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                  <text>BOLINTINEANU - BSR</text>
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                <text>BSR - Binding, outer covers and doublures: upper, lower, and flap</text>
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                <text>https://agakhanmuseum.org/collection/artifact/akm384</text>
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                <text>"Durable yet easily decorated, leather presented an ideal material for protecting Islamic manuscripts. Some particularly fine bindings executed in the 15th century even featured different designs on the upper and lower covers.[1] Delicate leather filigree was often reserved for inner covers (doublures), where it would be less susceptible to damage." (https://agakhanmuseum.org/collection/artifact/akm384)</text>
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                <text>The Aga Khan Museum</text>
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                <text>ca. 1550</text>
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                <text>Images (c) The Aga Khan Museum</text>
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                <text>||||osm&#13;
Iran</text>
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                <text>BSR - Moveable Type </text>
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                <text>"Moveable type printing was invented in China around 1045, but was never practiced on a large scale as the number of Chinese script characters (about 10,000) made it impractical. In Korea, moveable type was used more widely, especially from the 14th century onwards. The moveable type characters in the case are in the Chinese gallery is script from Korea." (ROM Catalogue Description, https://collections.rom.on.ca/objects/338552/moveable-type-?ctx=5ed4ca9e-50ae-48a1-bbe8-ca459a5ec35e&amp;idx=0).</text>
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                <text>The Royal Ontario Museum</text>
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                <text>18th century</text>
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                <text>Joseon Dynasty</text>
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                <text>(c) 2016 Royal Ontario Museum. Photographed by the Overseas Korean Cultural Heritage Foundation. Further permission required.</text>
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Korea</text>
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                  <text>BOLINTINEANU - BSR</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>BSR - Scribal Implements</text>
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                <text>“The pen is a key that opens the door to the necessities of life.”

This group of Ottoman scribal implements consists of three pairs of steel scissors and a steel rule all inlaid with gold; a silver and gilt pen box and inkwell; two pen rests, one in ivory and the other of gold inlaid steel; a gold inlaid steel pen; a cylindrical implement holder painted with floral sprays; two further inkwells, one in brass and the other in silver with a turquoise stud; and a lobed silver and gilt pot. The elegant execution of the tools reflects the understanding of the writers that beautiful tools contributed to the creation of beautiful writing (calligraphy).  Islamic artisans have produced exquisite scribal implements and other related objects, including scribe’s boxes, pen boxes and inkwells. Lavishly decorated with precious metal inlays or painted designs under varnish these tools connect us to scribes and bookmakers of the past. (BSR document)</text>
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                <text>Images (c) Aga Khan Museum.</text>
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            <name>Date</name>
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                <text>1700s-1800s</text>
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                <text>Images (c) Aga Khan Museum, CC-NC-BY</text>
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                <text>https://agakhanmuseum.org/collections-dept/copyright.html</text>
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Turkey</text>
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                  <text>BOLINTINEANU - BSR</text>
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                <text>Qur’an Folio (Aga Khan Museum, AKM248)&#13;
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                <text>Aga Khan Museum, AKM248
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                <text>"The dispersed “Blue Qur’an” to which this folio belongs is one of the most famous surviving Qur’an manuscripts. The text of this outstanding Qur’an is copied in gold ink outlined in black on a deep indigo-blue parchment. Small silver rosettes (now oxidized) punctuate the flow of the text at the end of each verse and add a decorative element to an already spectacular folio. Although rare in Qur’an manuscripts, the gold-on-blue aesthetic was used in royal manuscripts in the courts of the Abbasids (750–1258) and the Fatimids (909–1171). It can also be seen in the mosaic inscriptions of the Dome of the Rock in Jerusalem, dating to 692, and known from the literary descriptions of the mosaic inscriptions in the earliest mosques in Medina and Damascus. Around a hundred leaves from this Qur’an are known from museum and private collections, including a section in Mashhad, Iran, and sixty-seven pages in a museum near Qayrawan, Tunisia." (Aga Khan Museum, https://www.agakhanmuseum.org/collection/artifact/blue-quran-folio-akm248)</text>
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                <text>Images (c) The Aga Khan Museum</text>
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                <text>9th–10th centuries</text>
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North Africa, Iraq, or Iran</text>
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                <text>Bolintineanu-Bernie</text>
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      <name>Oral History</name>
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              <text>Kaylee:&#13;
If you look at other countries, if they have such a profound literary work that shaped a lot of their history, they would have maybe like a dozen movie or TV adaptations at this point. Why do you think there's never been a particular one that stands out here? &#13;
&#13;
Kenneth:  &#13;
[0:17] I suspect the younger generation did not experience reading it like Victor Hugo’s Les Misérables. They read it like this was a required academic course set as a curriculum. And maybe they missed the point. And maybe it was too complex to run — you know, when you come up with a drama or a movie, you need a producer believing in the system. Or maybe — speculation: they don’t love their country that much. And they relegated this as a story of that time and didn’t equate it with its universality up to now. I remember that we had to take a José Rizal course for one year in university. Not Noli Me Tángere, but the life of José Rizal. In the discussion of the life of José Rizal, invariably you bring back some of the details of the novels — two novels. And then how it juxtaposed with José Rizal’s life. And that really made it more interesting because, in fact, José Rizal was writing something — at his time — a contemporary situation of his society. </text>
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Since, you know, I was just talking to Mom about this: we both learned it as a textbook. Our textbooks were chopped up into chapters, and then we'd have guiding questions and, I guess,  exercises and stuff. Since you guys learned it as a novel — I mean, you also had quizzes and everything — but did it feel less like a textbook and more like a literary work?&#13;
&#13;
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[0:36] Yes, we read it as a novel, and it looked more like a literary work that we were analyzing. For me, that was more fun. It was more real world. It was as if the school were preparing us not to look at it as a compulsory subject, like a course, but more enjoying the book — and then deriving what we can get from that book. And exactly — exactly like enjoying a telenovela. </text>
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Do you think that the school environment — such as having to learn it with classmates, having to write essays, being quizzed on the novel — impacted how you personally learned the book?&#13;
&#13;
Kenneth:&#13;
[0:11] Yes, it helped. Because it made us, as students, at that young age, pay attention to details. We had to read it, as I said, in the vernacular. And it wasn't easy for me — English being easier to digest and read — but learning in Tagalog and then trying to find the nuance of what the message was behind every sentence there made it, in fact, very challenging for me. But the examinations, the discussions in class, helped us anchor a focus on what was happening. Going back in high school — as I recall — we were not writing too much essays. It was really more of fill-in-the-blanks, multiple choice type of right or wrong answers.&#13;
&#13;
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[1:10] Okay, so more about detail. More about the memorization of details.&#13;
&#13;
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[1:14] Exactly. Rather than what were the nuances and the context of the time and what was happening, in the context of the Spanish colonization, the religious dominance, the corruption that was happening, and how the society was subservient to the Spanish colonizers. The second insight of the novel was about: people with power become corrupt. The religious authorities, as well as the people who were governing the Philippine islands at the time, exhibited some form of authoritarianism and corruption.</text>
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Okay, was there a particular scene or character from the book that struck you specifically when you were reading it? Or if you don't recall a specific part, do you remember what impression you had of the overall novel at that time you were studying it?&#13;
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[0:17] Of course, the protagonist, the character by the name of Crisóstomo Ibarra. As he — first he wasn’t there, and he came in somewhere in the later part of the chapters. It was like you anticipate the hero trying to solve the ills of the Filipino society at the time. In fact, Noli Me Tángere, the book, was translated into English as titled as The Social Cancer. So for those students who were interested in society, governance, corruption — we found it very entertaining. Because it was a book that was creating — without the intention of the author, I think, José Rizal, the national hero — he was, in fact, creating dissent, inciting people to take things into their own hands against a Catholic-dominated governance: the Spanish government. Because Philippines then was a colony. But what was also difficult at the time was — of course, we were in a Catholic high school, studying a book that was anti-government and anti-religious establishment. The irony did not escape me: a school that teaches us to obey, to be disciplined, to be compliant to rules and regulations was in fact offering us a chance to read something that was causing incense. But then of course, it wasn't the school who required us to read it. It was the Department of Education, a government agency, that mandated a curriculum that had to be followed across all schools in the country.</text>
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              <text>2 minutes 28 seconds</text>
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            <name>Title</name>
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                <text>Personal Interview with Kenneth Hartigan-Go, Audio Clip 2</text>
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            <description>An account of the resource</description>
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                <text>The interviewer asks the interviewee if there was a particular scene or character that impacted him the most as he read the novel, as well as to recall what impression he had of the overall novel at the time. The interviewee names the protagonist, Crisóstomo Ibarra, as the character he remembered most. He further elaborates that he found the book extremely interesting, and he noticed the irony that he went to a Catholic high school that had to teach students a book which was, at times, deemed heretical because of its sentiment against the Spanish friars. </text>
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                <text>Kenneth Hartigan-Go</text>
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                <text>Kaylee Hartigan-Go</text>
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                <text>Personal conversation between Kenneth Hartigan-Go and Kaylee Hartigan-Go</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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                <text>Kaylee Hartigan-Go</text>
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            <name>Date</name>
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                <text>November 20, 2020</text>
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                <text>Kaylee Hartigan-Go</text>
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                <text>Kenneth Hartigan-Go</text>
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                <text>Audio file (mp3)</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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                <text>English</text>
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            <name>Coverage</name>
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                <text>||||osm&#13;
Manila, Philippines</text>
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            <name>UUID</name>
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