory is a construction based on data" (174). And I guess that's my point. We observe. We note our observations. But when we start *interpreting* that data and creating an artifice with it, then we're into theory. Theory that influences practice. Current Mood: working
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