Notes - Historical Interpretation and Multiperspectivity
Notes - Historical Interpretation and Multiperspectivity
- The judgements of historians on how the past should be seen make the
foundation of historical interpretation.
- Most historical interpretations are explanations: they tell us how and why things
occurred, providing reasons, arguments and evidence. Like historical
perspectives, however, there are often several interpretations of the same topic
– and they may differ significantly.
- Historians utilize facts collected from primary sources and then draw their own
reading so that their intended audience may understand the historical event, a
process that in essence, “makes sense of the past.”
- Interpretations of the past, therefore, vary according to who reads the primary
source, when it was read and how it was read
Multiperspectivity
- Multiperspectivity can be defined as a way of looking at historical events,
personalities, developments, cultures and societies from different perspectives
- The historian decides on what sources to use, what interpretation to make more
apparent, depending on what his end is.
Two key concepts that need to be defined before proceeding to the historical analysis
of problems in history are interpretation and multiperspectivity.
It has been said that the Philippines had "one past but many histories" is true in this
case. Different authors and writers of Philippine history books vary in their description
of the Philippine's physical features, its location, number of islands, land area, river
systems, mountains, site of the first mass, and others. With these conflicting views in
certain events and situations, they are subject for debate.
TOPICS OVERVIEW
Different Perspectives/Version:
1. Jose Montero y Vidal – spanish historian that
centered how the event was an attempt in
overthrowing the Spanish government in the
Philippines. His account of the mutiny was criticized
as woefully biased.
2. Governor General Rafael Izquierdo – an official, a
spanish military officer – implicated the native
clergy or who were then active in the movement
toward secularization of parishes. Corroborated the
account of Montero y Vidal
3. Dr. Trinidad Hermenegildo Pardo de Tavera – a
Filipino Scholar and researcher, who wrote a
Filipino version of the bloody incident in Cavite.
Contradicting the account of the spanish historians
4. Edmund Plauchut – French writer complemented
Tavera’s account and analyzed the motivations of
the 1872 Cavite mutiny
It was only in 1968 that it was proved a hoax, when William Henry Scott, then a
doctoral candidate at the university of Sto. Tomas, defended his research on pre-
Hispanic sources in Philippine history. He attributed the code to historical fiction
wrtitten in 1913 by Jose E. Marco titled Las Antiguas Leyendas de la Isla de Negros.
Marco attributed the code itself to a priest named Jose Maria Pavon. Prominent
Filipino historians did not dissent to Scott’s findings, but there are still some who
would like to believe that the code is a legitimate document.
Another example was the poem written by Jose Rizal “Sa Aking Mga Kabata” when he
was eight years old and is probably one of Rizal’s most prominent works. There is no
evidence to support the claim that this poem, with now immortalized lines “Ang hindi
magmahal sa kanyang salita/mahigit sa hayop at malansang isda” was written by Rizal,
and worse, the evidence against Rizal’s authorship of the poem seems all unassailable.
There exists no manuscript of the poem handwritten by Rizal. The poem was first
published in 1906, in a book by Hermenegildo Cruz. Cruz said he received the poem
from Gabriel Beato Francisco, who claimed to have received it in 1884 from Rizal’s close
friend Saturnino Raselis. Rizal never mentioned writing this poem anywhere in his
writings, and more importantly, he never mentioned of having a close friend by the
person of Raselis.
Further criticism of the poem reveals more about the wrongful attribution of the poem
to Rizal. The poem was written in Tagalog ad referred to the word “kalayaan”. But it was
documented in Rizal’s letter that he first encountered the word through a Marcelo H.
Del Pilar’s translation of Rizal’s essay “El Amor Patrio’, where it was spelled “kalayahan”.
While Rizal’s native tongue was Tagalog, he was educated in Spanish, starting from his
mother, Teodora Alonzo. Later on, he would express disappointment in his difficulty in
expressing himself in his native tongue.
The poem’s spelling is also suspect-the use of letters “k’ and “w” to replace “c” and “u’,
respectively was suggested by Rizal as an adult. If the poem was indeed written during
his time, it should use the Spanish orthography that was prevalent in his time.