Artykuły w czasopismach na temat „Catholic School Renewal”

As part of the Catholic reform after the Council of Trent, the Jesuits Francisco de Toledo, Gregorio de Valencia, and Gabriel Vázquez further developed the theological innovations of the School of Salamanca. Their commentaries on the Summa Theologiae (ca. 1563–1604) are marked by a creative retrieval of Aquinas and other theological sources as well as by openness toward current questions. This new method of theological argumentation related past authorities and articulations of the faith more effectively to the present, in order to better preserve the ecclesial community through time.

The objective of this article is to compare two antagonistic pedagogical models such as the beginnings of Escuela del Mar (1922), directed by Pere Vergés, and Escuela 26 de enero (1943) directed by Enric Gibert, in full francoism. The centers, in Barcelona, were in contact with nature.The first was located on the Barceloneta beach, and the second in the Guinardó neighborhood, where it is still located. From a methodology focused on the analysis of dimensions and study variables, differences, and similarities of the two centers in the initial moments of their creation are highlighted. For this, the treatment of primary documentary sources –periodic and non-periodic publications– has been used, together with the analysis of images of the time. Secondary sources contextualize all argumentative text. It is proved that both models promoted a way in principle hygienic-medical to see education, although in the case of Escuela del Mar there appeared a philosophy related to the students and the ideas of the New School and, instead, to Escuela 26 de enero, although there are also glimpses of pedagogical renewal activities, there is a Catholic and authoritarian model of submission of the child and, in short, of indoctrination, much more significant.

In this work, the author comments critically a recent case-law of the Constitutional Court about the cases in that the Administration doesn’t renew the yearly contract to a teacher of Catholic religion in public schools because the Bishop didn’t nominate him for that academic year because he failed to consider him a suitable teacher of religion, in part even on the basis of aspects related to his private life. In the Decision 38 of 2007, the Constitutional Court analyzes in abstract the compatibility with the Constitution of the Concordat which allows that «non renewall» of contract and it considers that this is in accordance with the Constitution but the Court lays down the demands that derive of the fundamental rights of the teacher and which should be kept in mind by the judges when enforcing this regulation to the concrete cases. In the Decision 128/2007, the Courth itself reviews a first concrete case of application of this doctrine. The Court gives great deference to the religious opinion of the Bishop when the «non renewal» is based on religious motivations in order to respect the collective freedom of religion.

In our globalized society, understanding emotions and developing resilience can help us move adeptly through the current challenges and future ones. Emotional intelligence is the capacity of individuals to understand their emotions and those of other people. It is an ability to label and adjust emotions appropriately, use and manage behavior and relationships, and help them adapt to environments. On the other hand, resilience refers to an individual's capacity to maintain and renew themselves, particularly in the presence of stressors; that is, they can withstand stressors without manifesting psychological dysfunction. Teaching is regarded as among the most stressful jobs today. Knowing how to cope despite setbacks or barriers, or limited resources is a must for teachers; otherwise, they will easily quit or give up. Hence, the paper describes the level of emotional intelligence and resilience of high school teachers of a Diocesan Catholic School in Antique during the School Year 2019-2020. Additionally, it measures the differences in the level of emotional intelligence and resilience when grouped according to demographic variables. The study also explores the relationship between emotional intelligence and resilience of teachers.

In several European countries former pupils of Catholic nuns have made accusations of physical and emotional abuse. Feminist scholars have tended to perceive nuns as heroines because of their authority and their contribution to raising the social status of women. But there is also a darker side to convent education. Committees established by national governments have identified systemic factors leading to abuse in educational institutions. This article argues that these factors should include a feminist theological explanation: a dualistic, sacrificial spirituality underpinned the Rules of charitable orders and influenced the nuns’ blurred understanding of what constitutes humane treatment. Supporting evidence is drawn from testimonies of privileged pupils of convent boarding schools in the 1910s, from stories of ex-nuns who fled the convent, and from nuns who openly acknowledged the problem during Post Vatican II renewal when at last they were able to revolt against their spiritual value-systems.

The most important translations of the Bible into Polish, i.e. the Catholic Jakub Wujek Bible (1599) and the Protestant Gdańsk Bible (1632) were written at the end of the reformation period and were renewed and used in catholic churches and protestant communities until the first half of the 20th century. The reprints were systematically updated. In the 20th century the need to translate again the Holy Scripture into Polish was recognized. There were a few attempts at that in the second half of the previous century. They were always accompanied by heated debates which referred to the need of new translations as well the ways translators adopted to render in Polish selected books, sentences or even words. A religious text functions in a specific system of a higher level, i.e. religion. Religion is understood here as a culture text according to the Tartu-Moscow Semiotic School. Owing to this interpretation, religion has its own language built onto natural language. Text in natural language constitutes only a fragment of a bigger sign entity. To put it most simply, since a natural text is a subcomponent of a semiotic religious text, any change introduced in the former disrupts the coherence of cultural meaning on a higher level. Because of “a secondary modeling system” (a term coined by Yuri M. Lotman) the language of religious texts is always a bit archaic. This very modeling system prevents the propellers of modernization from a more thorough linguistic update of old biblical translations in Poland and, more often than not, does not let translators depart too far from the translation tradition. Translated by Agnieszka Bryła-Cruz

The most important translations of the Bible into Polish, i.e. the Catholic Jakub Wujek Bible (1599) and the Protestant Gdańsk Bible (1632) were written at the end of the reformation period and were renewed and used in catholic churches and protestant communities until the first half of the 20 th century. The reprints were systematically updated. In the 20 th century the need to translate again the Holy Scripture into Polish was recognized. There were a few attempts at that in the second half of the previous century. They were always accompanied by heated debates which referred to the need of new translations as well the ways translators adopted to render in Polish selected books, sentences or even words. A religious text functions in a specific system of a higher level, i.e. religion. Religion is understood here as a culture text according to the Tartu-Moscow Semiotic School. Owing to this interpretation, religion has its own language built onto natural language. Text in natural language constitutes only a fragment of a bigger sign entity. To put it most simply, since a natural text is a subcomponent of a semiotic religious text, any change introduced in the former disrupts the coherence of cultural meaning on a higher level. Because of “a secondary modeling system” (a term coined by Yuri M. Lotman) the language of religious texts is always a bit archaic. This very modeling system prevents the propellers of modernization from a more thorough linguistic update of old biblical translations in Poland and, more often than not, does not let translators depart too far from the translation tradition.

<p>This article describes some of the features of clinical course design that are essential for ensuring basic educational quality. It does not attempt to be thorough. A number of years ago, I served on a committee that began discussing whether it is possible to come up with “indicia of quality” that could be used to measure the quality of a clinical program or course. The question that framed the issue was “If someone wanted to determine whether one school’s professional skills program is likely to be better than another school’s program, what elements should be examined?” The committee not only guessed that it was possible to define those elements, we also believed that it could be accomplished without a great deal of trouble. Though I still think it is possible to define indicia of quality, we were wrong that it would be easy. Our initial effort foundered fairly quickly. From time to time others renewed the effort, only to abandon the project, with one exception. Sandy Ogilvy, a law professor at Catholic University School of Law in Washington, D.C., is making the most serious effort to date to describe “indicia of quality” for clinical programs.</p>

Purpose – The purpose of this paper is to analyze the circumstances that have conditioned the development of education in Spain from the enlightenment to the present day. Design/methodology/approach – Multidisciplinary scientific approach that combines the interpretation of the legal texts with the revision of the doctrinal and theoretical contributions made on the issue. Findings – From the beginning of the nineteenth century, the history of education in Spain has been marked by constant fluctuations between the reactionary instincts, principally maintained by the Catholic Church and the conservative social classes, and the progressive experiments, driven by the enlightened and the liberals first, and the republicans and the socialists later. As a consequence of that, the fight for finishing with illiteracy and guaranteeing universal schooling underwent permanent advances and retreats, preventing from an effective modernization of the Spanish educative system. On the one hand, renewal projects promoted by teachers and pedagogues were inevitably criticized by the ecclesiastical hierarchy, obsessed with the idea of preserving the influence of religion on the schools. On the other hand, successive governments were weak in implementing an educational policy which could place Spain at the level of the other European and occidental nations. Originality/value – At the dawn of the twenty-first century, although the country has overcome a good part of its centuries-old backwardness, increasing economic difficulties and old ideological splits keep hampering the quality of teaching, gripped by neoliberal policies which undermine the right to education for all. The reading of this paper offers various historical clues to understand this process.

The Church of St. Stephan, in this paper, belonged to a medieval residential complex above the confluence of the River Piva and the River Tara, in the extreme northeast of the present-day Republic of Montenegro. The central part of the complex consisted of Soko-grad, a castle with the court of the prominent, aristocratic, Kosaca family, which, at the end of the 14th century, right until the Turkish conquests in the sixties and seventies of the 15th century, ruled the regions later known as Hercegovina. At the foot of the castle, on Scepan polje, is the suburb with the Church of St. Stephan the endowment of the grand duke, Sandalj Hranic (+1345). At the foot of the northern slope, beneath the castle, in the area of Zagradja, is another church erected by the grand duke's successor, Herzeg Stefan Vukcic Kosaca (+1465). After the Turkish conquest, the complex of the Soko castle with its suburb was destroyed and the churches became deserted and were never renewed. The ruins of St. Stephan were discovered, investigated and then conserved from 1971-973, however, the results of this research have not been published until now. In reviewing the results obtained in the course of the archaeological excavations, it is possible, in a considerable measure, to comprehend the position and former appearance of the Church of St. Stephan and establish roughly, the time when it came into being. This was the largest church erected in the regions governed by the powerful, Kosaca noble family, during the 15th century. The total length of the church exceeded 25 metres and its width was approximately ten metres. In the preserved body of the construction, of which the remaining walls rise to a height of four metres one may see three basic stages of building. A narthex was later erected beside the church, and subsequently a small parakklesion was added, on the northern side. The original church had a single nave, a cruciform base and a gently, horseshoe-shaped apsis, facing east, flanked by rectangular choirs. The interior of the church, with two pairs of small pilasters, was articulated in three bays of almost equal dimensions. The altar, encompassing the apsis and the eastern bay, was separated from the naos by a constructed altar partition-wall, the essential appearance of which can be assumed on the basis of whatever was found. The entire surface of the constructed iconostasis was covered with frescoes. The floor of the naos was a step lower than the floor of the altar. Flooring made of mortar, like in the altar area also existed in the choirs. As opposed to these spaces, in the central and western bays, the floor was made of large, hewn stone slabs. The finds discovered in the debris, offered an abundance of data about the upper, now collapsed, structures of the church, and about the stonemasonry that decorated this building. The church did not have a dome but all three bays were topped by a single vault of carved calcareous stone, reinforced by two arches, resting on the pilasters. We may assume that the roof structure was of the Gothic type, and ribbed at the base. Above the choirs were lower semi-spherical vaults, perpendicular in relation to the longitudinal axis of the church. They were covered by gabled roofs that ended in triangular frontons on the northern and southern fa?ade, like the main vault on the eastern side above the altar apsis. The roof of the church was made of lead. A belfry, of unique construction, existed on the western side of the original church. It stood about one meter in front of the western wall and was linked by a vaulted passage to the main body of the building. All these parts were structurally inter-connected, indicating that they were built at the same time. The position and appearance of the original church windows can almost certainly be determined according to the preserved traces on the remaining sections of the walls, and the finds of the relevant stonemasonry. In the interior of the naos, along the southern wall of the western bay was the grave of the donor of the church of St. Stephan, Grand Duke Sandalj Hranic. This was the traditional position where the donor was buried, according to the custom or rather, the rule that had been practiced for centuries in the countries of the Byzantine Orthodox Christian world, and particularly in the Serbian lands. The duke's grave, marked by a stele in the form of a massive low coffin on a pedestal, was prepared while the church was being built given that it would have been impossible to install this large monolith that weighed approximately 2.5 tons in the church, later. Generally speaking, the donor's grave in the church of St. Stephan, is eloquent testimony of the donor's aspirations and beliefs. Besides the undoubtedly local feature of a funerary monument in the form of a stele, all its other characteristics emulate earlier models from the region of the Serbian lands. In front of the original church, at a later stage, which apparently followed soon after, a spacious narthex with a rectangular base was added on. Pylons of the belfry substructure were fitted into its eastern wall, which seems to have made that wall much thicker than the other walls of the narthex. This later erected narthex was not vaulted, which we concluded after analysing the preserved walls and the finds in the debris. Apparently, it had a flat ceiling construction, supported by massive beams that rested on consoles along the length of the northern and southern walls. The side entrances when the narthex was built were of the same dimensions as its western portal. However later, before installing the stone doorposts, both these entrances were narrowed down on their western, lateral sides, while the southern portal, in a later phase, was completely walled up. In the course of exploration, no reliable data was discovered regarding the position of the windows in the narthex. One can only assume that monophoric windows existed on the lateral walls, one or two on each side, similar to the monophores in the western bay. Apart from the narthex, another, later construction was observed next to the original church. On its northern side, along the western bay and the lateral side of the choir, a parakklesion, that is, a small funerary chapel was added on, in the middle of which a large stele once stood, of which now only fragments exist. The entire interior of the church of St. Stephan was deco-rated with frescoes. Rather small fragments of the wall painting were discovered in the debris, not only of the original church but also of the narthex, as well as of the northern funerary chapel. It was observed that they were all of the same quality, painted on mortar of a uniform texture which suggests that all the painting was done as soon as the additional buildings were finished. On the discovered fragments, one can recognise the dark blue back-ground of the former compositions, and the borders painted in cynober. On several fragments, there were preserved sections of or whole letters from Serbian Cyrillic texts. On several fragments that may have originated from the aureoles or parts of robes, traces of gold leaf were visible, which would indicate the splendour and representativeness of the frescoes that decorated the endowment of the grand duke, Sandalj Hranic. With the shape of the foundation of a single-nave church, divided into three bays and with rectangular choir spaces, the church of St. Stephan continued the tradition of the early Rascia school of Serbian architecture (13th beginning of 14th century), which represented a significant novelty at the time when it appeared. In Serbia, in the last decades of the 14th and the beginning of the 15th century, the predominant plan of the churches, the triconche, was based on the Holy Mount models. The decision by the donor, the grand duke Sandalj, to give his endowment the features of the earlier, Rascia heritage, in the times when the Serbian territories had been broken up and were exposed to pressure from external enemies, undoubtedly had a deeper significance. By relying on the earlier tradition, which is also reflected in the dedication of the church to St. Stephan, the patron saint of the state and of the Nemanjic dynasty, the donor expressed the aspiration to consolidate his authority more firmly in the regions that had previously formed part of the Serbian state. By erecting an endowment, and a funerary church that he wished to be his eternal resting-place, Sandalj was also demonstrating that he ranked among his predecessors, the Serbian rulers and nobility. One can see this from the choice of the traditional burial position, along the southern wall of the western bay, as well as from the tomb he had prepared for himself during his lifetime. Apart from the basic idea and plan of the church based on the Rascia tradition, the features of its architecture also exhibit other influences. Of crucial importance here was the choice of builders, who undoubtedly came from the coastal area, which is reflected both in the structural solutions, as well as in the decorative stonework. However, local master-craftsman undoubtedly took part in this achievement. One can see this particularly when observing the stonework which, besides some admittedly rather rare, better-carved pieces, consists of a great deal of carving by less experienced artisans. The assumptions about the origin of the architecture and the builders are substantiated by observing the preserved traces of the frescoes, which show that the decoration of St. Stephan's and the adjacent narthex was also entrusted to one of the coastal painters. Perhaps it was the well-known Dubrovnik painter Dzivan Ugrinovic, who is known to have been commissioned by the grand duke Sandalj in 1429. There is no direct or reliable record of the date when the endowment of the grand duke Sandalj Hranic or its later annexes were built. The stylistic analysis of the stonework makes it possible only roughly to attribute it to the first half of the 15th century. The year 1435 provides a slightly narrower span of time, which is the time of Sandalj's funeral, when it would appear that the church of St. Stephan was already finished. The data mentioned earlier regarding the engagement of builders from Dubrovnik and the possible later decoration, enables us to date it more exactly. Therefore, we may assume that the church itself was erected before the end of the second decade of the 15Lj century. The additional construction of the narthex may have followed soon after the completion of the church itself, as indicated by the stylistically uniform stonework. If we accept the possibility that the church was decorated at the end of the third decade of the 15S century, and that this was finished both in the church and the narthex at the same time the year 1429 would be the terminus ante quem for the completion of the additional construction. The Kosaca endowment, erected beside the Soko castle, offers new evidence about this prominent, noble or ruling family, and particularly about their religious affiliation. Historians, almost as a rule consider the Kosaca family to have been Bogumils, or people whose religious convictions were not particularly firm. Such views were based on the fact that Sandalj Hranic, the grand duke of Rusaga Bosanskog (of the Bosnian kingdom) and his successor, the duke and subsequently the herzeg, Stefan Vukcic, were tolerant towards the Bogumils and were often surrounded by people who upheld such religious beliefs, which was the political reality of the times in which they lived and functioned. On the other hand, the enemies of the Kosaca family made use of this to depict them to the Western and Eastern Christians as heretics, which was not without consequences. The distorted view of their religious conviction not only accompanied them during their lifetime but persists even today, not only in historiography but in present-day politics, as well, particularly after the recent wars in ex-Yugoslavia. The origin of the Kosaca family is connected with the region of the Upper Drina, that is to say, the region that had always been a part of the Nemanjic state, where there were no Bogumils, nor could there be. As owners of part of what had always been the Serbian lands, which went to Bosnia after the tragic division between Ban Tvrtko and Prince Lazar, the consequences of which are still felt today, the Kosaca very soon became independent rulers of this territory, forming a specific territory that later came to be known as Herzegovina. Another element that also bears weight in this respect is the fact that, in contrast to central Bosnia where the Bogumil heresy was influential, the population in the Kosaca lands was Orthodox Christian, with a certain number of Catholics in the western parts. The fact that the regions they ruled were nominally within the Bosnian kingdom, where the ruling class were predominantly Bogumils for a long time did not have any fundamental bearing on their religious affiliation. Significant records have been preserved of their unconcealed Orthodox Christian orientation. Without going into the details of this complex circle of problems, which requires a separate study, especially after the more recent discoveries and facts that have come to light, we shall dwell only on some facts. During the rule of Grand Duke Sandalj and his successor, Herzeg Stefan, which lasted almost seventy years, a whole series of Orthodox Christian churches were erected. During the first half of the 15th century, a kind of renaissance of the Rascia school of architecture came about in this area. In the words of V.J. Djuric, the endowments of the Kosaca family 'are different from the average buildings of their time by virtue of their size sometimes the unusual solutions, and the great beauty of form and proportions'. The wealth of the family and the continual relations with aitists from the southern Adriatic coastal cities imbued their architecture with buoyancy and significance. The western stylistic features of the churches of the Kosaca, and the Gothic language of the stonemasons, reveal the centres where these master craftsmen had learned their trade. With the erection of the endowment in the 'ruling seat' beneath Mt. Soko and the churches intended as their final resting-places, the Kosaca distinguished themselves as the last continuers of the Nemanjic tradition of earlier centuries, in the time that preceded the final Turkish conquest of the Serbian lands. The memory of their work is preserved in the church of St. Stephan and the nearby church at Zagradja, as well as in the rains of the Soko castle, which still lies waiting to be researched.

A new set of Pentecostal renewal started in the early twentieth century leading to the proliferation of Pentecostal denominations, and renewal movements within the then existing denominations. The beginning of this Pentecostal renewal has often been linked with the Bethel Bible School, which was started by Charles Fox Parham, and amplified by William Joseph Seymour at Azusa Street, Los Angeles, in the US. This article brings another dimension of the renewal by demonstrating that, for the Catholic Charismatics the outbreak of the Holy Spirit in the early twentieth century was partly an answer to the prayer of Pope Leo XIII. In addition, the Catholic Charismatic advocates consider the Pentecostal experience, dubbed Duquesne Weekend, which led to the Catholic Charismatic Renewal movements as the answer to the prayer of Pope John XXIII at the Second Vatican. The considerations of the Catholic Charismatics are presented apparently as an affirmation of the sovereignty of God over his Church and the world.

The notion of discipleship has come to be considered an essential foundation and perspective in modern Catholic moral theology. Fritz Tillmann’s manual Die Idee der Nachfolge Christi was a landmark work in the early 20th century whose popularity led to a wide diffusion of the biblical concept of discipleship in Catholic moral theology. However, little mention is made of Tillmann in current academic writing. The article aims to explore the thought of Tillmann by outlining his understanding of Christian moral discipleship in conjunction with examples of key authors who influenced Tillmann, such as Hirscher and Linsenmann of the Tübingen School, as well as Neo-Scholastic authors who severely criticized his approach. The article concludes with a reflection on the current implications of discipleship in moral theology, calling for a greater recognition of the need for a transformative, loving relationship with Christ to fuel the desire to choose the good.

RESUMOOs problemas atuais que o Direito Internacional enfrenta possuem relação direta com os pontos que pertencem a uma compreensão primordial sobre a formação do conceito de comunidade universal. Dessa forma, cabe salientar que tais questões têm profunda relevância no pensamento dos grandes mestres da Escola Ibérica da Paz, no séc. XVI e XVII. O presente artigo tem por objetivo apresentar alguns dos estudos produzidos pela Escola de Salamanca, em especial, as contribuições de Francisco de Vitoria e Francisco Suárez, realizados durante este período. Através de uma metodologia bibliográfica e tendo como fio condutor a Opinião Consultiva nº 16/1999 da Corte Interamericana de Direitos Humanos, visa investigar a criação do Direito Internacional Público, questão candente destes estudiosos. Ainda procura-se analisar as principais contribuições conceituais aportadas pela Escola de Salamanca como fundamentação para o desenvolvimento da paz e justiça entre as nações, por meio de confrontações das noções de razão da humanidade e razão do Estado, com vias à compreensão da comunidade universal. Como resultado, concluiu-se que o resgate dos estudos tomistas, aliados ao movimento da Igreja em revisar alguns costumes antes criticados por Lutero e pelo humanismo da baixa Idade Média, trouxeram grandes contribuições para a renovação do Direito das Gentes (posteriormente considerado nas suas relações com os Direitos Humanos) e para a constituição de uma comunidade internacional enraizada em outro fundamento que não a razão do Estado.PALAVRAS-CHAVEDireito Internacional; Escola Ibérica; Comunidade universal; Opinião Consultiva nº 16/1999. ABSTRACTThe current problems faced by international law have direct relation with the points that belong to a primordial understanding on the formation of the concept of universal community. Thus, it is important to point out that such questions have profound relevance in the thinking of the great masters of the Iberian School of Peace (16th and 17th centuries). This article aims to present some of the studies produced by the School of Salamanca, especially the contributions of Francisco de Vitoria and Francisco Suárez during this period. Through a bibliographic methodology and guided by the Advisory Opinion No. 16/1999 of the Inter-American Court of Human Rights, the article aims to investigate the creation of public international law, an issue looked upon by these scholars, and seeks to analyze the main conceptual contributions provided by the School of Salamanca as the foundation for the development of peace and justice between nations, through the confrontation of the notions of reason of humanity and reason of State, with the objective of understanding the universal community. As a result, it was concluded that the rescue of Thomistic studies, allied with the Catholic movement towards revising some customs previously criticized by Luther and the humanists of the Late Middle Ages, made major contributions to the renewal of the Law of the People (later considered in their relations with Human Rights) and to the constitution of an international community rooted in a foundation other than the reason of State.KEYWORDSInternational Law; Iberian School; Universal community; Advisory Opinion No. 16/1999.

The centenary of the beginning of the First World War has seen renewed global attention to the war. A proliferation of scholarly works, commemorative public events, documentaries, and museum exhibits dedicated to the war ensured that the participating nations reaffirmed messages of service and sacrifice. The global response provides some insight into how nations crafted the memory of the war and the links made between remembrance and national identity. The Canadian War Museum, along with various state commemorations, encased the events of the war within narratives of heroism and sacrifice, most recently with the celebratory focus on the Battle of Vimy Ridge. This renewed interest in the war inspired this study, which explores how the war was portrayed in Ontario and Quebec history textbooks in the immediate post-war decades. This project argues that an analysis of both the textual narratives and the visual culture portrayed in history textbooks helps us better understand messages of nationhood in Canada. Through an examination of history textbooks that were approved in Ontario and Quebec between 1920 and 1948, we seek to uncover what the Ontario Department of Education, the Catholic church, and publishers felt were important for students in schools to remember about Canada’s participation in the war.RésuméLe centenaire du début de la Première Guerre mondiale a contribué à renouveler l’intérêt du public pour la Grande Guerre. On observe alors une prolifération des ouvrages académiques, des événements commémoratifs publics, des documentaires et des expositions muséales qui y sont dédiés et dont le but est de réaffirmer le message de service et de sacrifice des États qui y ont pris part. Ces ouvrages et événements donnent un aperçu de comment les nations construisent leur mémoire de la guerre ainsi que des liens tissés entre le devoir de mémoire et l’identité nationale. Le Musée canadien de la guerre, ainsi que plusieurs commémorations gouvernementales, synthétisent les événements de la Grande Guerre dans un récit d’héroïsme et de sacrifice. Un exemple récent de cela est l’intérêt porté à la bataille de la crête de Vimy. Cet intérêt renouvelé envers la Grande Guerre a inspiré cette étude qui explore comment celle-ci a été représentée dans les manuels scolaires de l’Ontario et du Québec dans les décennies suivants la fin de la Première Guerre mondiale. Ce projet propose qu’une analyse des manuels centrés sur les récits textuels et de la culture visuelle aide à mieux comprendre les messages associés à la construction de la nation canadienne. À partir d’un examen des manuels scolaires approuvés pour l’Ontario et ceux disponibles pour le Québec entre les années 1920 et 1948, nous cherchons à découvrir ce que le Département de l’Éducation de l’Ontario, l’Église Catholique et les maisons d’éditions considéraient comme étant importants à ce souvenir à propos de la participation du Canada à la Première Guerre mondiale.

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On 12 March 2020, Philippine President Rodrigo Duterte announced a lockdown of Manila to stop the spread of COVID-19. The cities, provinces, and islands of the Philippines remained under various levels of community quarantine for the remainder of the year. Under the strictest lockdown measures, known as Enhanced Community Quarantine (ECQ), no one aged below 21 or over 60 years was allowed out, a curfew was implemented between 10pm and 5am, and only one person per household, carrying a quarantine pass, was allowed to go out for essential items (Bainbridge & Vimonsuknopparat; Ratcliffe & Fonbuena). The policing of these measures was strict, with a heavy reliance on police and military to enforce health protocols (Hapal). In early April, Duterte warned that violators of the lockdown who caused trouble could be shot (Reuters). Criticisms concerning the dissemination of information about the pandemic were exacerbated when on 5 May, 2020, Filipinos lost an important source of news and entertainment as the country’s largest media network ABS-CBN was shut down after the government denied the renewal of its broadcast franchise (Gutierrez; “ABS-CBN”; “Independent Broadcaster”). The handling of the pandemic by the Duterte government has been characterised by inaction, scapegoating, and framed as a war on an existential threat (Hapal). This has led to feelings of frustration, anger, and despair that has impacted and been incorporated into the artistic expression of some Filipino creatives (Esguerra, “Reflecting”). As they did in the rest of the world, social media platforms became a vital source of entertainment for many facing these harsh lockdown measures in the Philippines in 2020. Viral forms included the sharing of videos of recipes for whipped Dalgona coffee and ube-pandesal on TikTok, binge-watching KDramas like Crash Landing on You on Netflix, playing Animal Crossing on Nintendo Switch, and watching Thailand’s Boys’ Love genre web series 2Gether: The Series on YouTube. Around the world, many arts and cultural organisations turned to online platforms to continue their events during the COVID-19 pandemic. #RomanceClass, a Filipino community of authors, artists, and actors who consume, produce, and enact mostly self-published English-language romance fiction in the Philippines, also turned to these platforms to hold their community’s live literature events. This article analyses this shift by #RomanceClass. It contends that, due to their nature as an independent, born-digital literary organisation, they were able to adapt swiftly and effectively to online-only events in response to the harshness of the Filipino lockdown, creating new forms of artistic innovation by adopting the aesthetics of Zoom into their creative practice (for example, name tags and gallery camera view). This aesthetic swiftly became familiar to people all over the world in 2020, and adopting digital platforms encodes within it the possibility for a global audience. However, while #RomanceClass are and have been open to a global audience, and their creative innovations during the pandemic have clearly been informed by transcultural online trends, this article argues that their adoption of digital platforms and creative innovations represented a continuation of their existing ethos, producing material explicitly intended for a Filipino audience, and more specifically, their existing community, prioritising community connection over any more expansive marketing efforts (McAlister et al.). The Live Literature of #RomanceClass The term #RomanceClass refers to a biblio-community of authors, readers, artists, and actors, all involved in the production and consumption of English-language romance novels in the Philippines. #RomanceClass began online in 2013 via a free writing class run predominantly on Facebook by author Mina V. Esguerra (for more on this, see McAlister et al.). As the community has developed, in-person events have become a major part of the community’s activities. However, as a born-digital social formation, #RomanceClass has always existed, to some extent, online. Their comfort in digital spaces was key to their ability to pivot swiftly to the circumstances in the Philippines during the lockdowns in 2020. One of the most distinctive practices of #RomanceClass is their live reading events. Prior to 2020, community members would gather in April for April Feels Day, and in October for Feels Fest for events where local actors would read curated passages from community-authored romance novels, and audiences’ verbal and physical responses became part of the performance. The live readings represent a distinctive form of live literature – that is, events where literature is the dominant art form presented or performed (Wiles), a field which encompasses phenomena like storytelling festivals, author readings, and literary festivals (Dane; Harvey; Weber; Wilson). In October 2019, we interviewed several #RomanceClass community members and attended one of these live reading events, Feels Fest, where we observed that the nature of the event very clearly reflected the way the community functions: they are “highly professionalised, but also tightly bound on an affective level, regularly describing [themselves] as a found family” (McAlister et al. 404). Attendance at live readings is capped (50 people, for the event we attended). The events are thus less about audience-building than they are community-sustaining, something which they do by providing community comforts. In particular, this includes kilig, a Filipino term referring to a kind of affective romantic excitement, usually demonstrated by the audience members in reaction to the actors’ readings. While the in-person component is very important to the live reading events, they have always spanned online and offline contexts – the events are usually live-tweeted by participants, and the readings are recorded and posted to YouTube by an official community videographer, with the explicit acknowledgment that if you attended the event, you are more than welcome to relive it as many times as you want. (Readings which contain a high degree of sexual content are not searchable on YouTube so as not to cause any harm to the actors, but the links are made privately available to attendees.) However, the lockdown measures implemented in the Philippines in 2020 meant that only the online context was available to the community – and so, like so many other arts communities around the world, they were forced to adapt. We tend to think of platforms like Zoom as encoded with the potential to allow people into a space who might not have been able to access it before. However, in their transition to an online-only context, #RomanceClass clearly sought to prioritise the community-sustaining practices of their existing events rather than trying in any major way to court new, potentially global, audiences. This prioritisation of community, rather than marketing, provided a space for #RomanceClass authors to engage cathartically with their experiences of lockdown in the Philippines (Esguerra, “Reflecting”). Embracing the Zoom Aesthetic: #RomanceClass in 2020 #RomanceClass’s first online event in 2020 was April Feels Day 2020, which occurred not long after lockdown began in the Philippines. Its production reflects the quick transition to an online-only co-presence space. It featured six books recently published by community authors. For each, the author introduced the book, and then an actor read an excerpt – a different approach to that hitherto taken in live events, where two actors, playing the roles of the romantic protagonists, would perform the readings together. Like the in-person live readings, April Feels Day 2020 was a synchronous event with a digital afterlife. It was streamed via Twitch, and participants could log on to watch and join the real-time conversations occurring in the chat. Those who did not sign up for a Twitch account could still watch the stream and post about the event on Twitter under the hashtag #AprilFeelsDay2020. After the event, videos featuring each book were posted to YouTube, as they had been for previous in-person live reading events, allowing participants to relive the experience if they so desired, and for authors to use as workshopping tools to allow them to hear how their prose and characters’ voices sounded (something which several authors reported doing with recordings of live readings in our interviews with them in 2019). April Feels Day 2020 represented a speedy pivot to working and socialising from home by the #RomanceClass community, something enabled by the existing digital architecture they had built up around their pre-pandemic live reading events, and their willingness to experiment with platforms like Twitch. However, it also represented a learning experience, a place to begin to think about how they might adapt creatively to the circumstances provoked by the global pandemic. They innovated in several ways. For instance, they adopted mukbang – a South Korean internet phenomenon which has become popular worldwide, wherein a host consumes a large amount of food while interacting with their audience in an online audiovisual broadcast – in their Mukbang Nights videos, where a few members of #RomanceClass would eat food and discuss their books (Anjani et al.). Food is a beloved part of both #RomanceClass events and books (“there’s lots of food, always. At some point someone always describes what the characters are eating. No exceptions”, author Carla de Guzman told us when we interviewed her in 2019), and so their adoption of mukbang shows the ways in which their 2020 digital events sought to recreate established forms of communal cohesion in a virtual co-presence space. An even more pointed example of this is their Hello, Ever After web series, which drew on the growing popularity of born-digital web series in Southeast Asia and other virtual performances around the globe. Hello, Ever After was both a natural extension of and significantly differed from #RomanceClass in-person live events. Usually, April Feels Day and October Feels Fest feature actors reading and performing passages from already published community books. By contrast, Hello, Ever After featured original short scripts written by community authors. These scripts took established characters from these authors’ novels and served as epilogues, where viewers could see how these characters and their romances fared during the pandemic. Like in-person live reading events – and unlike the digital April Feels Day 2020 – it featured two actors playing virtually side-by-side, reinforcing that one of the key pleasures derived from the reading events is the kilig produced through the interaction between the actors playing against each other (something we also observed in our 2019 fieldwork: the community has developed hashtags to refer specifically to the live reading performance interactions of some of their actors, such as #gahoates, in reference to actors Gio Gahol and Rachel Coates). The scenes are purposefully written as video chats, which allows not only for the fact that the actors were unable to physically interact with each other because of the lockdowns, but also tapped into the Zoom communication aesthetic that commandeered many people’s personal and professional communications during COVID-19 restrictions. Although the web series used a different video conferencing technology, community member Tania Arpa, who directed the web series episodes, adapted the nameplate feature that displayed the characters’ names to more closely align with the Zoom format, demonstrating #RomanceClass’s close attentiveness to developments in the global media environment. Zoom and other virtual co-presence platforms became essentially universal in 2020. One of their affordances was that people could virtually attend events from anywhere in the world, which encodes in it the possibility of reaching a broader, more global audience base. However, #RomanceClass maintained their high sensitivity to the local Filipino context through Hello, Ever After. By setting episodes during the Philippines’ lockdown, emphasised by the video chat mise en scène, Hello, Ever After captures the nuances of the sociopolitical and sometimes mundane aspects of the local pandemic response. Moreover, the series features characters known to and beloved by the community, as the episodes function as epilogues to #RomanceClass books, taking place in what An Goris calls the “post-HEA” [happily ever after] space. #RomanceClass books are available digitally – and have a readership – outside the Philippines, and so the Hello, Ever After web series is theoretically a text that can be enjoyed by many. However, the community was not necessarily seeking to broaden their audience base through Hello, Ever After; it was community-sustaining, rather than community-expanding. It built on the extant repository of community knowledge and affect by using characters that #RomanceClass members know intimately and have emotional connections to, who are not as familiar and legible to those outside the community, intended for an audience with a level of genre knowledge (McAlister et al.; Fletcher et al.). While the pandemic experience these characters were going through was global, as the almost universal familiarity with the Zoom aesthetic shows, Hello, Ever After was highly attentive to the local context. Almost all the episodes featured “Easter eggs” and dialogues that pointed to local situations that only members of the targeted Filipino audience would understand and be familiar with, echoing the pandemic challenges of the country’s present reality. Episodes featured recurrent themes like dissatisfaction with the government’s slow response and misaligned priorities, anger towards politicians exacerbating the impact of the pandemic with poor health and transportation policies, and recognition of voluntary service and aid rendered by private individuals. For example, the first episode, Make Good Days, an epilogue to Mina V. Esguerra’s novel What Kind of Day, focusses on the challenges “essential worker” hero Ben (played by Raphael Robes) faces as a local politician’s speechwriter, who has been tasked to draft a memorial speech for his boss to deliver in honour of an acquaintance who has succumbed to COVID-19. He has developed a “3:00 habit” of a Zoom call with his partner Naya (Rachel Coates), mirroring the “3:00 habit” or “3:00 Prayer to the Divine Mercy” many Catholic Filipino devotees pray and recite daily at that specific hour, a habit reinforced through schools, churches, and media, where entertainment shows allow time for the prayer to be televised. Ben and Naya’s conversation in this particular 3:00 call dwells on what they think Filipino citizens deserve, especially from local government officials who repeatedly fail them (Baizas; Torres). They also discuss the impact that the pandemic has had on Naya’s work life. She runs a tourism and travel business – which is the way that the two characters met in What Kind of Day – which she has been forced to close because of the pandemic. Naya grieves not just for the dream job she has had to give up, but also sympathises with the enormous number of Filipinos who suddenly became unemployed because of the economy closing down (Tirona). Hello, Ever After draws together the political realities of living in the Philippines during the pandemic with the personal, by showing the effects of these realities on characters like Ben and Naya, who are well-known to the #RomanceClass community. #RomanceClass books encompass a wide variety of protagonists, and so the episodes of Hello, Ever After were able to explore how the lives of health workers, actors, single parents, students, scientists, office workers, development workers, CEOs and more could be impacted by the pandemic and the lockdowns in the Philippines. They also allowed the authors to express some of their personal frustrations with living through quarantine, something they admit fueled some parts of the scripts (“Behind the Scenes: Hello, Ever After”). #RomanceClass novels like What Kind of Day all end happily, with the romantic protagonists together (in contrast to a lot of other Filipino media, which ends unhappily – for more on this, see McAlister et al.). Make Good Days and the other episodes of Hello, Ever After reflect the grim realities of pandemic life in the Philippines; however, they do not undercut this happy ending, and instead seek to reinforce it. Through Hello, Ever After, the community literally seeks to “make good days” for themselves by creating opportunities to access the familiar comfort and warmth of kilig scenes. Kilig refers to a kind of affective romantic emotion that usually has a physical manifestation (Trinidad, “Shipping”; “Kilig”). It does not have an equivalent word or phrase in English, but can be used as a noun to denote a thrilling state of excitement or as an adjective to describe moments or scenes that evoke this feeling. Creating and becoming immersed in kilig is central to #RomanceClass texts and events: authors attempt to produce kilig through their writing, and actors attempt to provoke it during live reading performances (something which, as mentioned above, was probably made more difficult in the one-actor live readings of the fully online Aprils Feels Day 2020, as much of the kilig is generated by the interactions between the actors). Kilig scenes are plentiful in Hello, Ever After. For instance, in Make Good Days, Naya asks Ben to name a thing he hated before the pandemic that he now misses. He replies that he misses being stuck in traffic with her – that he still hates traffic, but he misses spending that time with her. Escapism was a high priority for many people and communities creating art during the 2020 lockdowns. Given this, it is interesting that #RomanceClass chose to create kilig in their web series by leaning into the temporal moment and creating material specifically revolving around the lockdown in the Philippines, showing couples like Ben and Naya supporting each other and sharing their pandemic-caused burdens. Hello, Ever After both reflected the harsh reality in which the community found themselves but also gave them something to cling to in the hardest days of lockdown, showing that kilig could be found even in the toughest of circumstances when both characters and community members found themselves separated. Conclusion As a community which began in a digital space, #RomanceClass was well-positioned to pivot to an online-only environment during the pandemic, even though in-person events had become such a distinctive part of their community outputs. They experimented and innovated significantly in 2020, producing a range of digital outputs, including the Hello, Ever After web series. On the surface, this does not seem especially unusual: many arts organisations innovated digitally during the pandemic. What was particularly notable about #RomanceClass’s digital outputs, however, was that they were not designed to be marketing tools. They were not actively courting a new audience; rather, outputs like Hello, Ever After were designed to be community-sustaining, providing the existing audience comfort, familiarity, and kilig in a situation (local and global) that was not in any way comfortable or familiar. We Will Be Okay is the title of the second Hello, Ever After video, an epilogue to Celestine Trinidad’s Ghost of a Feeling: a neat summary of the message the episodes offered to the #RomanceClass audience through these revisitings of beloved characters and relationships. As we have discussed elsewhere, #RomanceClass is a professionalised community, but their affective ties are very strong (McAlister et al.). Their digital outputs during the pandemic showed this, and demonstrated again the way their community bonds are reinforced through their repeated re-engagement with their texts, just as their pre-pandemic forms of live literature did. There was kilig to be found in revisiting well-known couples, even in depressing circumstances. As the community engage together with these new epilogues and share their affective reactions, their social ties are reinforced – even when they are forced to be separated. References “ABS-CBN: Philippines’ Biggest Broadcaster Forced Off Air.” BBC, 5 May 2020. 22 Mar. 2021 <http://www.bbc.com/news/world-asia-52548703>. Anjani, Laurensia, et al. “Why Do People Watch Others Eat Food? 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