intro-to-literature_final2.pdf

TIME FRAME OF PHILIPPINE LITERATURE IN ENGLISH PRE-SPANISH PERIOD   FOLK SONGS Kumintang Kumintang o Tagumpay...

TIME FRAME OF PHILIPPINE LITERATURE IN ENGLISH PRE-SPANISH PERIOD   FOLK SONGS Kumintang Kumintang o Tagumpay Ang Dalit o Imno Ang Oyayi o Hele Diana Soliraning Talindaw Epigrams Riddles Chants Maxims Proverbs or Sayings SPANISH PERIOD 1. The ALIBATA was replaced by the Roman Alphabet. 2. The teaching of the Christian Doctrine became the basis of religious practices. 3. The Spanish language became the literary language and lent many of its words to the Philippine language. 4. European legends and traditions became assimilated in our songs, corridos, and moro-moros. 5. Ancient literature was collected and translated to Tagalog and other dialects. 6. Many grammar books were printed in Filipino, like Tagalog, Ilocano and Visayan 7. Our periodicals during these times gained a religious tone.  RECREATIONAL PLAYS Tibag Nuestra Señora del Rosario Lagaylay Libro de los Cuatro Postprimeras de Hombre Cenaculo Ang Barlaan at Josephat (1st tagalog novel Panunuluyan printed in the Philippines) Salubong The Pasion Carillo (Shadow Play) Urbana at Feliza Zarzuela Ang mga Dalit kay Maria Sainete Arte y Reglas de la Lengua Tagala (Art and rules of the Tagalog language) Compendio de la Lengua Tagala (Understanding the Tagalog language) Vocabulario de la Lengua Tagala (Tagalog vocabulary) Vocabulario de la Lengua Pampanga (Pampanga vocabulary) Vocabulario de la Lengua Bisaya (Bisayan vocabulary) Arte de la Lengua Ilokana (The Art of the Ilocano language) Arte de la Lengua Bicolana (The Art of the Bicol language)  PERIOD OF ENLIGHTENMENT  After 300 years of passivity under Spanish rule, the Filipino spirit reawakened when the 3 priests Gomez, Burgos and Zamora were guillotined without sufficient evidence of guilt. This occurred on the 17th of February. This was buttressed with the spirit of liberalism when the Philippines opened its doors to world trade and with the coming of a liberal leader in the person of Governor Carlos Maria de la Torre. The Spaniards were unable to suppress the tide of rebellion among the Filipinos. The once religious spirit transformed itself into one of nationalism and the Filipinos demanded changes in the government and in the church. THE PERIOD OF ACTIVE REVOLUTION The Filipinos did not get the reforms demanded by the propagandists. The government turned deaf ears to these petitions; oppression continued and the church and the government became even more oppressive to the Filipinos. The good intentions of Spain were reversed by the friars who were lording it over in the Philippines. Because of this, not a few of the Filipinos affiliated with the La Liga Filipina (a civic organization suspected of being revolutionary and which triggered Rizal’s banishment to Dapitan). Like Andres Bonifacio, Emilio Jacinto, Apolinario Mabini, Jose Palma, and Pio Valenzuela decided that there was no other way except to revolt. The gist of literature contained mostly accusations against the government and was meant to arouse the people to unite and to prepare for independence.  WRITERS (Active Revolution) Andres Bonifacio Marcelo H. del Pilar Apolinario Mabini Graciano Lopez Jaena Emilio Jacinto Antonio Luna Jose Palma Mariano Ponce Pedro Paterno Jose Ma. Panganiban Noli Me Tangere Ang Dapat Mabatid ng mga Tagalog THE AMERICAN REGIME  The Filipino Revolutionists won against the Spaniards who colonized us for more than 300 years. Our flag was hoisted on June 12, 1898 as a symbol of our independence. Gen. Emilio Aguinaldo was elected the first President of the Philippine Republic but this was short-lived. The peace movements started as early as 1900. Many Filipinos started writing again and the nationalism of the people remained undaunted. Filipino writers went into all forms of literature like news, reporting, poetry, stories, plays, essays, and novels. Their writings clearly depicted their love of country and their longings for independence.  NEWSPAPERS Cecilio Apostol El Nuevo Dia (The Fernando Ma. Guerrero New Day) Jesus Balmori El Grito del Pueblo Manuel Bernabe (Call of the Nation) Claro M Recto El Renacimiento (The Adelina Guerrea Rebirth) Isidro Marpori Macario Adriatico Epifania delos Santos Pedri Aunario PLAYS: Kahapon, Ngayon at Bukas Tanikalang Ginto Malaya Walang Sugat (Severino Reyes – Father of Filipino Drama) 1. POETS OF THE HEART (Makata ng Puso) Lope K. Santos Inigo Ed Regalado SHORT STORIES Carlos Gatmaitan Mga Kwentong Ginto Amado V. Hernandez Nemecio Carabana Kwentong Ginto ng 50 Mar Antonio Batikang Kwentista 2. POETS OF LIFE (Makata ng Buhay) Parolang Ginto Lope K. Santos Talaang Bughaw Jose Corazon de Jesus Florentino Collantes Patricio Mariano NOVELS Carlos Gatmaitan Ninay Amado V. Hernandez Anak ng Dagat (Patricio 3. POETS OF THE STAGE (Makata ng Mariano) Tanghalan) Bunganga ng Pating Aurelio Tolentino Mariano Severino (Julian Cruz Tomas Remigio Balmaceda)  VISAYAN LITERATURE Juan Crisostomo Soto Edilberto Gumban (Father (Father of Kapampangan Literature) of Visayan Literature) Aurelio Tolentino – Magdalena Jalandoni - translated Kahapon, novelist; wrote Ang Ngayon at Bukas (Napon, Tunuksan Isa Ca Bulaclac Ngeni at Bukas ILOCO LITERATURE Pedro Bukaneg (Father of Iloco Literature) – from his name was derived the world BUKANEGAN (Balagtasan), a poetic contest in ilocano. Claro Caluya (Prince of Ilocano Poets Leon Pichay – known as the best Bukanegero in the Ilocos region  English as a literary vehicle came with the American occupation in August 13, 1898 and as they say, a choice bestowed on us by history. By 1900, English came to be used as a medium of instruction in the public schools. From the American forces were recruited the first teachers of English. By 1908, the primary and intermediate grades were using English. It was also about this time when UP, the forerunner in the use of English in higher education, was founded). Writers of this period were still adjusting to the newfound freedom after the paralyzing effect of repression of thought and speech under the Spanish regime. They were adjusting the idea of democracy, to the new phraseology of the English language and to the standards of the English literary style Writers had to learn direct expression as conditioned by direct thinking.  By 1919, the UP College Folio published the literary compositions of the first Filipino writers in English. They were the pioneers in short story writing. They were then groping their way into imitating American and British models which resulted in a stilted, artificial and unnatural style, lacking vitality and spontaneity. Their models included Longfellow and Hawthorne, Emerson and Thoreau, Wordsworth and Tennyson, Thackeray and Macaulay, Longfellow, Allan Poe, Irving and other American writers of the Romantic School. Writers of this folio included Fernando Maramag (the best editorial writer of this period) Juan F. Salazar, Jose M. Hernandez, Vicente del Fierro, and Francisco M. Africa and Victoriano Yamzon. They pioneered in English poetry.  El Renacimiento and Philippines Free Press were two major periodicals that were established this year. POETRY: Sursum Corda (Justo Juliano), My Mother and Air Castles (Jan F. Salazar), To My Lady in Laoag (proceso Sebastian) THE PERIOD OF IMITATION (1910-1924) The UP College Folio – 1st Filipino writers in English imitating American and British models (Fernando Maramag, Juan Salazar, Jose M. Hernandez, Vicente del Fierro). ESSAYIST – Carlos P. Romulo, Jorge C. Bacobo, Mauro Mendez, and Vicente Hilario. INFORMAL ESSAY, CRITICISM AND JOURNALISTIC COLUMN – Ignacio Mangahas, Francisco B. Icasiano, Salvador P. Lopez, Jose Lansang and Amando G. Dayrit. SHORT STORIES – Dead Stars (Paz Marquez Benitez)  By this time, Filipino writers had acquired the mastery of English writing. They now confidently and competently wrote on a lot of subjects although the old-time favorites of love and youth persisted. They went into all forms of writing like the novel and the drama. Poems became patriotic, religious, descriptive and reflective poems as well. Poets wrote in free verse, in odes and sonnets and in other types. Poetry was original, spontaneous, competently written and later, incorporated social consciousness. Short stories were still remnants of Spanish influence in the use of expressions that were florid, sentimental, exaggerated and bombastic. The influence of the Western culture also was already evident. Essays during this period improved with the years in quality and quantity, in content, subject and style. Essayists like Carlos P. Romulo became even more eminent editorial writers.  POETRY – Marcelo de Gracia Concepcion, Jose Garcia Villa, Agela Manalang Gloria, Abelardo Zubido, Trinidad Tarrosa Subido and Rafael Zulueta da Costa. SHORT STORY – Osmundo Sta. Romana, Arturo Rotor, Paz Latorena (Sunset), Jose Garcia Villa (Mirin-isa), Jose Lansang (The Broken Parasol), Sinai C. Hamada (Talanata’s Wife), Fausto Dugenio (Waterlust), Amando G. Dayrot (His Gift and Yesterday) and Amador Daguio (The Wman Who Looked Out of the Window). ESSAYS – Political and reflective essayist: Federico Mangahas, Salvador P. Lopez, Pura S. Castrence, Vicente Slbano Pacis, Ariston Estrada and Jose A. Lansang. – Critical essayist – Salvador P. Lopez, I.V. Mallari, Ignacio Manlapaz, Jose Garcia Villa, Arturo Rotor, and Leopoldo Y Yabes. – Personal and Familiar essayist: F.B. Icasiano, Alfred E. Litiatco, Solomon V. Arnaldo, Amando G. Dayrit and Consuelo Gar. BIOGRAPHY – I.P. Caballero and Marcelo de Gracia Concepcion(Quezon), Carlos Quirino (The Great Malayan), I>V> Mallari (The Birth of Discontent) THE JAPANESE PERIOD  Between 1941-1945, Philippine Literature was interrupted in its development when the Philippines was again conquered by another foreign country, Japan. Philippine literature in English came to a halt. Except for the TRIBUNE and the PHILIPPINE REVIEW, almost all newspapers in English were stopped by the Japanese. This had an advantageous effect on Filipino Literature, which experienced renewed attention because writers in English turned to writing in Filipino. Juan Laya, who use to write in English turned to Filipino because of the strict prohibitions of the Japanese regarding any writing in English. The weekly LIWAYWAY was placed under strict surveillance until it was managed by Japanese named Ishiwara. In other words, Filipino literature was given a break during this period. Many wrote plays, poems, short stories, etc. Topics and themes were often about life in the provinces THE FILIPINO POETRY The common theme of most poems during the Japanese occupation was nationalism, country, love, and life in the barrios, faith, religion and the arts. THE FILIPINO DRAMA The drama experienced a lull during the Japanese period because movie houses showing American films were closed. The big movie houses were just made to show stage shows. Many of the plays were reproductions of English plays to Tagalog. The translators were Francisco Soc Rodrigo, Alberto Concio, and Narciso Pimentel. They also founded the organization of Filipino players named Dramatic Philippines. THE FILIPINO SHORT STORY The field of the short story widened during the Japanese  TYPES OF POETRY Jose Ma. Hernandez – Panday Pira Haiku Francisco Soc Rodrigo – Sa Pula, Sa Puti Tanaga Clofualdo del Mundo – Bulaga Karamiwang Anyo Julian Cruz Balmaceda – Sino Ba Kayo, Dahil sa Anal and Higante ng Patay SHORT STORIES Narciso Reyes – Lupang Tinubuan Liwayway Arceo – Uhaw ang Tigang na Lupa NVM Gonzales – Lunsod, Nayon at Dagat-dagatan Carlos Bulosan – The Laughter of my Father Manuel E. Arguilla – How My Brother Leon Brought Home a Wife OTHER LITERARY PIECES Like the Molave (poetry)– Rafael Zulueta Literature and Society (Essay) - Salvador P. Lopez His Native Soil (Novel ) – Juan Laya THE REBIRTH OF FREEDOM  The Americans returned in 1945. On July 4, 1946, the Philippines regained is freedom and the Filipino flag waved joyously alone. The chains were broken. The early post-liberation period was marked by a kind of “struggle of mind and spirit” p osed by the sudden emancipation from the enemy, and the wild desire to see print. There was a proliferation of newspapers like the of Sergio Osmeña Sr., of Joaquin Roces, of Ramon Lopezes and the BULLETIN of Menzi. This only proved that there were more readers in English than in any over vernaculars like Tagalog, Ilocano or Hiligaynon.  POETRY IN ENGLISH Heart of the I – a Philippines Cross Section (Maximo compilation of the best works of Ramos and Florentino Valeros) some Ex-USAFFE men like Amante Prose and Poems (Nick Joaquin) Bigornia, Roman de la Cruz, Ramon Philippine Writing (T.D. Agcaoili) de Jesus and J.F. Rodriguez. Philippine Harvest (Amador and Daguio) and by Horizon Least (Artemio Patacsil Leon Ma. Guerrero and Silverio Baltazar) Who Spoke of Courage in His Sleep – (N.V.M. Gonzales) by S.P. Lopez Speak Not, Speak Also (Conrado V. Pedroche) – Have Come, Am Here (Jose Garcia by Hernando Abaya Villa)  BOOKS PUBLISHED IN FILIPINO Mga Piling Katha (Alejandro Abadilla) Ang Maikling Kuwentong Tagalog (Teodoro Agoncillo) Ako’y Isang Tinig (Genoveva Edroza Matute) Mga Piling Sanaysay (Alejandro Abadilla) Maikling Katha ng Dalawampung Pangunahing Autor (A.G. Abadilla and Ponciano E.P. Pineda) Parnasong Tagalog collection of selected poems by Huseng Sisiw and Balagtas (A.G. Abadilla) Mga Piling Akda ng Kadipan (Kapisanang Aklat ng Diwa at Panitik) Pitong Dula (Dionisio Salazar) THE NEW FILIPINO LITERATURE Philippines literature in Tagalog was revived during this period. Most themes in the writings dealt with Japanese brutalities, of the poverty of life under the Japanese government and the brave guerilla exploits. Newspapers and magazine publications were re-opened like the and Tagalog poetry acquired not only rhyme but substance and meaning. Short stories had better characters and events based on facts and realities and themes were more meaningful. Novels became common but were still read by the people for recreation  – – – THE PERIOD OF ACTIVISM  According to Pociano Pineda, youth activism in 1970-72 was due to domestic and worldwide causes. Activism is connected with the history of our Filipino youth. Because of the ills of society, the youth moved to seek reforms. Some continued to believe that the democratic government is stable and that it is only the people running the government who are at fault. Some believed that socialism or communism should replace democracy. Some armed groups were formed to bring down the democratic form of government. Many young people became activists to ask for changes in the government. In the expression of this desire for change, keen were the writings of some youth who were fired with nationalism in order to emphasize the importance of their petitions. THE SEED OF ACTIVISM The seeds of activism resulted in the declaration of Martial Law in 1972. The revolution against the powerful forces in the Philippines can be said to be the monopoly of the youth in whose veins flow the fire in their blood. PERIOD OF BLOODY PLACARDS This was the time when the youth once more proved that it is not the constant evasion that shapes our race and nationalism. THE LITERARY REVOLUTION The youth became completely rebellious. Campus newspapers showed rebellious emotions. The literature of the activists reached a point where they stated boldly what should be done to effect these changes.  The Ritual; The Archipelago (Cirilo F. Bautista) Beast in the Fields (Resil Mojares) Children of the City (Amadis Ma. Guerrero) Five Poems (Wilfredo Pascua Sanchez From Mactan to Mendiola (Frederico Licsi ONE ACT PLAY The Grotesque Among Us (Maiden Flores) BOOK PUBLISHED Days of Disquiet, Night of Rage; the First Quarters Storm and Related Events ENGLISH POETRY The Tomato Game (N.V.M. Gonzales) The Apollo Centennial (Gregorio C. Brillantes) After This, our Exile (Elsa Martinez Coscolluela) Batik Maker and Other Poems (Virginia R. Moreno) The Edge of the Wind (Artemio Tadena) Tinikling (A Sheaf of Poems) (Frederico Licsi Espino, Jr.) Grave for Blue Flower (Jesus T. Peralta) The Undiscovered Country (Manuel M. Martell) The Boxes (Rolando S. Tinio) Now is the Time for all Good Men to Come to the Aid of their Country (Julian E. Dacanay) The Renegade (Elsa Martinez Coscolluela)  JOSE F. LACABA’s book triggered writers to become more vocal of their anguish and frustrations in words describing themselves as “gasping for the air, thirsting for the water of freedom.” Thus, the Philippine Center for the International PEN (Poets, Essayists, and Novelists) held a conference centering on the “writer’s lack of freedom in a climate of fear.” Journalists came up with resolutions that pleaded for causes other than their own – like the general amnesty for political prisoners, and other secret decrees restricting free expression. They requested editors and publishers to publish the real names of writers in their columns. It called on media to disseminate information on national interest without partisan leanings and resolved to be united with all causes decrying oppression and repression.  THE PERIOD OF NEW SOCIETY  The period of the New Society started on September 21, 1972. Almost all themes in most writings dealt with the development or progress of the country – like t he Green Revolution, family planning, proper nutrition, environment, drug addiction and pollution. The New Society tried to stop pornography or those writings giving bad influences on the morals of the people. All school newspapers were temporarily stopped and so with school organizations. The Ministry of Public Affairs supervised the newspapers, books and other publications. The government took part in reviving old plays like the Cenaculo, the Zarzuela and the Embayoka of the Muslims. The Cultural Center of the Philippines, the Folk Arts Theater and even the old Metropolitan Theater were rebuilt in order to have a place for these plays. The weekly publications like KISLAP, and LIWAYWAY helped a lot in the development of literature. These became outlets for our writers to publish many of their works. FILIPINO POETRY Themes of most poems dealt with patience, regard for native culture, customs and the beauties of nature and surroundings. Many more composers added their bit during this period. Among them were Freddie Aguilar, Jose Marie Chan and the group Tito, Vic and Joey. THE PLAY The government led in reviving old plays and dramas, like the Tagalog Zarzuela, Cenaculo and the Embayoka of the Muslims which were presented in the rebuilt Metropolitan Theater, the Folk Arts Theater and the Cultural Center of the Philippines. Many schools and organizations also presented varied plays. The following organizations contributed a lot to the development of plays during this period: 1. PETA of Cecille Guidote and Lino Brocka 2. Repertory Philippines: of Rebecca Godines and Zenaida Amador 3. UP Repertory of Behn Cervantes 4. Teatro Filipino by Rolando Tinio RADIO AND TELEVISION Radio continued to be patronized during this period. The play series like SI MATAR, DAHLIA, ITO AND PALAD KO, and MR. LONELY were the forms of recreation of those without television. Even the new songs were first heard over the airwaves. Popular television plays were GULONG NG PALAD, FLOR DE LUNA, and ANNA LIZA. SUPERMAN AND TARZAN were also popular with the youth FILIPINO FILMS A yearly Pista ng mga Pelikulng Pilipino (Yearly Filipino Film Festival) was held during this time. During the festival which lasted usually for a month, only Filipino films were shown in all theaters in Metro Manila. New kinds of films without sex or romance started to be made but which were nevertheless well-received by the public  Ponciano Pineda Vicente Dimasalang Aniceto Silvestre Cir Lopez Francisco Jose Garcia Revelo Pelagio Sulit Cruz Bienvenido Ramos PLAYS Sining Embayoka – Mindanao State University Tales of Manuvu ( a new style of rock of the ballet opera) FILMS Maynila… Sa Mga Kuko ng Liwanag (Lino Brocka) Minsa’y Isang Gamu-gamo (Nora Aunor) Ganito Kami Noon… Paano Kayo Ngayon (Christopher de Leon) Insiang (hilda Coronel) Aguila (Fernando Poe Jr.) COMICS, MAGAZINES AND OTHER PUBLICATIONS During this period of the New Society, newspapers donned new forms. News on economic progress, discipline, culture, tourism and the like were favored more than the sensationalized reporting of killings, rape and robberies. Liwayway was the leading magazine. THE PALANCA AWARDS The Palanca Awards established in 1950 continued to give honor to great writers.  PLAY Spots on their Wings and Other The Heart of Emptiness is Back Stories (Antonio Enriquez) (Ricardo Demetillo) The Cries of Children on an April A Life in the Slums (Rolando S. Afternoon in the Year 1957 (Gregorio C. Brillantes) Tinio) The Day of the Locusts (Leoncio AfterCare (Juan H. Alegre) P. Deriada) Dulce Extranjera (Wilfredo D. Romance and Faith on Mount Nollede) Banahaw (Alfred A. Yuson) Go, Rider (Azucena Crajo) Password (Paul Stephen Lim) POETRY Charts (Cirilo F. Bautista) Montage (Ophelia A. Dimalanta) Identities (Artemio Tadena) Telex Moon (Cirilo F. Bautista) THE PERIOD OF THE THIRD REPUBLIC  After ten years of military rule and some changes in the life of the Filipino which started under the New Society, Martial Rule was at last lifted on January 2, 1981. the Philippines became a new nation and this; former President Marcos called “The New Republic of the Philippines ”, but a historian called this the Third Republic. During this period, it cannot be denied that many people seethed with rebellion and protest because of the continued oppression and suppression and this was aggravated with the assassination of Senator Benigno S. Aquino, Jr. on August 21, 1983. FILIPINO POETRY Poems during this period of the Third Republic were romantic and revolutionary. Writers wrote openly of their criticism against the government. The supplications of the people were coached in fiery, colorful, violent, profane and insulting language. FILIPINO SONGS Many Filipino songs dealt with themes that were really true-to-life like those of grief, poverty, aspirations for freedom, love of God, of country and of fellowmen. Many composers, grieved over Ninoy Aquino’s treacherous assassination, composed songs PHILIPPINE FILMS The yearly Festival of Filipino Films continued to be held during this period. The people’s love for s ex films also was unabated. Many producers took advantage of this at the expense of public morality. POETRY IN ENGLISH Poets, surprisingly, by common consent, found themselves writing on a common subject. The themes of most during this time dealt with courage, shock and grief over the “treachery inflicted upon Aquino.” MEDIA For journalists, it was a year loaded with libel charges, lawsuits and seditious trials which they gallantly bore as harassment suits. In campuses, newspapers were set afire to protest lack of free expression. Journalists suffered physically and otherwise. Opposition tabloids flourished. They sold out papers with the red news to the starved public; hence, smut magazines like the TIKTIK, PLAYBOY SCENE, and SAKDAL also played the sidewalks Radio led by RADIO VERITAS started reporting coverage of demonstrations. Information Minister Gregorio Cendaña called the tabloids the “mosquito press” and called their new “political pornography. ” CHILDREN’S BOOKS Among the well-loved forms of writing which abounded during this period were those of children’s stories. The Children’s Communication Center (CCC) directed by poet and writer Virgilio S. Almario already has built up an impressive collection of these kinds of books. PROSE FABLES The people’s cry of protest fou nd outlets not only in poetry but also in veiled prose fables which transparently satirized the occupants of Malacañang. In all the fables, the king, differently referred to as Totus Markus or the king or Haring Matinik was meant to poke fun at the ruler at Malacañang; similarly, Reyna Maganda or the Queen, was a veiled thrust at his queen. They were both drunk with power and were punished in the end for their misdeeds.  Plays for Children (Jame B. PROSE FABLES Reuters, S.J.) The Crown Jewels of Story Telling for Young Children Heezenhurst (Sylvia Mendez Jose and Cardo (Peggy Corr Ventura) Manuel) The Emperor’s New Underwear Laho: 5 Filipino Folk Tales (Meynardo A. Macaraig) Rizaliana for Children: The King’s Cold (Babath Illustrations and Folktales by Lolarga) Jose P. Rozal(annotated by The case of the Missing Alfredo Navrro Salanga) Charisma (Sylvia L. Mayugba) Gatan and Talaw (Jaime Alipit THE STATE OF PHILIPPINE LITERATURE IN ENGLISH AT THIS TIME Isagani Cruz, writing about Philippine literature in the “Age o f Ninoy,” makes the following observations: “Philippines literature is d efinitely changing,” and he summarizes these as follows: 1. Change in the direction of greater consciousness in content and form. 2. Change in the number of readers and the number of writers and the kind of class of writers. Writers who joined the ranks came not only from the established or professional groups but from all ranks – clerks, secretaries, drivers, housewives, students; in short, the masses. 3. The resurgence of Balagtasismo and the continued dominance of Modernismo. While Balagtasismo turned its back on the American challenge to Philippine literature its conservative conventions, Modernismo adapted Americanization for its own ends. 4. The birth of a new poetic movement still dims in outline. 5. The apparent merging of the erstwhile separate streams of oral and written literature. SOME WRITERS DURING THIS PERIOD PHILIPPINE FOLK LITERATURE (Damiana Eugenio) ADVENTURES OF MARIAN (Carissa Orosa Uy) SOMEWHERE BETWEEN YOUR SMILE AND YOUR FROWN AND OTHER POEMS (Bienvenido M. Noeiga Jr.) PARES-PARES (Bienvenido M. Noriega Jr.) AGON: POEMS, 1983 (Edgar B. Maranan) THE FARMER (Alfredo Navarro Salanga) THE ROAD TO MOWAB AND OTHER STORIES (Leoncio P. Deriada) 1981 In Hog Heaven (Jessie B. Garcia) The Party Hopper (Luning Bonifacio-Ira) In These Hallowed Halls (Jesus Q. Cruz ) 1982 Heart Island (Jose Dalisay Jr.) Pas de Deux (Azucena Grajo Uranza) The Sky Is Always Blue (Joe Marie A. Abueg) 1982 Oldtimer (Jose Dalisay Jr ) Games (Jesus O. Cruz ) Perfect Sunday (Jose Y. Ayala ) First Prize in poetry (Pilipino): Jose F. Lacaba Second Prize (English essay): Gregorio Brillantes Third Prize (English essay): Adrian Cristobal 1984 The Reprieve (Susan S. Lara) The Tangerine Gumamela (Sylvia Mendez Ventura) The Little Wars of Filemon Sayre (Lemuel Torrevillas) Stranger in an Asian City (Gregorio Brillantes) 1985 The Hand of God (Conrado de Quiros) A Novel Prize for Jorge (Eli Ang Barroso) Mecca of the East (Charles Loong) THE PERIOD AFTER THE EDSA REVOLUTION  History took another twist. Once more, the Filipino people regained their independence which they lost twenty years ago. In the span of four days form February 21-25, 1986, the so-called People Power (Lakas ng Bayan) prevailed. Together, the people barricaded the streets petitioning the government for changes and reforms. Freedom became a reality – won through a peaceful, bloodless and God-blessed revolution. Philippine society was in turmoil for a few weeks but the rejoicing after the Pres. Marcos was toppled down from power was sheer euphoria. Singing, dancing and shouting’s were the order of the day. To the Filipino people, this is the true Philippine Republic, the true Republic of the Philippines. THE STATE OF LITERATURE DURING THIS PERIOD On Newspapers and other publications: Newspapers which were once branded crony newspapers became instant opposition papers overnight. This was true of BULLETIN TODAY which became the opposition paper. The now crony newspapers that enjoyed an overnight increase in circulation were THE INQUIRER, MALAYA, and the PEOPLE’S JOURNAL. Columnists became vocal and unrestricted in their writings and a bumper crop of young journalists emerged. By June 12, 1986, a total of 19 local dailies both in English and Filipino were in circulation. On Books: Two books were conceived during the period. PEOPLE POWER was produced under a grant by the PCI Bank Human Resources Development Foundation, edited by Monina Allarey Mercado and published by the James B. Reuter, S.J. Foundation Another one BAYAN KO was published by Project 28 Days LTD. in June, 1986 in Kowloon, Hong Kong and co-published in the Philippines by Veritas Publications and Communications Foundation. FILIPINO SONGS DURING THIS PERIOD An album named HANDOG NG PILIPINO SA MUNDO carried a compilation of some of these. The song that continued to be sung throughout the trying period of the Revolution, almost like a second national anthem and which gave fire to the Filipino spirit was BAYAN KO. Its lyrics were written by Jose Corazon de Jesus way back in 1928. THE 21ST CENTURY LITERATURE WHAT IS 21ST CENTURY LITERATURE New literary works created within the last decade. Written by contemporary authors. Deals with current themes/ issues and reflects a technological culture. Often breaks traditional writing rules. Emerging genres like IM and blog format books, diigi-fiction and doodle. WHO IS THE 21ST CENTURY READER? They grew up using technology as a primary learning tool. They are capable of navigating and interpreting digital formats and media messages. They possess literacy skills which include technological abilities such as keyboarding, internet navigation, interpretation of technological speak, ability to communicate and interpret coded language and decipher graphics. THE NEW CONTEXT OF THE 21ST CENTURY LITERACY Society and technology change, so literacy also changes. Technology has increased the intensity and complexity of literate environments. This century demands that a literate person possesses a wide range of abilities and competencies, many literacies. These literacies – from reading online newspapers to participating in virtual classrooms – are multiple, dynamic, and malleable. THE NEW CONTEXT OF THE 21ST CENTURY LITERACY The 21st century readers and writers need to develop proficiency with the tools of technology. Build relationships with others to pose and solve problems collaboratively and cross-culturally. Design and share information for global communities to meet a variety of purposes. Manage, analyze and synthesize multiple streams of simultaneous information. Create, critique, analyze, ad evaluate multi-media texts.  THE 21ST CENTURY LITERARY GENRES Illustrated Novels – Textual portions are presented in traditional form – Some illustrated novels may contain no text at all. – Illustrated novels spa all genres.  THE 21ST CENTURY LITERARY GENRES Digi-fiction – Is a literary experience that combines three media: book, movie/video, and internet website. – In order to get the full story, students must engage in navigation, reading, viewing, in all three formats. – Digital fictions are different from e-books because they do not just exist as a digital version of a print novel, rather, they are known as “born digital” – that is, they would lose something of their aesthetic and/or structural form and meaning if they were removed from the digital medium. (https://readingdigitalfiction.com/about/what-is-digital-fiction/)  THE 21ST CENTURY LITERARY GENRES Illustrated Novels  THE 21ST CENTURY LITERARY GENRES Digi-fiction – they may contain hyperlinks, moving images, mini-games or sound effects. – Unlike e-books in which the reader moves from one page to another in a linear fashion, in many digital fictions, the reader has a role in constructing the narrative, either by selecting hyperlinks or by controlling a character’s journey through the storyworld. – Digital fictions therefore require that the reader interacts with the narrative throughout the reading experience and include texts such as hypertext fictions, Flash fictions and some video games. https://readingdigitalfiction.com/about/what-is-digital-fiction/  THE 21ST CENTURY LITERARY GENRES Digi-fiction  THE 21ST CENTURY LITERARY GENRES Digi-fiction  THE 21ST CENTURY LITERARY GENRES Digi-fiction  THE 21ST CENTURY LITERARY GENRES Digi-fiction  THE 21ST CENTURY LITERARY GENRES Digi-fiction  THE 21ST CENTURY LITERARY GENRES Digi-fiction  THE 21ST CENTURY LITERARY GENRES Graphic Novels – A graphic novel is a narrative work in which the story is conveyed to the reader using comic form. – The term is employed in a broad manner, encompassing non-fiction works and thematically linked short stories as well as fictional stories across a number of genres.  THE 21ST CENTURY LITERARY GENRES Graphic Novels  THE 21ST CENTURY LITERARY GENRES Manga – Manga is the Japanese word for comics – It is used in the English-speaking world as a generic term for all comic books and graphic novels originally published in Japan. – Manga is considered an artistic and storytelling style. – The term “Ameri-Manga” is sometimes used to refer to comics created by American artists in manga style.  THE 21ST CENTURY LITERARY GENRES Doodle Fiction – A literary presentation where the author incorporates doodle drawings and hand written graphics in place of traditional font. – Drawing enhances the story, often adding humorous elements that would be missing if the illustrations were omitted.  THE 21ST CENTURY LITERARY GENRES Blog, E-mail, and IM Novels – Text-Talk Novels Blog, e-mail, and IM format narratives – stories told almost completely in dialogue simulating social network exchanges.  THE 21ST CENTURY LITERARY GENRES Other genres  THE 21ST CENTURY LITERARY GENRES Other genres  THE 21ST CENTURY LITERARY GENRES Other genres TEXTULA ni FRANK G. RIVERA, ang MAKATA NG CELLPHONE (Setyembre 29, 2013) Bayang mahilig sa ganda/ Inuuna ang postura/ Walang laman ang bituka/ Kundi gasgas na pag-asa.// Si MEGAN YOUNG nang manalo/ Nagbunyi ang Pilipino/ May dala sanang asenso/ Magkakapag-asa tayo.// Nagkagyera sa Mindanao/ Kaban ng bayan ninakaw/ Sa Bagyo’y daming pumanaw/ MISS WORLD, salamat sa araw.// https://mevipres.wordpress.com/2013/09/29/textula-ni-frank-g-rivera-ang-makata-ng-cellphon e/