ASEAN-Literature.pdf

ASEAN LITERATURE Litr 102 Maycel C. Villanueva, LPT Guest Lecturer I CABEIHM, BatStateU-JPLPC Malvar  Course Code: Litr 102, 3 units ASEAN LITERATURE CRITERIA FOR ASSESSMENT  Midterm Exam-15%  Final Exam-20%  Quiz- 15%  Task and Activities/Exercises-15%  Attendance/Recitation- 20%...

ASEAN LITERATURE Litr 102 Maycel C. Villanueva, LPT Guest Lecturer I CABEIHM, BatStateU-JPLPC Malvar  Course Code: Litr 102, 3 units ASEAN LITERATURE CRITERIA FOR ASSESSMENT  Midterm Exam-15%  Final Exam-20%  Quiz- 15%  Task and Activities/Exercises-15%  Attendance/Recitation- 20%  Semestral Project-15% UPON COMPLETION OF THIS COURSE, THE STUDENTS SHOULD BE ABLE TO:  1. Do a critic of ASEAN literature using different approaches or theoretical lenses to find meanings and values  2. Compare, and contrast people and culture through the elements of literature to understand the diversity and uniqueness of people to promote respect in the diversity of nations  3. Discuss possible historical and cultural bonds of members and communicate insights gained on the social, economic, political, and religious influences of the ASEAN literature. ASEAN  Association of Southeast Asian Nations  an inter-governmental organization MEMBERS  Brunei Darussalam  The Kingdom of Cambodia  The Republic of Indonesia  The Lao People’s Democratic Republic  Malaysia  The Union of Myanmar  The Republic of the Philippines  The Republic of Singapore  The Kingdom of Thailand  The Socialist Republic of Vietnam OBJECTIVES  Define ASEAN and identify member countries  Discuss general features of ASEAN literature CRITERIA FOR INCLUSION  location in the recognized geographical region of Southeast Asia  recognition by all ASEAN Member States  agreement to be bound and to abide by the Charter; and  ability and willingness to carry out the obligations of Membership. CRITERIA FOR INCLUSION  location in the recognized geographical region of Southeast Asia  recognition by all ASEAN Member States  agreement to be bound and to abide by the Charter; and  ability and willingness to carry out the obligations of Membership. LITERATURE IN SOUTHEAST ASIA  Influenced by foreigners  Mixture of traditional beliefs, culture and religion.  Legends and folklore were passed through word of mouth, by dance and writing INFLUENCES  Chinese  Indian THEMES  a feeling of nationalistic pride  change and struggles for power  Religion and beliefs 5 ESSENTIAL WORKS OF SOUTHEAST ASIAN LITERATURE  The Ramayana  The Tale of Khun Chang Khun Phaen  The Malay Annals  The Tale of Lady Kieu  This Earth of Mankind RAMAYANA  Yama Zattdaw (Burma)  Ramakian (Thailand)  Ramakerti (Cambodia)  Phra Lak Phra Lam (Laos)  Hikayat Seri Rama (Malaysia)  Serat Rama (Indonesia)  Rama Hari/Rama at Sita REGIONAL DISTINCTIONS IN “CLASSICAL” SOUTHEAST ASIA  Sanskrit region of Cambodia and Indonesia  Region of Burma  Chinese region of Vietnam REGIONAL DISTINCTIONS IN “VERNACULAR” SOUTHEAST ASIA  Burma  Thailand, Laos, Cambodia  Vietnam  Malaysia, Indonesia  Philippines REFERENCES  ASN CHARTER- Rev13.0_20Oct2007_FINAL,formatted4signing_1 9Nov2007_Art45,46,diffFont.doc (aseankorea.org)  https://www.asean-life.com/literature-south-east- asian/427 AGREEMENT: PHILIPPINE LITERATURE  Genoveva Edroza Matute  Rogelio Sikat VIETNAMESE LITERATURE VIETNAMESE LITERATURE Features of Early Vietnamese Literature  Oral (indigenous)  Written (Chinese influence)  Early literature uses Chinese characters when they write  Chu Nom -system of writing also known as the Southern script  Han-Viet (Chinese-Vietnamese) writing  Quoc-ngu - national script Oral poetry  Mostly lyrical, first person  Folk ballads and ceremonial songs VIETNAMESE LITERATURE Themes  Being filial  Marriage culture  “cherished” Oral poetry  Mostly lyrical, first person  Folk ballads and ceremonial songs THE TALE OF KIEU THE TALE OF KIEU  Truyện Kiều  Writen by Nguyen Du, a statesman poet  one of Vietnam’s treasured national literary works, which presents historical and societal Vietnamese influences, calling on Confucian tradition when confronting a woman’s love and fate. A SCHOOL BOY’S APOLOGY By Le Thanh Huan If sometimes I fall asleep in a lecture Or shout and scream as if alone Please forgive me, please don’t be angry For I have no place to play. I’m growing up I want to be a sailor I’m wishing for a giant arena, a stream I feel like yelling my life is beginning Every minute I want to hold tight to my dreams. A SCHOOL BOY’S APOLOGY But the fires of war have shriveled my joys At every step I see guns turned on me At every word I hear the crash of steel Not believing, not understanding I only stare. The slaughter goes on and on, Blood and bones and hatred all strained red. People running from the front to look out for themselves Cheating, lying, stabbing others in the back Some of my friends have fallen. No one knew, no one cared, they were dewdrops that’s all. My home will be burnt to the ground The way back cut off, partitioned… THE CHERISHED DAUGHTER Mother, I am eighteen this year  and still without a husband. What, Mother, is your plan? The magpie brought two matchmakers and you threw them the challenge: not less than five full quan, five thousand areca nuts, five fat pigs, and five suits of clothes.  Mother, I am twenty-three this year and still without a husband. What, Mother, dear, is your plan? The magpie brought two matchmakers and you threw them the challenge: not less than three full quan, three thousand areca nuts, three fat pigs, and three suits of clothes. THE CHERISHED DAUGHTER Mother, I am thirty-two this year and still without a husband. What, Mother, darling, is your plan? The magpie brought two matchmakers and you threw them the challenge: not less than one full quan, one thousand areca nuts, one fat dog this time, and one suit of clothes. Mother, I am forty-three this year. Still without a husband. Mother, look, Mother, will you please just give me away? INSIDE SUBMARINES by Phan Nhien Hao tr. Linh Dinh We live inside odd-shaped submarines chasing after secrets and the darkness of the ocean on a voyage toward plastic horizons where vague connections can never be reached and hopes are not deployed before the storm arrives and the alarm command starts to rouse the last illusions to stand up and put life jackets on looking to each other for help Once I was at the equator trying to slice the earth in half along the dotted line but someone held my hand and said: “If you do that, friend, water will fall into the void, and then our submarine won’t have any place to dive.” BRUNEI LITERATURE STUDIES BRUNEI DARUSSALAM AND THE MODERN NOVEL  A pattern of self-publication, overseas publications and one-off productions begins to emerge when discussing the production of English literature in Brunei, suggesting a lack of institutionalized national support  Despite government calls, the publications of the state of Bruneian literature and publishing remains nascent.  Heavier weight on British-American literature in the past.  Most literature in Brunei is either written in Malay or in English.  Brunei achieved independence in 1984, having been a British protectorate since 1888.  The official language is Malay, with English as a major second language. Many Chinese speak southern varieties of Chinese, and many learn Mandarinin school. BRUNEI DARUSSALAM AND THE MODERN NOVEL  A pattern of self-publication, overseas publications and one-off productions begins to emerge when discussing the production of English literature in Brunei, suggesting a lack of institutionalized national support  Despite government calls, the publications of the state of Bruneian literature and publishing remains nascent.  Heavier weight on British-American literature in the past. BRUNEI DARUSSALAM  is also a developing and modernisingsociety that has access to global discourses and images of gender and sexuality in addition to Eurocentric narratives that celebrate equality and freedom.  As a result, ideas and views of gender and sexuality are changing or adapting to contextual and contingent forces in the country and beyond.  Espousing themes, language, representations and perspectives that are particular to Brunei, novels engage Malay masculinity in ways that shed light on local-global tensions and contestations about masculinities and, correspondingly, gender and sexual identities.  FantasisingMasculinity in Bruneian Anglophone Fiction (ByGraceV. S. Chin)Routledge Handbook of Contemporary Brunei THE GREEN HEART OF BORNEO A Kingdom of Unexpected Treasures tourism tagline A GEM OF A NATION Always referred to as a hidden gem AN ABODE OF PEACE Negara Brunei Darussalam Official name Negara Brunei' means 'the state of Brunei', and 'Darussalam' means 'abode of peace' A TREASURE OF EMPIRE/A KINGDOM OF TREASURES/AN OASIS OF MODERN EMPIRE  Architecture  Rainforests  Oil  Entertainment A HAVEN OF TRANQUILITY  Generally peaceful THAI LITERATURE  The earliest literature, that of the Sukhothai period (13th to mid-14th century), survives chiefly in stone inscriptions, which provide vivid accounts of contemporary life.  Ramkhamhaeng inscription of 1292, in which King Ramkhamhaeng records the economic abundance of his kingdom and the benevolence of his rule.  Classical literature, written in verse, dates from the Ayutthaya period (1351–1767).  Western influence by the 20th century  Serialized Thai Literature by 1920s  Sunthorn Phu (1786-1855), poet of the Rattanakosin period (1772-present), has become known as the People's Poet of Thailand. LITERATURE IN CAMBODIA KHMER LITERATURE  The best-known epic is the Reamker (“Honour of Rama”; Eng. trans. Reamker), the Cambodian version of the Ramayana  Early literature reflects the culture of India; Buddhist  Classified into three: the epic, verse novels, and cbap, or “codes of conduct.”  Written literature is mostly restricted to the royal courts or the Buddhist monasteries  https://www.britannica.com/art/Khmer-literature TUM TEAV  a tragic love story  believed to be based on real events that occurred during the 17th century.  passed down orally and then eventually recorded in the 19th century by the poet Santhor Mok.  taught in schools and often retold in comic-strip format. It has also been filmed on two occasions and has inspired stage adaptations and popular songs.  Filial piety and justice system  “Num Minthum Chieng Neal” (a cake cannot be bigger than the cup that holds it) “Num Minthum Chieng Neal”  “A cake cannot be bigger than the cup that holds it.” LAOTIAN LITERATURE OBJECTIVES  Examine history and the elements in Laotian literature  Analyze the poem “There is not Only You” and “Bewail of a Mother”  Ascertain the mood of the poems  Interpret the meanings conveyed in the poems through paraphrasing  Relate the themes of the poems to real life situations  Accomplish varied multi-modal activities LITERATURE IN LAOS  Literature served an important role as a vehicle to convey Buddhist religious teachings and explain proper behavior for individuals in society.  The literary tradition of the neighboring kingdom of Lan Na deeply influenced it  Literature existed in both poetic and prose forms.  Shares similarities with Thai literature  Uses alliteration  Influenced by France due to colonization  Laos’ Ramayana is entitled Phra Lak Phra Lam MAJOR CLASSICAL WORKS  Vessantara Jataka-547 stories that teach about virtue  Prince Vessantara or Pha Vet. He is seen as the last incarnation of the Buddha before his rebirth as Prince Siddhartha.  Sang Sinsai  relates the exploits of a legendary prince to rescue his aunt  Sang Sinxay is considered one of the three masterpieces of Lao literature. The poem is popular in Laos and the Isan region of Thailand, where its scenes are depicted on numerous temples.  Thao Hung Thao Cheuang  the tale of a Southeast Asian warrior-king.  The subject of this masterpiece is the greatness of a courageous king whose influence was hard upon the Mekong banks and Mekong basins during the period of 10th through 12th centuries. WHAT WILL YOU DO FOR LOVE?  Love is forever  John Everingham THERE IS NOT ONLY YOU There lived a widower with her descendants She is not anxious with any assistance Day by day she does merits making She thought there are no other mothers who can do as her Oh dear! You feed your kids with no weeping But you still said that you were poor The poorest woman in this world You asked to whom are poor level as you, please clarify. When feeding your kids you were helped by ten You are not called for house works or cooking But your poor can not be compared with remote women Who make incomes for their daily surviving? Imagining when their kids were killed by bombs They were crying as if they would die Those were the most awful time of their lives Could you please clarify what level of their poor lives? SINGAPOREAN LITERATURE OBJECTIVES  Determine what makes Singaporean Literature Singaporean  Determine the meaning of unfamiliar words through context clues  Relate Karen Horney’s Personality Types to character development in fiction  Evaluate the effectiveness of the approaches to characterization in presenting human facsimiles in fiction. LITERATURE IN LAOS  Literature consists of works using any of the four main languages of the country  English  Malay  Mandarin  Tamil  Shows various aspects of Singaporean society which is multicultural  Not specific in terms of language  “Something within the Singaporean psyche is conditioned to believe that the literature we produce is of lesser value than that from foreign lands.”  “Must we define Singapore’s literary voice for it to be recognised?”  “Not as heavily invested in Sing Lit” BEATRICE BOWERS, LIFESTYLE ASIA  “Aside from their ‘Singaporean-ness’, it would be difficult to pin down one characteristic [that labels Sing Lit]”  — Jing Jing Lee  “I define Singapore literature as any text written by anyone who has a deep and abiding relationship with Singapore. Is it necessary to have a concrete definition of what should go into this category? No. Is it necessary to have a relationship with it? Yes, but it also up to you what sort of relationship you want with it. ” Clara Chow GRANDFATHER’S STORY BY CATHERINE LIM KAREN HORNEY’S PERSONALITY TYPES  Detached -away  Compliant -towards  Hostile -against THINGS WE EXPERIENCE AS CHILDREN THAT CONTRIBUTE TO BASIC ANXIETY (HORNEY’S THEORY OF NEUROTIC NEEDS) Excessive admiration Injustice and discrimination Isolation from other children Lack of respect for needs Lack of guidance Lack of warmth Over-protection Parental arguments or hostility in the home Too much or too little responsibility Unkept promises 1. Needs that move you towards others: These neurotic needs cause individuals to seek affirmation and acceptance from others. People with these needs are often described as needy or clingy as they seek out approval and love. 2. Needs that move you away from others: These neurotic needs create hostility and antisocial behavior. These individuals are often described as cold, indifferent, and aloof. 3. Needs that move you against others: These neurotic needs result in hostility and a need to control other people. These individuals are often described as difficult, domineering, and unkind. MALAYSIA OBJECTIVES  Identify elements in Malaysian Literature  Distinguish similarities in the versions of Ramayana across Southeast Asia  Analyze The Frying Pan. MALAYSIAN LITERATURE  Influenced by Indian epics such as Mahabharat and Ramayana  The earliest works of Malaysian literature were transmitted orally in the absence of writing scripts.  The literary traditions of the Malay sultanates were distinct in that scribes were hired to record the significant events of the time.  One important work of this period was Sejarah Melayu (The Malay Annals), which was written during the era of the Malacca Sultanate, rewritten in 1536 and revised in 1612.  Animal fables are often used to explain certain natural phenomena.  There are three forms of traditional Malay poetry: the mantera, the pantun and the syair.  Syair (Jawi: )‫شعير‬is a form of traditional Malay (also subsequently modern Indonesian and Malaysian) poetry that is made up of four-line stanzas or quatrains.  Pantun (Jawi: )‫ڤنتون‬is a Malay oral poetic form used to express intricate ideas and emotions. It is generally consists of even- numbered lines and based on ABAB rhyming schemes. HIKAYAT SERI RAMA (RAMAYANA) PRINCE RAMA  Reincarnation of the god Vishnu SITA Reincarnation of the goddess Lakshmi HIKAYAT SERI RAMA Also Malaysia’s unofficial national epic Seri Rama is weaker and takes a backseat while his brother Laksmana is more courageous and decisive Wayang kulit--shadow theater Marriage Abduction of Sita Final battle universal theme of goodness, righteousness, and justice wins over evil HIKAYAT SERI RAMA CHARACTERS  The characters of Hikayat Seri Rama share the same characteristics and features as in the original story of Indian Ramayan.  Sri Rama - Seri Rama Sita - Siti Dewi Lakshmana - Laksmana Hanuman - Hanuman Ravana - Rawana Angad - Seri Anggada Shiva - Siwa  Seri Rama and Laksamana went to find Siti Dewi.  When Sri Rama and Laksamana were walking in the forest, they met a male bird and four female birds.  The male bird said that Sri Rama could not take good care of his wife, unlike him who had four wives but could take care of her.  Then, Sri Rama asked Dewata Mulia Raya to curse the bird so blind that he could no longer see his wives.  Met a crane who was drinking by the lake.