Filipino Literature Research Articles

Narratives of Compulsory Heterosexuality Struggles of Filipino Lesbians in the Selected Poems from Tingle: Anthology of Pinay Lesbian Writings

Utilizing Adrienne Rich's concept of compulsory heterosexuality, this research investigates narratives and struggles of Filipina lesbians as depicted in selected poems from "Tingle: Anthology of Pinay Lesbian Writings." Rich's theory, which describes heterosexuality as a social imperative and not an option available to women, can serve as a critical lens to understand Filipino literature more fully. This research exposes the profound effect of Rich's conception of society on the lived experiences of LGBTQIA+ community members in the Philippines. Through careful investigation using qualitative content analysis, themes of social pressure, economic dependence, and compulsory heterosexuality become evident. The findings underlined the urgency of acknowledging and challenging these deeply entrenched struggles, drawing attention to the potential damage imposed by societal norms and perceptions that persist over time. The conclusion of this research calls for greater inclusivity, representation, and support of the LGBTQIA+ community. Institutions across various sectors should actively foster understanding, acceptance, and celebration of diverse narratives to enrich the human experience.

Infographics: Tool for Enhancing The Level of Knowledge in Contextualized Filipino Literature of Grade 11 Students

Infographics: Tool for Enhancing The Level of Knowledge in Contextualized Filipino Literature of Grade 11 Students

Beyond Words: Analysis of Translation Techniques in Filipino Literature

The research aims to analyze the techniques used in translating international literature to Filipino literature. The method of this study is descriptive- qualitative that focuses on translation product analysis. The collecting of data comes from international literature particularly short story such as The Necklace (Ang Kuwintas), The Pig (Ang Alaga), and The Gift of Magi (Ang Aginaldo ng mga Mago) that was translated from English into Filipino and has been used in the 10th-grade level of Department of Education in the Philippines. The findings revealed five translation procedures identified in this study. Those procedures are as follows: Borrowing, Modulation, Transposition, Equivalence, and Adaptation. The first technique (borrowing) is oriented to the source text while the rest (explicating, modulation, equivalence, and adaptation) are oriented to the target text. Procedures that are oriented to source text are referred to as direct translation, while those to target text are referred to as oblique translation. The findings reveal that translators did not use dialectal and word formations to compensate for certain technical and cultural words but instead translated them into a statement or phrase where the word in the English version is reciprocated in a way that is interpreted. This means that instead of borrowing a word, the translator sometimes interprets the word. keywords: translation, procedure, direct, oblique

Filipino-Ness in Anna Felicia Sanchez’s “Martinés”

Filipino-ness in cultural beliefs, cultural practices, personality traits, cultural values, and perception of mythical creatures and supernatural phenomena were the main concepts of the study. The research aimed to extract and analyze Filipino-ness in the story “Martinés” by Anna Felicia Sanchez. Content analysis, extraction of passages in the story through frame of references such as; characters, settings, conflict, and sensory imagery were used in the analysis of the story “Martinés”. Filipino-ness in cultural beliefs signifies that Filipinos are superstitious people for they tend to give attention and importance to some supernatural forces. Filipino ness in cultural practices reveals that Filipinos are traditional practitioners of offerings in the form of ritual activities. Filipinos are also practicing “Bayanihan”, especially during crucial times in their lives. Filipino-ness in personality traits shows that the Filipinos despite the problems are experiencing, still are determined and optimistic to surpass all hardships. Filipino ness in cultural values exemplifies the hospitality of the Filipinos to their visitors. Filipino-ness in the perception of mythical creatures and supernatural phenomena displays how Filipinos perceived supernatural forces and entities as an influence of their culture. The portrayal of the Filipinos as strong believers in superstitions is dominant in the story “Martinés”. This suggests that there are still Filipinos who give value to superstitions in this present time. Thus, the story “Martinés” is a vital reference in teaching aspects of Filipino culture in a literature class, which can be also a way to promote and preserve Filipino culture and literature.

From Private Eye to Public “I”: The Chinese Filipinos in Charlson Ong’s Hard-Boiled Fiction

Charlson Ong’s Blue Angel, White Shadow (2010) is a hard-boiled fiction that revolves around the issues of crime, corruption, and death in a postcolonial Southeast Asian state. Predominantly dark, gloomy, and mysterious, the mood of the narrative establishes a strongly morose reading experience. The narrative world portrayed in the novel is simultaneously sorrowful and somber. Binondo, the historical ethnic Chinese epicenter of the Philippines, is depicted with excessive chaos and moral disarray. I argue that the novel has attempted to reshape the usual form of hard-boiled fiction by systematically interrupting the narrative’s serious and cynical tone. More specifically, humor was deployed by the author as a mechanism to intervene in the novel’s subscription to the norms of hard-boiled fiction. The novel puts into perspective different facets of Chinese Filipino identity mediated through the Philippine postcolonial landscape. Ultimately, I initiate a discussion on the intersection of Chinese Filipino literature, identities, diaspora, and genre theory. I maintain that Chinese Filipino literature, like the subject of the present inquiry, is borne out of the diasporic experience through collective histories and memories.

Integration of Tausug Literature in Filipino Course: The Case of Mindanao State University, Sulu

The non-integration of the Tausug literature in the school curriculum provides continuous degeneration of the Tausug literature in the minds and practices of the young Tausug. On the other hand, the integration of the Tausug literature in Filipino literature subjects will revive the dying culture of the Tausug. This study aimed to determine the components of the Tausug literature for integration into Filipino subjects. This study uses interpretative phenomenological analysis as its research design. Focus group discussion (FGD) was conducted to gain an in-depth understanding of social issues. Moreover, to obtain data from a purposively selected group, this FGD recruited four Tausug Filipino Professors and a Tausug Islamic studies Professor who lived in the province of Sulu as participants of the study. FGD was held in one classroom in the college of education for 2 hours, and open-ended questions were raised to elicit responses from the participants. The integration of the Tausug literature in Filipino subjects or in the educational curriculum is very relevant in the Muslim areas and in the promotion of quality education. Teaching and preserving cultural values and heritage are vital components of quality education. Therefore, this integration strengthened cultural preservation, which in turn led to increased student awareness. If the students became conscious of their cultural orientation, cultural practices became a uniting factor among the people in the community.

Translation (in/of/as) history: toward a model for historicising translation in Hispanic Filipino literature

Translation (in/of/as) history: toward a model for historicising translation in Hispanic Filipino literature

Integrating Gender and Development (GAD) in the Classroom: The Case of Lucsuhin National High School, Department of Education-Philippines

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Motherless Tongues: The insurgency of language amid wars of translation by Vicente L. Rafael

Reviewed by: Motherless Tongues: The insurgency of language amid wars of translation by Vicente L. Rafael Marlon James Sales Motherless Tongues: The insurgency of language amid wars of translation By Vicente L. Rafael. Durham: Duke University Press, 2016 Those of us who have been reading Vicente L. Rafael may be tempted to consider his latest book as a sequel to his existing body of work in Philippine translation history. While two of his previous books have focussed on clearly defined periods in the evolution of Filipino literature in Spanish, his latest work delves into multilingualism in the Philippines and beyond, and the many political, social and cultural exigencies that have helped shape it over time. What comes out is an interesting reflection on the role of language in interrogating colonialism and its many refractions in our collective historical imagination, which even those who are unfamiliar with the linguistic situation in the Philippines will appreciate. One such refraction is the concept of the mother tongue, which Rafael subverts as a way of framing this collection of essays. Linguistic maternity has received much attention in postcolonial translation studies because of its association with the constructs of race and identity, and its significance to bigger social issues such as migration, human rights and citizenship. Postcolonial spaces are multilingual spaces where many mother tongues are spoken, often in conditions of uneven privilege. "There is no mother tongue," Gilles Deleuze and Felix Guattari claim, "only a power takeover by a dominant language within a political multiplicity."1 The issue that postcolonial translation studies ultimately seeks to address therefore is not the mother tongue per se, but rather those conditions that have enabled it to promote inequality. That a particular mother tongue is conflated in some societies with universalising descriptors such as "national language," "official language" and "lingua franca" highlights the entitlement attached to speaking specific languages. It also suggests, as Liesbeth Minnard and Till Dembeck point out, that referring to a language as a mother tongue is at times a convenient way of talking obliquely about racial politics.2 In the postwar Philippines, the ability to speak English—and sound American—is a status symbol, an enduring legacy of the US occupation of the islands following three centuries of Spanish rule. This is a common theme threading through many of Rafael's chapters, which he introduces in the opening pages of his book. Reminiscing about his experiences with multilingualism in the country, he writes that he grew up speaking American English together with other local and foreign languages. Thus does Rafael undermine the image of the monadic mother tongue. He contends that, as with many other Filipinos, "I have no mother tongue, or rather that I have many mother tongues" (5). Readers will realise at this point that the title Motherless Tongues is a provocation underscoring the paradox of one's orphanhood for having too many linguistic mothers. Rafael then links multilingualism to translation by portraying the latter as an aporia: Translation occurs every time multilingual speakers attempt to repress the pluralism of their linguistic heritage in order to express themselves in one hegemonic language. However, such attempts fail once these speakers are confronted with the ideological reductions posed by untranstability, which in Rafael's usage alludes largely to the absence of a direct equivalent of a source-language unit in a particular target language. This intricate (or aporetic, in Rafael's parlance) portrayal of translation calls to mind many previous works in translation studies such as Barbara Cassin's dictionary of untranslatables, Emily Apter's thesis against World Literature, and Ronit Ricci's untranslatability of translation. Another major theme covered in the book is the relationship between war and translation, which Rafael develops in three parts. Part I traces the different uses of translation in the Philippines from the Filipino revolution against Spain in the late nineteenth century to the so-called EDSA II revolution in 2001 that ousted the then president of the Philippines, Joseph Ejercito Estrada. From the ecclesiastical documents in the seventeenth to eighteenth centuries to the 1898 proclamation of Philippine independence from Spain, from the American public school system in the first half of twentieth century to the use of...

다문화적 사회를 위한 토대로써 필리핀 문학의 가능성 : Yesterday, Today, and Tomorrow와 The Portrait of an Artist as Filipino 읽기

This paper examines the possibility of Filipino literature as the basis for a multicultural society by discussing two representative Filipino plays. Taking into account that Korean society is becoming multicultural due to the increase in Chinese Koreans, migrant workers, and foreign brides among others, it is imperative to provide Koreans and others with a multicultural education. For a multicultural society, mutual understanding and egalitarian relationships between Koreans and immigrants are necessary, but policies have emphasized the assimilation of migrant workers and foreign brides to Korean society. At this point, I argue for Filipino literature education as multicultural for college students. The rationale for this is that the number of Filipino immigrants or workers is relatively high compared to other immigrants. In addition, Filipino literature has rarely been taught in colleges despite the fact that some postcolonial and multicultural literary works from other previously colonized countries have been canonized.BR The methodology of multicultural education is examined through the discussion of Yesterday, Today, and Tomorrow by Aurelio Tolentino and The Portrait of an Artist as Filipino by Nick Joaquin. The two plays, produced in the times when the Philippines were under colonial powers, represent Filipinos not as merely the oppressed but as subjects fighting, killing, and negotiating independence. The reading of the two plays from postcolonial points of view will help Koreans to look at and interpret Filipino history and culture from their own viewpoints, freed from ideologies and prejudices of the west. It will also contribute to the establishment of the multicultural society by promoting Koreans’understanding toward Filipino immigrants and Filipinos.BR

Subversions of the American Century: Filipino Literature in Spanish and the Transpacific Transformation of the United States

Subversions of the American Century: Filipino Literature in Spanish and the Transpacific Transformation of the United States

Subversions of the American Century: Filipino Literature in Spanish and the Transpacific Transformation of the United States. Adam Lifshey

Subversions of the American Century: Filipino Literature in Spanish and the Transpacific Transformation of the United States. Adam Lifshey

The Magellan Fallacy: Globalization and the Emergence of Asian and African Literature in Spanish

The Magellan Fallacy: Globalization and the Emergence of Asian and African Literature in Spanish

Beyond the Nation: Diasporic Filipino Literature and Queer Reading By Martin Joseph Ponce New York: New York University Press, 2012, 298 pp.

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But for the Apocalypse: Wilfrido Nolledo’s Da rk Mirror of Empire

This essay reads Wilfrido Nolledo’s novel, But for the Lovers (1970), across the rocky terrain in which the postcolonial Anglophone novel intersects with the question of postmodernity. Using Paul Ricoeur’s Memory, History, and Forgetting and Fredric Jameson’s exhortation to the critic to “Always historicize!” as my primary theoretical frameworks, I argue against the seemingly common accusation that the “postmodern” Anglophone Filipino novel––of which But for the Lovers is a kind of prototypical example––is incapable of creating a perspective on the political and historical conditions of the Philippines as a postcolonial nation and that it is merely symptomatic of the much larger political, social, and cultural malaise characteristic of the current political economic and cultural moment. My argument is that But for the Lovers forces the critic to resituate her perspective on the problems of Philippine nationalism by linking it to the question of the novel’s style: only by doing so can the way that history and fiction narrate and produce knowledge about the past be interrogated. Ultimately, I argue that But for the Lovers demonstrates that the ultimate horizon for any reading of Anglophone Philippine fiction is not just history, but the unassailable historical condition of US imperialism in the Philippines. The novel’s apocalyptic finale, I suggest, dramatizes the large-scale violence and genocide that founds, as historian Dylan Rodriguez argues, the moment of US-Philippine “contact” in the early twentieth century, and in this way conditions the very possibility of a Filipino literature in English.

Beyond the Nation: Diasporic Filipino Literature and Queer Reading by Martin Joseph Ponce

Beyond the Nation: Diasporic Filipino Literature and Queer Reading by Martin Joseph Ponce

The Erotics of Sovereignty: Queer Native Writing in the Era of Self-Determination Spaces between Us: Queer Settler Colonialism and Indigenous Decolonization Beyond the Nation: Diasporic Filipino Literature and Queer Reading

The Erotics of Sovereignty: Queer Native Writing in the Era of Self-Determination Spaces between Us: Queer Settler Colonialism and Indigenous Decolonization Beyond the Nation: Diasporic Filipino Literature and Queer Reading

Cerebral venous sinus thrombosis (CVST): Study of four Filipino patients and literature review

Cerebral venous sinus thrombosis (CVST): Study of four Filipino patients and literature review

The Magellan Fallacy: Globalization and the Emergence of Asian and African Literature in Spanish by Adam Lifshey (review)

Spanish is widely recognized as a language that boasts an outstanding and diverse literary tradition, from Cervantes to Garcia Marquez, Neruda, Eltit, and Bolano, to name but a few out of a long list of illustrious writers. Yet, in academia and beyond, literature in Spanish is usually considered to be synonymous with texts produced in Spain, in Latin America, and, more recently, by Spanishspeaking authors living in North America. Adam Lifshey's study deepens our understanding of Spanish-speaking literary world by drawing our attention to oft-neglected Asian and African literatures in Spanish. The book offers not only an excellent introduction to topic for scholars unacquainted with this body of work, but also provides in-depth analyses of some key texts by authors from Philippines and Equatorial Guinea.One of guiding threads in The Magellan Fallacy is an inquiry into power relations that shape perceived notions of center and periphery. The foundational standoffbetween Ferdinand Magellan, a Portuguese explorer working for Spanish crown, and Lapu Lapu, chief of a small island in archipelago that came to be known as Philippines, foreshadows complex dynamics between global and local unleashed by colonialism. Magellan was killed by Lapu Lapu, who resisted European's efforts at evangelizing his island. Nevertheless, Spain's goal of circumnavigating world was achieved as surviving members of Magellan's crew managed to sail back home. This emblematic episode reveals what Lifshey calls the Magellan fallacy: that is, conviction that global powers such as Spanish empire, represented by Magellan, necessarily prevail over local influences. The book shows how empire fights (and writes) back and thus dramatically changes colonial center.The Magellan Fallacy illustrates this struggle between global and local forces through a close reading of Spanish texts produced by Asian and African writers. An example is discussion in chapter 1 of Pedro Paterno's novel Ninay, first Asian novel in Spanish and first Filipino novel ever written, published in Madrid in 1885. Lifshey points out that Ninay follows many of conventions of costumbrismo literary genre popular in Spain at time, in which fictional texts were set in faraway locations and colorfully described local customs for benefit of European readers. One of Paterno's central claims in narrative is that, despite cultural specificities, Filipinos are as Spanish and by extension as European, as colonizers themselves. Yet Lifshey undertakes a reading of Ninay against grain, whereby he shows that novel moves beyond a simple costumbrista text and in particular episodes weaves an implicit critique of Spanish domination. Paterno's text ends with deaths of male and female protagonists, representatives of Spanish-influenced Filipino elite. The fruitlessness of this social group contrasts with survival skills of a male bandit who challenges dominant orders in islands and of female anti-heroine, true foundational couple in Ninay. Even though Paterno strove to portray Filipino society as part of Spain, his novel ultimately revealed sterility of such an endeavor.The following chapters comment on literary works resulting from two very different moments in Filipino history. Chapter 2 analyzes novel El filibusterismo (Subversion, 1891) by acclaimed author Jose Rizal, a national hero and founding father of Filipino literature who was assassinated by authorities as suspected leader of a revolution to overthrow Spanish rule over archipelago. In El filibusterismo, Rizal openly condemns Spanish colonial malfeasance and lays ground for Filipino nationalism. The chapter continues with a discussion of novellas collected in Pedro Paterno's Aurora social (Social Dawn, 1910-11), which reflect social situation of a country that became independent from Spain only to be colonized by United States from 1898 onward. …

Kambal na Disyerto: Ang Kolonyal na Kanon at Komersyalismo at ang Panimulang Pagpapaagos ng Mga Agos sa Disyerto

Twin Deserts: Colonial Canon and Commercialism and the First Streams of Mga Agos sa Disyerto In tracing the beginnings of the overemphasis on canon in Filipino literature, Jose Garcia Villa is undoubtedly one of the first names that come to mind. To Filipino writers in English, he and his annual “Honor and Horror Lists” of poetry and short stories represented ideal standards to strive for. Inclusion in his annual selections was a legitimate seal of approval that signified one’s entry into the canon, more than the numerous literary contests existing at the time. As Villa upheld Western standards in selecting what he considered the best of Filipino literature in English, he paved the way for a concept of canon that, according to critic Jonathan Chua, silenced the “Filipino” while highlighting “Literature” and weakened the dichotomies of American/Filipino, center/margin, civilized/savage, and colonizer/colonized. It served as an opiate that blotted out the memory of Filipinos’ “sour” acceptance of their American colonizers. Filipino writers were put at a disadvantage by Villa’s canon, which placed the English language and Western standards at the center. Writers were confined to these western standards in the American colonial state. This was reinforced by the American curriculum, which positioned their “canon” as a major influence on Filipinos’ literary tastes. As a result, the production of Tagalog literature was limited to commercial magazines. By 1943, two decades after Villa’s work, very little had changed. The rush toward a cosmopolitan American lifestyle drew attention away from a thorough understanding of the nation’s experiences and created an obsession with making money. This was also the case for Filipino writers in Tagalog. Publication in commercial magazines brought income and popularity which, together with the colonial concept of canon, dried up the landscape of Tagalog literature, especially the Tagalog short story. Neither the contributions of wellknown writers such as Lope K. Santos, Valeriano Hernandez Pena, and Patricio Mariano, nor the publication of collections such as Clodualdo del Mundo’s Parolang Ginto or Alejandro Abadilla’s Talaang Bughaw – works that first challenged the existing culture of Kritika Kultura 21/22 (2013/2014): –117 © Ateneo de Manila University commercialism and its emphasis on income and popularity – could address this. The arrival of Japanese colonizers did not change these circumstances, either, as writers during this period were motivated mainly by the need to survive in those tight times. The formulaic writing (entertainment and didacticism) of Tagalog writers for Liwayway magazine thrived under the management of Agustin C. Fabian. Readers’ patronage of this style of writing kept the magazine afloat and ensured its success. It is in this context, with the English language laying the foundation for Western standards and commercialized creation, that young writers such as Rogelio Sikat, Efren Abueg, Edgardo M. Reyes, Eduardo B. Reyes, Rogelio Ordonez, and Dominador Mirasol would create new streams for what they considered the “desert” of the Tagalog short story. All former writers for commercial magazines, these young men, the “New Blood”, found a venue for fighting against western canon and commercialism in The Quezonian, the campus publication of Manuel L. Quezon University. The same education used by the colonizers to blind the people was used by the young writers to create streams that flowed into the desert like state of the Tagalog short story thus the term “Agos” was conceived. Exposure to the works of Hemingway and other writers opened the doors for creating stories that went beyond overused themes, erratic points of view, and idealization of subjects. Their stories expressed their opposition to the status quo and led to the publication of the 1965 anthology Mga Agos sa Disyerto, which revealed the new standards of these young writers. Mga Agos sa Disyerto formally declared a new direction for the Tagalog short story and would be recognized by critics as a pioneer, a herald of a new way of looking at the world, of turning a critical eye toward established traditions, with the intention of changing the way of life.