Ugaling Naintindihan

Author's Notes/Comments: 

Reedited on 07.16.2019 (misspelled 1.  "imagintation" v. "imagination" & 2. "of much greater interest to me" v. "of a much greater interest to me" in this Author's Notes/Comments); 07.02.2019 (inclusion of the additional term "Political Philosophy" among the list of cognate subjects, for clarification of both its grammatical & semantical errors, which can be both a technical &/or a philosophical issue):

This poem is a Filipino/Tagalog poem, composed in a particular way (or form).   A far different poetical form, &/or composition—which is of a Japanese haiku (with seventeen syllables), but using a native language (my native language of Filipino/Tagalog—["taga-ilog"]), I was merely examining the subconscious aspects of meaning (with a seeming specialism on meaning-making and sense-making).  That exercise is subjective & should also be empirically related (through experience/experiential) as it emerges from those agencies of my own subjective imagination/observation (otherwise stated numerous times in my past author's notes/comments section).  Specifically making such a uniquely described poem was, again, a form of my practice/exercise, in the hopes of understanding haikus/tankas deeply (more significantly, in relation to my own studies of these manifold poetics).  Poems are generally considered art forms, so I thought that it could also be assumed (or presumed) to be synonymous with the maxim that is..the "highest form of expression" (from an "a priori" impression/knowledge which I have about it—a supposed quality of any type of an art).  That could still be debated due to art theories and art criticism.  Is it a philosophical/moral argument which still involves value judgements/moral judgements/critique?  In my own terms, and in most of my current adaptations of language, I wanted to get cues from suchlike works of mine to emphatically connote cultural influences that were (for myself) seeming to be inevitably applied (such as in many of these examples).  I believe those matters to be highly important in determining social phenomena which is why we have sociolinguistical considerations in Linguistics as an area/field of study (e.g, Logicism, Russell, & Oxford Philosophy).  The reason why I may have seemed to be constantly consumed by my own informal philosophical studies (casual self-directed ones, which also span the cognate subjects of Philosophy of Language, its so-called theories of language/perception/meaning, Linguistics & its subfields, including Political Philosophy) are the sheer evidential implications that I have gotten from Culture Theory (for my overarching Moral Philosophy studies, as part of another newer study, which was said to be emerging from the 1990s, & which is of a much greater interest to me—Intercultural Studies).  Those other underlying concepts relating to that, other than those denoted already, were cultural relativism/moral relativism/moral knowledge as interconnected with my religious studies whereby virtually every culture are purported to have their own (including cultural rights & literary developments).  The synonymy of intermingling social factors in our everyday lives (& perceived realities) and social realities (social facts that I have since been delving into, in a sociological point of view) can be making a huge part of my theme (i.e., just in order to rediscover the cultural impact of language, or its notions, and to prove how Media Culture have played a big role in anyone's worldview, e.g., depersonalization, disenchantment, disenfranchisement, defamiliarization, decentralization, dehumanization somehow).  Finally (not fatalistically), just to emphasize its presumed direct/indirect sociocultural/sociolinguistic connection to 'social identities' or one's very own political views/standpoints (without discounting the psychological facets whereof, which is also a presupposed given).  Therefore, while in that process of self-discovery (reinstated all-too-well), it is hoped to emphasize those said/implied objectives (and to avoid redundancy in the future explananda or explicantia of my poetics ).  Thank you for reading on & for your consideration.

Ahas At Tao

Author's Notes/Comments: 

This is a self-directed study of Japanese "haiku" poems which I've been doing for some time now (as exampled in some of the poems listed here).  However, it was, in fact, written in another language.   This was still structured as a basic Japanese haiku of seventeen syllables, but by my current usage of Filipino/Tagalog language (yet another language group, one that is also widely used among the supposed "175" ones that are also spoken formally/informally in the Philippine archipelago), I thought that this could somehow aid in my informal studies.  I think this lets me examine the nuanced approaches to those elements in the free creation of "language" that are generally believed to be involved in the wide plethora of linguistic phenomena (as in the field of Linguistics itself).  This is only a practice poem to brush up on my Tagalog language skills & thereby learn from its subliminal, or nuanced, linguistic turn in the process (e.g., to denote its interrelation to semantics & intentionality: Kriegel, Searle, Quine, et al).  I only have tried to come up with these Filipino haikus for that sake, the stated initial purpose, but, secondarily, for my own personal applications as a firsthand experiencer.  During the last, while cross-referencing some of my notes, there are actually other Filipino haikus that were already existing (I recently have just discovered); and these were found online which also have their own particular haiku structures.  Thank you for reading on!