The Cuenco family is a well-known political family in Cebu, Philippines. Since the 1800s, the Cuenco name has been part the colorful history and lore of this island in Southern Philippines. Members of the Cuenco family have been involved in Philippine politics, literature, journalism, as well as the Catholic religion." - Cecilia Manguerra Brainard, Filipino-American Writer (who is also related to the Cuenco blood).
The Cuenco's are prominent and legendary in Cebu City. The family patriarch, Mariano Jesus Cuenco, served in the Senate before martial law and was president of the upper chamber from 1949-1951. Today, Antonio Cuenco continues the political blood of his ancestors as the Congressman of the 2nd District of Cebu City.
Mariano Albao Cuenco † - Born 1861; died 1909. Poet, journalist, grammarian. Born in Kalibo, Capiz on Dec. 8, 1861. Attended Normal de Manila and taught in public schools in Sogod and Catmon. In 1889, moved to Baybay, Leyte to do business. He returned to Cebu, settling with his family in Colon Street, Parian. He became a journalist, writing for various papers. He started the Imprenta Rosario press. His pseudonym was "Asuang." Ran for Cebu governor but lost. Died on July 9, 1909.
Mariano Jesus Cuenco † - Born 1888; died 1964. Member of the Philippine Assembly 1912-16; 4-term Cebu Representative, 5th district; 2-term Cebu Governor; Senate President and Cabinet Member; Philippine Legislature [Senate]; In office as a Senator 1912-1928, 1941-1964. Born in Carmen on January 16, 1888. Like his father, mother, and siblings, he was also a writer and publisher. He founded the bilingual newspaper, El Precursor (Ang Magu-una), which ran from 1907-eve of World War II. In 1947, he founded The Republic.
Miguel Cuenco † - Born December 15, 1904; died June 20, 1990. Representative, 5th district, Cebu; National Assembly [House of Representatives]; In office as a Representative 1931-1941, 1944-1946, 1949-1965.
Manuel Cuenco † - Cebu Governor, In office as a Governor during the 1950's.
Antonio Cuenco - Representative, 2nd district, Cebu; House of Representatives; In office as a Congressman 1987-1998, 2000 - Present.
Nancy Cuenco - Representative, 2nd district, Cebu City; House of Representatives; In office as a Congresswoman 1998-2001.
James Anthony Cuenco - Chief legislative staff officer; Office of father, Rep. Antonio Cuenco, House of Representatives; In office up to present.
Marjorie M. Cuenco - Supervising legislative staff officer III; Research and Reference Bureau, House of Representatives; Up to present. Lawyer.
Ronald R. Cuenco - Councilor; Cebu City; In office as a Councilor 1992-2001; Consultant/ Office of the Mayor of Cebu City/ Market Affairs 2001-2003.
Sunday, August 31, 2008
Saturday, August 30, 2008
Banaag at Sikat
Banaag at Sikat or From Early Dawn to Full Light is one of the first literary novels written by Filipino author Lope K. Santos in the Tagalog language in 1906. As a book that was considered as the "Bible of working class Filipinos", the pages of the novel revolves around the life of Delfin, his love for a daughter of a rich landlord, while Lope K. Santos also discusses the social issues such as socialism, capitalism, and the works of the united associations of laborers.
Although a work that discusses politics in the Philippines, Banaag at Sikat is the only novel included by the Filipino critic Teodoro Agoncillo to a list of important books about Tagalog literature in 1949, because according to Agoncillo the book has a weakness but it started the system of writing a Tagalog novel. Thus, this book of Lope K. Santos paved the way on how to write other Tagalog-language novels which has a combined themes about love, livelihood, and the truthful and moving status of society. Furthermore, despite of being one of the first long narrative in the Philippines that provoked the mood of society, it also motivated the cause of the Hukbalahap (Hukbo ng Bayan Laban sa Hapon, literally the “people’s army against the Japanese occupiers” during World War II).
However, this is not the first Tagalog novel, because Lope K. Santos’ novel was published after Nena at Neneng - Nena and Neneng - (1905), which is considered as the first Tagalog novel published as a book and written by Valeriano Hernandez Peña. Still, there was another Tagalog novel, Cababalaghan ni P. Brava (literally, P. Brava’s Mistery) by Gabriel Beato Francisco, which appeared in installment on the pages of the magazine Kapatid ng Bayan (literally, Comrades of the Nation) in 1899.
The title Banaag at Sikat is translated by critics and reviewers into From Early Dawn to Full Light of the sun, a translation derived from the reviews done by Patricio N. Abinales and Donna J. Amoroso.
Although a work that discusses politics in the Philippines, Banaag at Sikat is the only novel included by the Filipino critic Teodoro Agoncillo to a list of important books about Tagalog literature in 1949, because according to Agoncillo the book has a weakness but it started the system of writing a Tagalog novel. Thus, this book of Lope K. Santos paved the way on how to write other Tagalog-language novels which has a combined themes about love, livelihood, and the truthful and moving status of society. Furthermore, despite of being one of the first long narrative in the Philippines that provoked the mood of society, it also motivated the cause of the Hukbalahap (Hukbo ng Bayan Laban sa Hapon, literally the “people’s army against the Japanese occupiers” during World War II).
However, this is not the first Tagalog novel, because Lope K. Santos’ novel was published after Nena at Neneng - Nena and Neneng - (1905), which is considered as the first Tagalog novel published as a book and written by Valeriano Hernandez Peña. Still, there was another Tagalog novel, Cababalaghan ni P. Brava (literally, P. Brava’s Mistery) by Gabriel Beato Francisco, which appeared in installment on the pages of the magazine Kapatid ng Bayan (literally, Comrades of the Nation) in 1899.
The title Banaag at Sikat is translated by critics and reviewers into From Early Dawn to Full Light of the sun, a translation derived from the reviews done by Patricio N. Abinales and Donna J. Amoroso.
Thursday, August 21, 2008
Noli me tangere
Noli me tangere, meaning "don't touch me", is the Latin version of words spoken, according to John 20:17, by Jesus to Mary Magdalene after his resurrection.
The words were a popular trope in Gregorian chant, and the moment in which they were spoken was a popular subject for paintings, in cycles of the Life of Christ and as single subjects, for which the phrase is the usual title.
It has been pointed out that the original phrase, Μή μου ἅπτου, in the Gospel of John, which was written in Greek, is better represented in translation as cease holding on to me or stop clinging to me. The biblical scene of Mary Magdalene recognizing Jesus Christ after his resurrection became subject of a long, widespread and continuous iconographic tradition in Christian art from late antiquity onwards until the 20th century.
Noli-me-tangere is a historical term for facial ulceration.
The plants known as touch me not are also sometimes called noli-me-tangere.
Noli Me Tangere is also the title of a novel written by Filipino writer and national hero José Rizal in the 19th century.
Sir Thomas Wyatt mentions this phrase in one of his sonnets, 'Whoso list to hunt', which is thought to be about Anne Boleyn.
Pablo Picasso used a painting by Correggio titled Noli me tangere as a source for the enigmatic gesture in the centre of his famous painting La Vie. Picasso must have seen Correggio's painting in the Prado when he was studying art in Madrid.
"Noli Me Tangere" is the motto of various military divisions, including US 3rd Infantry Regiment, the United States' oldest active infantry regiment.
Noli me Tangere is the Motto of the Tobin Family.
The phrase is used in an episode of the X-Files, "Hollywood A.D.," featuring a legendary Lazarus Bowl which was able to raise the dead.
Is the title of the last track of Wim Mertens's 1986 album "A man of no fortune, and with a name to come".
The words were a popular trope in Gregorian chant, and the moment in which they were spoken was a popular subject for paintings, in cycles of the Life of Christ and as single subjects, for which the phrase is the usual title.
It has been pointed out that the original phrase, Μή μου ἅπτου, in the Gospel of John, which was written in Greek, is better represented in translation as cease holding on to me or stop clinging to me. The biblical scene of Mary Magdalene recognizing Jesus Christ after his resurrection became subject of a long, widespread and continuous iconographic tradition in Christian art from late antiquity onwards until the 20th century.
Noli-me-tangere is a historical term for facial ulceration.
The plants known as touch me not are also sometimes called noli-me-tangere.
Noli Me Tangere is also the title of a novel written by Filipino writer and national hero José Rizal in the 19th century.
Sir Thomas Wyatt mentions this phrase in one of his sonnets, 'Whoso list to hunt', which is thought to be about Anne Boleyn.
Pablo Picasso used a painting by Correggio titled Noli me tangere as a source for the enigmatic gesture in the centre of his famous painting La Vie. Picasso must have seen Correggio's painting in the Prado when he was studying art in Madrid.
"Noli Me Tangere" is the motto of various military divisions, including US 3rd Infantry Regiment, the United States' oldest active infantry regiment.
Noli me Tangere is the Motto of the Tobin Family.
The phrase is used in an episode of the X-Files, "Hollywood A.D.," featuring a legendary Lazarus Bowl which was able to raise the dead.
Is the title of the last track of Wim Mertens's 1986 album "A man of no fortune, and with a name to come".
Wednesday, August 20, 2008
El Filibusterismo
El Filibusterismo, also known by its English alternate title The Reign of Greed, is the second novel written by Philippine national hero José Rizal. It is a sequel to Noli Me Tangere and like the first book, was written in Spanish. Rizal began the work in October of 1887 while practicing medicine in Calamba. In London (1888), he made several changes to the plot and revised a number of chapters. Rizal continued to work on his manuscript while in Paris, Madrid, and Brussels, finally completing it on March 29, 1891 in Biarritz. It was published the same year in Ghent. The translation for its Latin name is "The Subversive", as a reference to what the Spanish priests call Rizal's works.
The novel is very similar to Dumas's French classic The Count of Monte Cristo. Both narratives illustrate a man's will to avenge himself and reclaim his beloved fiancée. He craftily devises a plan of revenge and retribution by a change in identity.
Scholars and historians interpret the novel as representative of Rizal's dilemma to reconcile his faltering hope for securing his country's independence with his belief in a nonviolent struggle. The style and content are said to sound closer to a dialogue between two opposing sides, rather than to a free-flowing narrative. Many agree that Simoun's death and Father Florentino's lamentations ultimately reaffirm Rizal's conviction that freedom could be achieved without the need for bloodshed. Some interpretations however, have insisted that Rizal in fact does not condemn violent revolution but instead implies a point of view that the Philippines and the Filipinos are not ready for armed uprising and must instead entrust the future to the youth and allow them proper education. This claim is strengthened by the constant emphasis on young students and their academic misfortunes at the hands of the corrupt and incompetent Spanish ruled educational system.
The novel is very similar to Dumas's French classic The Count of Monte Cristo. Both narratives illustrate a man's will to avenge himself and reclaim his beloved fiancée. He craftily devises a plan of revenge and retribution by a change in identity.
Scholars and historians interpret the novel as representative of Rizal's dilemma to reconcile his faltering hope for securing his country's independence with his belief in a nonviolent struggle. The style and content are said to sound closer to a dialogue between two opposing sides, rather than to a free-flowing narrative. Many agree that Simoun's death and Father Florentino's lamentations ultimately reaffirm Rizal's conviction that freedom could be achieved without the need for bloodshed. Some interpretations however, have insisted that Rizal in fact does not condemn violent revolution but instead implies a point of view that the Philippines and the Filipinos are not ready for armed uprising and must instead entrust the future to the youth and allow them proper education. This claim is strengthened by the constant emphasis on young students and their academic misfortunes at the hands of the corrupt and incompetent Spanish ruled educational system.
Tuesday, August 19, 2008
Kalantiaw
Datu Kalantiaw (Rajah Bendahara Kalantiaw) (sometimes spelled Kalantiao) is a mythical Filipino character was said to have created the first legal code in the Philippines, known as the Code of Kalantiaw, in 1433.
The code was contained in one of five manuscripts acquired from Jose E. Marco by the Philippine Library in 1914. The manuscript, Antiguas Leyendas is the only source of the Code. Historian William Henry Scott asserted in his PhD thesis, Critical Study of the Prehispanic Source Materials for the Study of Philippine History that there is no evidence that any Filipino ruler by the name of Kalantiaw ever existed or that the Kalantiaw penal code is any older than 1914. Scott successfully defended the thesis in 1968 before a panel of emminent Filipino historians which included Teodoro Agoncilla, Horacio de la Costa, Marcelino Foronda, Nicolas Zafra, and Gregorio Zaide. The thesis was published by University of Santo Tomas Press Press in 1968. Filipino historians agreed to remove mention of the Code from future readings regarding Philippine history.
In 1917, the historian Josue Soncuya published a Spanish translation of the code in 1917, and wrote about it in his book Historia Prehispana de Filipinas (Prehispanic History of the Philippines). Soncuya concluded that the Code had been written for Aklan because of the presence of two Aklanon rather than Hiligaynon words in the text, and the words Aklan, Panay Island were added to later versions of Soncuya's translation (viz. "Echo en al año 1433–Calantiao–3° regulo").
Other authors throughout the 20th century, and up to the present day, recognized the story. The Code of Kalantiaw is no longer a part of the standard history texts in the Philippines but the story is still believed by people in the Visayas.
The code was contained in one of five manuscripts acquired from Jose E. Marco by the Philippine Library in 1914. The manuscript, Antiguas Leyendas is the only source of the Code. Historian William Henry Scott asserted in his PhD thesis, Critical Study of the Prehispanic Source Materials for the Study of Philippine History that there is no evidence that any Filipino ruler by the name of Kalantiaw ever existed or that the Kalantiaw penal code is any older than 1914. Scott successfully defended the thesis in 1968 before a panel of emminent Filipino historians which included Teodoro Agoncilla, Horacio de la Costa, Marcelino Foronda, Nicolas Zafra, and Gregorio Zaide. The thesis was published by University of Santo Tomas Press Press in 1968. Filipino historians agreed to remove mention of the Code from future readings regarding Philippine history.
In 1917, the historian Josue Soncuya published a Spanish translation of the code in 1917, and wrote about it in his book Historia Prehispana de Filipinas (Prehispanic History of the Philippines). Soncuya concluded that the Code had been written for Aklan because of the presence of two Aklanon rather than Hiligaynon words in the text, and the words Aklan, Panay Island were added to later versions of Soncuya's translation (viz. "Echo en al año 1433–Calantiao–3° regulo").
Other authors throughout the 20th century, and up to the present day, recognized the story. The Code of Kalantiaw is no longer a part of the standard history texts in the Philippines but the story is still believed by people in the Visayas.
Monday, August 18, 2008
My Brother, My Executioner
My Brother, My Executioner is a novel by Filipino author Francisco Sionil José written in Philippine English. A part of the so-called Rosales Saga - a series of five interconnected fiction novels - My Brother, My Executioner ranks third in terms of chronology. In the United States, My Brother, My Executioner was published as a second part of the book, Don Vicente, together with Tree, another novel which is also a part of José’s Rosales Saga. Tree is the second novel of the historical saga, before My Brother, My Executioner. This novel was first published in the Philippines in the early 1970s.
My Brother, My Executioner, tackles the narrative about two half brothers – Luis Asperri and Victor. Luis is the biological, yet illegitimate, son of Don Vicente Asperri, a rich feudal landowner. At a young age, Luis was taken by Don Vicente from his underprivileged mother and half-brother, Victor, who were both living in Sipnget, Rosales in Pangasinan, a province in the Philippines. After studying in Manila, Luis became a writer and editor for a radical left-wing magazine. When Luis was finally able to return to Rosales, he found out that his half-brother, Vic – the nickname of Victor - became a full-pledged leader of rebels who were against the existence of rich landowners. Thus, the brothers meet again both “as allies and as adversaries” because of their opposing social beliefs, views, status and principles. These conflicts are their mutual misfortunes in life as brothers. Luis identifies with the luxury offered by city life, while Vic detests these materialistic privileges. Furthermore, although Luis considers himself as a liberal, he is more like his father, Don Vicente. He followed the will of Don Vicente by marrying Trining, a cousin – instead of a girlfriend in Manila – in order to preserve the wealth of the family. Luis Asperri is against putting down his status as a wealthy landowner for the benefit of the peasantry. He is against the goals of the uprising of the Hukbalahap or Hukbong Bayan Laban sa mga Hapon – a “people’s army against the Japanese occupiers” represented by the leadership of his half-brother, Vic. The event occurred in Philippine history during the 1950s. The Hukbalahap remained active even after World War II.
My Brother, My Executioner, tackles the narrative about two half brothers – Luis Asperri and Victor. Luis is the biological, yet illegitimate, son of Don Vicente Asperri, a rich feudal landowner. At a young age, Luis was taken by Don Vicente from his underprivileged mother and half-brother, Victor, who were both living in Sipnget, Rosales in Pangasinan, a province in the Philippines. After studying in Manila, Luis became a writer and editor for a radical left-wing magazine. When Luis was finally able to return to Rosales, he found out that his half-brother, Vic – the nickname of Victor - became a full-pledged leader of rebels who were against the existence of rich landowners. Thus, the brothers meet again both “as allies and as adversaries” because of their opposing social beliefs, views, status and principles. These conflicts are their mutual misfortunes in life as brothers. Luis identifies with the luxury offered by city life, while Vic detests these materialistic privileges. Furthermore, although Luis considers himself as a liberal, he is more like his father, Don Vicente. He followed the will of Don Vicente by marrying Trining, a cousin – instead of a girlfriend in Manila – in order to preserve the wealth of the family. Luis Asperri is against putting down his status as a wealthy landowner for the benefit of the peasantry. He is against the goals of the uprising of the Hukbalahap or Hukbong Bayan Laban sa mga Hapon – a “people’s army against the Japanese occupiers” represented by the leadership of his half-brother, Vic. The event occurred in Philippine history during the 1950s. The Hukbalahap remained active even after World War II.
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