The Cassandra Complex is a work in the traditions of critical philosophy and psychoanalysis. In The Cassandra Complex, I examine the intersection of violence, racism, and mourning. I hold that analysis of this intersection gives birth to a critical view on the politics of memory and the politics of racism as it operates in its most discreet forms. What makes violence discreet is that it escapes identity or is continually misidentified. I call that structure of violence that escapes being identified as such "White violence" and argue that this structure of violence undermines our normative ways of addressing racist violence in the present. This creates a continual social pattern of misidentification, mistaken memory, and mistaken practices of thinking about the violence of racism, both past and present. The present form of this misidentification could be called post-raciality, but it is specific to how we understand and remember our own history of anti-Black violence. I argue that post-racial memory produces memory only to facilitate forgetting and thus is only seen as a social pathology in the public sphere. The term "Cassandra Complex" provides an identity for the type of social pathology that appears at the critical edge of political discursivity. From the analysis of this social pathology, I argue that aesthetic sorrow, allegorical memory, and a sublime sense of mourning disrupt the normative functioning of the social pathology. Indeed, I argue that aesthetic sorrow makes the present strange by making the politically unbearable aesthetically unrepresentable. This sense of loss constitutes its own history, appearing first as an aesthetics of anesthesia, then as a memory that is also an amnesia. Thus, I hold that a robust notion of allegory that can be translated into the public sphere as a way of exposing the degenerative effects of post-racial memory. Moreover, I hold that allegory allows for a social analysis of those political conditions that make public that which has gone silent. I argue that an understanding of the political significance of that continual movement of silence is the task of understanding the present form of violence in the post-racial.

This dissertation is a history of interpretation and interlinear commentary translation of the "Li Sao," an allegorical poem attributed to the late Warring States (475-221 BCE) poet Qu Yuan. I argue that the significance of the poem is an historically constituted and changing interpretation produced in a sequence of editions, and that insofar as translation is the necessary tool of Sinology, our scholarship and teaching should rest on a translation practice that visibly reflects the particularly Chinese material and reception histories of our texts. I analyze the rhetorical strategies by which specific interpreters, including Sima Qian, Wang Yi, Hong Xingzu, Zhu Xi, and Guo Moruo, "translate" the "Li Sao" through history, constructing personas of Qu Yuan that speak to the politics of their own respective eras. The last chapter is a new translation of the "Li Sao" based on my investigation of the poem's history. It contains multiple English renderings and diverse selections of historical commentary, presented in interlinear form, in order to facilitate historically critical understanding of the "Li Sao" and demonstrate the breadth of interpretation that it is possible to derive from the text. The translation offers not a single interpretation of the poem but rather an image of the historical dialogue that has produced and disputed it in interpretations from the Han dynasty to the present.

Cette thèse de doctorat fournit une lecture cohérente de la théorie de l’art et de la théorie politique de Walter Benjamin, et elle montre que son idée de sécularisation est décisive. Par la lecture de Critique de la violence, le premier chapitre clarifie la méta-physique du droit selon laquelle dans la modernité, le droit est dialectiquement produit par la violence. Cette production s’appuie sur la sacralisation de la vie en tant que transfert du théologique dans la politique. Ce que veut Benjamin est la rupture de la dialectique de droit et de violence. Il clarifie que toute violence est hantée par sa dissolution lors de son exercice. Le second chapitre clarifie l’indissociabilité de la question du droit et de la question de l’art ou du langage chez Benjamin : dans la modernité, le langage ou l’œuvre d’art devient indissociable de la connaissance, laquelle est le jugement selon une loi extérieure. En refusant la sacralisation romantique de l’œuvre d’art, Benjamin trouve dans le Trauerspiel ce qui finit la dialectique du droit et de la violence. La sécularisation est alors redéfini comme l’exclusion absolue du théologique de la politique. Le troisième chapitre clarifie la vue de Benjamin sur le double mouvement de la modernité : le transfert du théologique dans la politique et l’exclusion du théologique de la politique. Ce que clarifie Benjamin est que l’œuvre d’art moderne est de nature à favoriser cette exclusion et à rendre le transcendant à sa place transcendante. La postmodernité sans le transcendant permet de rencontrer avec le transcendant en tant que l’autre. / This doctoral thesis gives a coherent reading of the theory of art and the political theory of Walter Benjamin, and it shows his idea of secularization is decisive. By reading of Critique of the violence, the first chapter clarifies the meta-physics of the right according to which in the modernity, the right is dialectically produced by the violence. This production is based on the sacralisation of the life as transfer of the theological to the politics. What Benjamin wants is the rupture of dialectic of right and violence. He clarifies all the violence is haunted by its dissolution during its exercise. The second chapter clarifies the indissociability of the question of right and the question of art or language in Benjamin : in the modernity, the language or the art work becomes indissociable from the knowledge, which is the judgment by a exterior law. Refusing the romantic sacralisation of the art work, Benjamin finds in the Trauerspiel what ends the dialectic of right and violence. The secularization is then redefined as absolute exclusion of the theological from the politics. The third chapter clarifies Benjamin’s sight on the double movement of the modernity: the transfer of the theological in the politics and the exclusion of the theological from the politics. What Benjamin clarifies is that the modern art work is likely to favour this exclusion and give the transcendent back to its transcendent place. The postmodernity without the transcendent permits to meet the transcendent as the other.

Programa de Pós-Graduação em Filosofia. Departamento de Filosofia, Instituto de Filosofia, Artes e Cultura, Universidade Federal de Ouro Preto. / Submitted by Oliveira Flávia (flavia@sisbin.ufop.br) on 2014-11-07T19:51:16Z No. of bitstreams: 2 license_rdf: 22190 bytes, checksum: 19e8a2b57ef43c09f4d7071d2153c97d (MD5) DISSERTAÇÃO_ImagensModernidadeProjeto.pdf: 946354 bytes, checksum: 7891701acff5462b132bb408a16d350c (MD5) / Rejected by Gracilene Carvalho (gracilene@sisbin.ufop.br), reason: a pedido on 2014-11-10T15:15:36Z (GMT) / Submitted by Oliveira Flávia (flavia@sisbin.ufop.br) on 2014-11-10T17:06:46Z No. of bitstreams: 2 license_rdf: 22190 bytes, checksum: 19e8a2b57ef43c09f4d7071d2153c97d (MD5) DISSERTAÇÃO_ImagensModernidadeProjeto.pdf: 911322 bytes, checksum: f1a38398300513496b74046f0bc9e648 (MD5) / Approved for entry into archive by Gracilene Carvalho (gracilene@sisbin.ufop.br) on 2014-11-17T14:51:26Z (GMT) No. of bitstreams: 2 license_rdf: 22190 bytes, checksum: 19e8a2b57ef43c09f4d7071d2153c97d (MD5) DISSERTAÇÃO_ImagensModernidadeProjeto.pdf: 911322 bytes, checksum: f1a38398300513496b74046f0bc9e648 (MD5) / Made available in DSpace on 2014-11-17T14:51:26Z (GMT). No. of bitstreams: 2 license_rdf: 22190 bytes, checksum: 19e8a2b57ef43c09f4d7071d2153c97d (MD5) DISSERTAÇÃO_ImagensModernidadeProjeto.pdf: 911322 bytes, checksum: f1a38398300513496b74046f0bc9e648 (MD5) Previous issue date: 2014 / Este trabalho consiste na investigação do conceito de modernidade no Projeto das Passagens de Walter Benjamin (2009), com ênfase no arquivo temático “J - Baudelaire”. Mostraremos, com o desenvolvimento da dissertação, como Benjamin preenche o seu mosaico imagético sobre a modernidade. Entre as imagens recolhidas pelo filósofo nos diversos arquivos temáticos do Projeto das Passagens, tomaremos duas como representantes das principais configurações do conceito benjaminiano de modernidade, a saber, a imagem de Paris como a metrópole moderna e a imagem do poeta francês Charles Baudelaire, ambas consideradas em um viés que prioriza a constituição alegórica da modernidade em Benjamin. ____________________________________________________________________ / ABSTRACT: This work consists in the investigation of the modernity concept in the Project of Walter Benjamin’s (2009) Passagens, with emphasis on the thematic archive “J-Baudelaire”. We will show, with the development of this thesis, how Benjamin fills in his image mosaic about modernity. Between the images collected by the philosopher in the diverse thematic archives of the Project of Passagens, we will take two as representative of the main configuration of the concept of modernity, namely, the image of Paris as the modern metropolis and the image of the French poet Charles Baudelaire, both considered by the bias that prioritize the allegorical constitution of the Benjaminian modernity.

The present research aims to think about the film Stalker, by the Russian director Andrei Tarkovski, from the concept of experience of the philosopher Walter Benjamin. The study was based on the analysis of the film's mise-en-scène, in order to think of it as a power to break the automatism and to perceive the images as a way of "feeling" life - a concept present in the reflection text of Viktor Chklovsky Art as procedure / Submitted by José Ricardo da Rocha Cacciari (jose.cacciari@unisul.br) on 2017-10-27T22:55:44Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Stalker, de Andrei Tarkovski, e a Mise-en-scène cono forma de experiência.pdf: 2448360 bytes, checksum: 90f377f87116b0361920f7cd899a0cf2 (MD5) / Approved for entry into archive by Karina Ramos Wagner (wagner.karina@unisul.br) on 2017-11-06T10:46:31Z (GMT) No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Stalker, de Andrei Tarkovski, e a Mise-en-scène cono forma de experiência.pdf: 2448360 bytes, checksum: 90f377f87116b0361920f7cd899a0cf2 (MD5) / Made available in DSpace on 2017-11-06T10:46:31Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Stalker, de Andrei Tarkovski, e a Mise-en-scène cono forma de experiência.pdf: 2448360 bytes, checksum: 90f377f87116b0361920f7cd899a0cf2 (MD5) Previous issue date: 2017 / A presente pesquisa tem como objetivo pensar o filme Stalker, do diretor russo Andrei Tarkovski, a partir do conceito de experiência do filósofo Walter Benjamin. O estudo se pautou pela análise da mise-en-scène do filme, de forma a pensá-la como potência de quebra do automatismo e de percepção das imagens como forma de “sentir” a vida - conceito presente no texto de reflexão de Viktor Chklovski A arte como procedimento.

Submitted by Rodrigo Caetano Andreu null (caetano_andreu@yahoo.com.br) on 2017-04-03T19:56:49Z No. of bitstreams: 1 dissertação final.pdf: 714057 bytes, checksum: 210f91ba881a4c7ae5159af3a3b03a74 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-04-11T20:37:58Z (GMT) No. of bitstreams: 1 andreu_rc_me_sjrp.pdf: 714057 bytes, checksum: 210f91ba881a4c7ae5159af3a3b03a74 (MD5) / Made available in DSpace on 2017-04-11T20:37:58Z (GMT). No. of bitstreams: 1 andreu_rc_me_sjrp.pdf: 714057 bytes, checksum: 210f91ba881a4c7ae5159af3a3b03a74 (MD5) Previous issue date: 2017-02-23 / Este trabalho consiste no estudo do trabalho de análise e interpretação proposto por Walter Benjamin no seu projetado livro Charles Baudelaire, um poeta na época do capitalismo avançado, especificamente no capítulo "Sobre alguns motivos na obra de Baudelaire", em que a criação poética é destacada como mecanismo de defesa. Na interpretação de Benjamin, o poeta Baudelaire, ao se sentir ameaçado e constrangido pelas adversidades repressivas do corpo social, defende-se na e com a poesia que escreve. Nesse âmbito, o próprio poeta se intitula um “esgrimista”, que se utiliza do seu material de trabalho, o lápis e a caneta, como armas de defesa no duelo contra os percalços externos de uma sociedade que sofreu com as contradições pós-revolução industrial, principalmente no que diz respeito à exploração da força de trabalho dos empregados das indústrias e suas consequências sociais. Tal interpretação resultou na formulação do conceito de experiência de choque, de que nos valemos como medium de reflexão para compreender outra: a análise benjaminiana da experiência anterior e posterior ao excesso de estímulos sofridos pelo homem da modernidade. Tendo por base essa perspectiva, também investigamos a criação poética a partir da relação existente entre a poeticidade de Baudelaire e a tese freudiana, vinculada à psicanálise, cuja principal premissa é a existência de um mecanismo de defesa por parte da consciência humana em face aos estímulos externos e internos. Com isso, entendemos a maneira como Benjamim encarou a composição de Charles Baudelaire em todas as nuances da estruturação psicológica do indivíduo. Dentro dessa proposta, os instrumentos teóricos essenciais à realização da pesquisa estão ligados, de um modo geral, às relações que se estabelecem entre a criação poética, a análise histórica concomitante à vida do poeta e aspectos pontuais da teoria freudiana e de seus seguidores sobre os mecanismos de defesa. Assim, notamos que o projetado livro de Walter Benjamin, com sua estilística interpretativa própria e inovadora, perpassa as mais distintas faces da modernidade, possibilitando uma crítica pautada na percepção e compreensão da realidade pelas lentes das vertentes sociológica e psicanalítica. / This work consist in the work of analysis and interpretation propost for Walter Benjamin, in your project book Charles Baudelaire a poet in advanced capitalism, specifically in chapter about some reasons in the work of Baudelaire, in which the poetic creation is highlighted as defense mechanisms. To Benjamin, when he feels threatened and uncomfortable for adversid repressive of body social, Baudelaire defends himself with his poetry whos writes. In this context on poet himself is called a “fencer” which uses the work material, pencil and pen as defensive weapons in the duel against external mishaps of a society that suffered from post industrial revolution contradictions, mainly in what respect of exploration of the force to work of employees of industries and yours consequences social. Such interpretation resulted in formulation concept of shock experience that we will use as a medium of reflection to understand another: benjaminian analysis of previous experience and after the excess stimuli suffered by the man in modernity. Based on this perspective also investigate the poetic creation from the relationship between will psychoanalysis, whose main premise is the existence of a defense mechanism of the human consciousness in college to external stimuli and internal. We understand the way Benjamin stared at Charles Baudelaire composition in all the nuances of the individual psychological structure. In this proposal, essences theoretical tools will carry out the research are linked, in general, ace relations established between the poetic creation, historical concomitant analysis of the poet´s life and specific aspects of Freud´s theory and his followers on the defense mechanism. Thus we note that the book Walter Benjamin: Charles Baudelaire a poet in advanced capitalism, with its own innovative interpretive stylistic runs through the most different faces of modernity, allowing a critical guided by the reality show through the lens of the sociological and psychoanalyst aspects.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-02-03T22:14:52Z No. of bitstreams: 1 FranciscoRamosNeves_TESE.pdf: 1561518 bytes, checksum: 018f9506cca0b80d0a800dc4a941550c (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-02-04T21:58:28Z (GMT) No. of bitstreams: 1 FranciscoRamosNeves_TESE.pdf: 1561518 bytes, checksum: 018f9506cca0b80d0a800dc4a941550c (MD5) / Made available in DSpace on 2016-02-04T21:58:28Z (GMT). No. of bitstreams: 1 FranciscoRamosNeves_TESE.pdf: 1561518 bytes, checksum: 018f9506cca0b80d0a800dc4a941550c (MD5) Previous issue date: 2014-12-22 / Nossa tese desenvolve um m?todo de leitura sobre a proposta de Walter Benjamin a uma filosofia vindoura, especificando a import?ncia do conceito de experi?ncia (Erfahrung) para a fundamenta??o de uma metaf?sica do tempo presente. Partimos do estudo de como se deve ler Benjamin e depois analisamos o que se pretende resgatar do legado kantiano conforme indicado em um texto de sua juventude ??ber das programm der kommenden philosophie? escrito entre 1917-1918, a fim de suscitar o debate sobre a vitalidade de uma ?filosofia vindoura? enquanto ?metaf?sica do presente?. A pesquisa parte da releitura dos textos juvenis de Benjamin comparado com outros textos da maturidade que prop?em um novo conceito de experi?ncia como base est?tico-hist?rica a uma filosofia do ?tempo-presente?. A tese discute o desafio de uma metaf?sica na atualidade em face da crise da ci?ncia e de fal?ncia dos modelos explicativos da realidade na filosofia, por analogia com a atitude do criticismo kantiano em sua contraposi??o ? metaf?sica dogm?tica de seu tempo. / Our thesis tracks down and explores a method of reading Walter Benjamin?s texts and examines his proposal to a "coming philosophy" by highlighting his higher concept of "experience" (Erfahrung) for the foundation of a metaphysics for the Now-Time. Accordingly, it starts first from the application of the method and analyzes what is to be rescued from the Kantian legacy, as indicated in Benjamin?s youth "Program for a coming Philosophy" (1917-1918). Then, to discuss and evaluate Benjamin?s project of a "coming philosophy" several youth?s texts are compared with later texts which propose a new concept of experience as both aesthetic and historical basis for a philosophy of "NowTime" (Jetztzeit). Finally, by analogy with Kant?s critical attitude against dogmatic metaphysics the challenge of metaphysics today is discussed, especially Benjamin?s proposal to "Now-Time-Metaphysics" within the context of crisis and bankruptcy of explanatory models of reality in philosophy.

Made available in DSpace on 2016-12-23T14:34:11Z (GMT). No. of bitstreams: 1 Lucas dos Passos e Silva.pdf: 800521 bytes, checksum: 7473cff8ebd8c4c5412f3239e041c66f (MD5) Previous issue date: 2012-04-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The readings commonly made on the poetic works by Paulo Leminski mainly (or just) regard their intertextual potentials claiming traditions that, as the concrete poetry, this native of Curitiba intended to convey. However, when stop in this point, this kind of interpretation can distort the tense relation established between this poetry and its historical context, set up at the beginning of the 60s, going through the military dictatorship until the turbulent re-democratization process in the 80s. The aim is therefore to review part of Leminski s bibliography intending to more clearly detect this interpretative gap and to analyze Leminki s poems in the midst of a time of turmoil. For that, some of fundamental notions of Walter Benjamin s thoughts will come up history, ruin and threshold , being nevertheless and not rarely interlinked with issues on the study of poetry and of wit (by Freud), building the dynamic prism that Leminski s aesthetics demands / As leituras comumente operadas a partir da obra poética de Paulo Leminski consideram, quase que tão somente, suas potências intertextuais invocando as tradições que, a exemplo dos concretos, o curitibano buscou trazer para si. Quando para nesse ponto, esse tipo de interpretação pode, entretanto, escamotear a relação tensa que se estabelece entre essa poesia e seu contexto histórico, que vai do início dos anos 1960 à redemocratização conturbada dos 1980, passando pela ditadura militar. Pretende-se, portanto, rever parte da fortuna crítica leminskiana procurando detectar com mais clareza essa lacuna interpretativa e analisar poemas de Leminski no torvelinho de seu tempo. Para isso, virão à baila algumas noções fundamentais do pensamento de Walter Benjamin história, ruína e limiar , não raro articuladas com questões do estudo do texto poético e do chiste (via Freud), construindo o prisma dinâmico que a estética leminskiana exige

Submitted by Chaylane Marques (chaylane.marques@ufpe.br) on 2015-03-04T18:42:51Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissertaçao André Antônio Barbosa Nostalgia e melancolia nos cinemas de Philippe Garrel e Sofia Coppola.pdf: 1890539 bytes, checksum: 1ed20ec06df3864c87bd0d515e78de46 (MD5) / Made available in DSpace on 2015-03-04T18:42:51Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissertaçao André Antônio Barbosa Nostalgia e melancolia nos cinemas de Philippe Garrel e Sofia Coppola.pdf: 1890539 bytes, checksum: 1ed20ec06df3864c87bd0d515e78de46 (MD5) Previous issue date: 2013-02-22 / FACEPE / Este trabalho pretende estudar as práticas artísticas distintas de dois cineastas contemporâneos – Philippe Garrel e Sofia Coppola – enxergando-as, porém, integradas a uma mesma e longa tradição de artistas: aquela que, desde os primórdios do romantismo europeu, tem colocado a melancolia como a força-motriz de seus trabalhos. Nestes, a melancolia frequentemente engendra, como uma espécie de correlato natural, o sentimento de nostalgia. Mas ao contrário do que o discurso crítico habitualmente propõe, a nostalgia dessas obras não é em si conservadora, simplista ou ingênua; não é uma cura paliativa, pacificadora ou solução fácil para a angústia melancólica que surge com a modernidade. A nostalgia aí é, antes, uma forma crítica de fugir de uma atualidade linear insípida ou sensório-motora – de escapar do otimismo do progresso – e ir buscar algo de mais profundo e mais complexo em lençóis e circuitos distantes do passado: a possibilidade de, nos termos de Walter Benjamin, uma experiência verdadeira (Erfahrung). O corpus principal da pesquisa consiste, por um lado, em dois longas-metragens de Garrel que, nostalgicamente, evocam o fim dos anos 60: Sauvage innocence (2001) e Les amants réguliers (2005). No primeiro, Garrel interessa-se por capturar a aura distante e fantasmagórica daquela época, enquanto que no segundo ele a enxerga não como um ponto mensurável num correr mecânico do tempo, mas como uma, nos termos de Deleuze, idade do mundo. Por outro lado, em Maria Antonieta (2006), Coppola não apenas justapõe as idades mas faz com que elas coexistam e se relacionem mais diretamente, através de um anacronismo ao mesmo tempo dissonante e nostálgico que conecta o presente, os anos 80, o século XVIII, um vago e edênico passado ainda mais anterior e a frágil esperança de um caminho futuro. O quadro fundamental de referências teóricas das análises compôs-se, por um lado, pelo pensamento de Benjamin, sobretudo pelo modo como ele relaciona distância temporal, experiência e arte; por outro lado, pelos sistemas bergson-deleuzianos de se pensar, por meio de distinções de natureza e não apenas de grau, o tempo e o movimento, o espírito e a matéria; e, por fim, pela ideia de Jacques Racière de todo um novo regime – e não apenas uma mera mudança de “estilo” ou de “escola” artística – que surge com a modernidade estética e cujas formas de funcionamento ainda determinam as operações e estratégias cinematográficas aqui observadas.

Eskinita and Other Poems Eskinita and Other Poems is a collection of poems and sequences with Manila as its context and the city walker as its key figure. An eskinita - a Tagalog diminution of the Spanish word esquina, which means "corner" - is a term used to refer to sidestreet so narrow that even a car would find it hard to maneuver there; an eskinita that leads to a dead end, moreover, is called an interior. Grounded in, yet taking flight from, the language and imagery of Manila, the manuscript draws on the city's history and its present moment as it juxtaposes personal experiences and scholarly sources to portray a city whose development - considered in works like Nick Joaquin's Manila, My Manila, Manuel Caoili's The Origins of Metropolitan Manila, and Robert Reed's Colonial Manila - is bound up with political, social, economic, and postcolonial structures. Through this space goes the city walker, a figure considered in literary and theoretical texts like Walter Benjamin's study on the flâneur, Michel de Certeau's analysis of walking, and psychogeographic writings of the Situationists. The poems are concerned with formal strategies that take their cues from Anglo-American Modernism - collages of texts in lyric and prose, serial structures, and line splicings - and aim to express the complex experience of walking in Manila, of writing Manila: juxtapositions and interpenetrations between interior and exterior, scholarly and demotic language, past and present. The long poem Eskinita extends the use of these devices: apart from prose and verse combinations, it incorporates quotation, parataxis, and photography. Although the overt aim is to offer, using the aesthetic resources of poetry, multiple and refracted views of Manila, Eskinita nevertheless endeavours to express - by constraining words, lines, and page layout - a sense of containment and limit. By counterpointing multiple textual and visual modes - and including various sources and formal devices - Eskinita and Other Poems explores and sometimes rejoices in the tensions between polyphonic and disjunctive elements, and the way their structures generate resonance and dialogue between unlikely familiars. Form, Historiography, and Nation in Nick Joaquin's Almanac for Manileños This thesis argues that the Almanac - when contextualised within the long-standing tradition of the almanac genre, and examined using the theoretical underpinnings of Mikhail Bakhtin's notion of heteroglossia, Walter Benjamin's views of fragmentary historiography, and intertwining aspects of literary form and nation formation - expresses the multiple, not singular, temporalities that constitute and complicate the Filipino nation. Produced in 1979, during Martial Law in the Philippines, the Almanac's formal strategy - demonstrated by the accommodation of discrepant genres, compression and correspondence in the calendars, and fragmentation in the essays - is a kind of non-linear historical emplotment. Such an aesthetic - derived in part from Modernism - is distinct from, and critically interrogates, fixed and linear articulations of national history. The focus of the analysis is a reading of the Almanac's calendars and essays. The distinctions and interactions between these subgenres result in a text that is both cohesive and stratified: calendrical entries which are comprised of national and religious elements and have past and future orientations inhabit the same space as temporally disjunctive essays. Despite fragmentation, the Almanac is nevertheless held together by correspondences and associations. The Almanac's oblique and tangential strategy of representing Philippine history - when seen in the light of the obsolescence of a now-moribund but then-vital genre - critiques linear historiography. By accommodating accounts of missed chances and foregrounding seemingly irrelevant details, Joaquin's Almanac interrogates historical narratives which, in the name of progress, fail to incorporate materials that are aberrant and inconsequential.