Search Results for igorot

...Joel Slotkin Duke University Press 2000 Joel Igorots and Indians: Racial Hierarchies and Slotkin Conceptions of the Savage in Carlos Bulosan’s Fiction of the Philippines 6218...

... camera, Bulosan calls attention to his understanding of what Western tourists interpret and value as Filipino: “But what interested the tourists most were the naked Igorot women and their children. Sometimes they took pictures of the old men with G-strings. They were not interested in Christian...

... Is in the Heart (1946). Both studies feature Bulo- san’s scene in which Allos, the young protagonist, pretends to be Igorot, an indigenous group in Luzon, in order to earn money from tourists hungry for native photos. In American Tropics, Allan Isaac reads this scene to argue that Bulosan’s “words replay...

... of these two monographs about American imperial- ism viewed through U.S.-Philippine relations is the same quotation from Carlos Bulosan’s America Is in the Heart (1946). Both studies feature Bulo- san’s scene in which Allos, the young protagonist, pretends to be Igorot, an indigenous group...

... Is in the Heart (1946). Both studies feature Bulo- san’s scene in which Allos, the young protagonist, pretends to be Igorot, an indigenous group in Luzon, in order to earn money from tourists hungry for native photos. In American Tropics, Allan Isaac reads this scene to argue that Bulosan’s “words replay...

... Is in the Heart (1946). Both studies feature Bulo- san’s scene in which Allos, the young protagonist, pretends to be Igorot, an indigenous group in Luzon, in order to earn money from tourists hungry for native photos. In American Tropics, Allan Isaac reads this scene to argue that Bulosan’s “words replay...

... Is in the Heart (1946). Both studies feature Bulo- san’s scene in which Allos, the young protagonist, pretends to be Igorot, an indigenous group in Luzon, in order to earn money from tourists hungry for native photos. In American Tropics, Allan Isaac reads this scene to argue that Bulosan’s “words replay...

... Is in the Heart (1946). Both studies feature Bulo- san’s scene in which Allos, the young protagonist, pretends to be Igorot, an indigenous group in Luzon, in order to earn money from tourists hungry for native photos. In American Tropics, Allan Isaac reads this scene to argue that Bulosan’s “words replay...

... Is in the Heart (1946). Both studies feature Bulo- san’s scene in which Allos, the young protagonist, pretends to be Igorot, an indigenous group in Luzon, in order to earn money from tourists hungry for native photos. In American Tropics, Allan Isaac reads this scene to argue that Bulosan’s “words replay...

... Is in the Heart (1946). Both studies feature Bulo- san’s scene in which Allos, the young protagonist, pretends to be Igorot, an indigenous group in Luzon, in order to earn money from tourists hungry for native photos. In American Tropics, Allan Isaac reads this scene to argue that Bulosan’s “words replay...

... Is in the Heart (1946). Both studies feature Bulo- san’s scene in which Allos, the young protagonist, pretends to be Igorot, an indigenous group in Luzon, in order to earn money from tourists hungry for native photos. In American Tropics, Allan Isaac reads this scene to argue that Bulosan’s “words replay...

... Is in the Heart (1946). Both studies feature Bulo- san’s scene in which Allos, the young protagonist, pretends to be Igorot, an indigenous group in Luzon, in order to earn money from tourists hungry for native photos. In American Tropics, Allan Isaac reads this scene to argue that Bulosan’s “words replay...

... Is in the Heart (1946). Both studies feature Bulo- san’s scene in which Allos, the young protagonist, pretends to be Igorot, an indigenous group in Luzon, in order to earn money from tourists hungry for native photos. In American Tropics, Allan Isaac reads this scene to argue that Bulosan’s “words replay...

... Is in the Heart (1946). Both studies feature Bulo- san’s scene in which Allos, the young protagonist, pretends to be Igorot, an indigenous group in Luzon, in order to earn money from tourists hungry for native photos. In American Tropics, Allan Isaac reads this scene to argue that Bulosan’s “words replay...

... Is in the Heart (1946). Both studies feature Bulo- san’s scene in which Allos, the young protagonist, pretends to be Igorot, an indigenous group in Luzon, in order to earn money from tourists hungry for native photos. In American Tropics, Allan Isaac reads this scene to argue that Bulosan’s “words replay...

... Is in the Heart (1946). Both studies feature Bulo- san’s scene in which Allos, the young protagonist, pretends to be Igorot, an indigenous group in Luzon, in order to earn money from tourists hungry for native photos. In American Tropics, Allan Isaac reads this scene to argue that Bulosan’s “words replay...

... Is in the Heart (1946). Both studies feature Bulo- san’s scene in which Allos, the young protagonist, pretends to be Igorot, an indigenous group in Luzon, in order to earn money from tourists hungry for native photos. In American Tropics, Allan Isaac reads this scene to argue that Bulosan’s “words replay...

... of these two monographs about American imperial- ism viewed through U.S.-Philippine relations is the same quotation from Carlos Bulosan’s America Is in the Heart (1946). Both studies feature Bulo- san’s scene in which Allos, the young protagonist, pretends to be Igorot, an indigenous group...

... Is in the Heart (1946). Both studies feature Bulo- san’s scene in which Allos, the young protagonist, pretends to be Igorot, an indigenous group in Luzon, in order to earn money from tourists hungry for native photos. In American Tropics, Allan Isaac reads this scene to argue that Bulosan’s “words replay...

... of these two monographs about American imperial- ism viewed through U.S.-Philippine relations is the same quotation from Carlos Bulosan’s America Is in the Heart (1946). Both studies feature Bulo- san’s scene in which Allos, the young protagonist, pretends to be Igorot, an indigenous group...