Name: Henriech Franchesca G.

Pasquin Course/year: BSSW-3

Submitted to: Ms. Crestine Conde, LPT
COURSE: GEC 123 – Masterpieces of Philippine Literature

Repleksyon sa epikong Bidasari at bantugan

Ang Bidasari at Bantugan ay isa sa mga epikong sikat ng mga Mindanao. Isa sa
mga naging repleksiyon ko sa mga epikong ito ay ang kasangkutan ng isa sa
mga pitong kasalanang nakamamatay, ang inggit. Sa kwento ng Bantugan, ang
kanyang nakakatandang kapatid na si Madali ay siyang nagpapatay sa kanya
dahil lamang sa pagiging makisig, matapang, at maraming nagkakagusto dito.
Nagawa niyang ipapatay ito. Ganon din sa epikong Bidasari, ang reynang si Lila
Sari ay nagawang ipakulong at pahirapan si Bidasari sa pagiging
pinakamaganda nito. Ang inggit ang siyang puno’t dulo ng lahat ng gulong
nangyari sa mga bida ng epikong ito. Wala mang ginawang masama ang
dalawang bida ngunit nagawa pa rin silang pagmalupitan ng mga tao sa paligid
nila na siyang may mga mataas na posisyon sa kanila. Ngunit ang kabutihan pa
rin ang nanaig sa huli. Parehong nagkaroon ng magandang katapusan ang bawat
epiko. Si Bantugan ay siyang hinirang na bayani at si Bidasari ay pinakasalan
ng isang hari. Ang kabutihan pa rin ang nananaig sa huli.

Name: Henriech Franchesca G. Pasquin Course/year: BSSW-3

Submitted to: Ms. Crestine Conde, LPT
COURSE: GEC 123 – Masterpieces of Philippine Literature

Assignment: Critical Approaches in literature

There are eight critical approaches to literature

1. A literary criticism movement known as "deconstruction" contends that
language is unstable and that it is impossible to pinpoint our exact
meanings. Because of this, literature is unable to convey to readers a
single meaning because language is inherently too ambiguous.
Deconstructionists appreciate the notion that texts cannot represent reality
and that literature cannot offer any external meaning. Therefore, a
deconstructionist critic will purposefully draw attention to the linguistic
ambiguities that give rise to several interpretations and meanings for a
given work.
2. The goal of feminist criticism is to apply a feminist consciousness to
largely male-dominated critical perspectives. This type of criticism uses a
wide range of academic disciplines, including history, psychology,
sociology, and linguistics, to analyze literature from a feminist
perspective while placing it in a social context. In addition, feminist ideas
look at representation from the perspective of women and examine
women's writing techniques in relation to their social environments.
3. Marxist criticism, which draws heavily from the views of social
philosopher Karl Marx, is extremely politically motivated. Marxist critics
maintain that social class and economics have an impact on language use
in all contexts. It draws attention to the notion that all language expresses
opinions about issues of race, class, economics, and power, and that the
purpose of literature is to either uphold or undermine the existing political
and economic systems. Some Marxist critics describe the conflicting
socioeconomic interests that put capitalism aims—money and power—
above socialist interests—morality and justice. They do this by citing
literary works. Marxist criticism, as a result, emphasizes topic and
content over form.
4. Formalist critique emerged from the same basic theoretical framework as
deconstructionism. It was well-liked from the 1940s to the 1960s, and
certain variations are still in use today. According to recent critique, the
work is self-contained and has all the information the reader needs to
understand it. The significance of authorial aim, historical background,
reader impacts, and societal contexts is completely disregarded by
contemporary critics, who would much rather concentrate on the layers in
the next work. This critique approach focuses solely on the text's aspects,
such as irony, paradox, metaphor, symbol, storyline, and so forth, and
does so by closely examining the text.
5. The literary text as part of a broader social and historical context, as well
as the contemporary reader's interaction with that work, are the main
subjects of new historicism. In order to characterize a given period's
culture, new historicists read a wide range of texts and focus on many
aspects of that culture, such as political, social, economic, and artistic
issues. They view writings as active participants in the social and political
struggles of their era, rather than merely objects that reflect the culture
from which they originated. In addition to acknowledging and examining
different interpretations of "history," new historicism makes us aware of
how our current perspective shapes the history we choose to focus on.
6. Psychoanalytic theories—particularly those of Jacques Lacan and Freud
—are employed in psychological criticism to get a deeper understanding
of the text, the reader, and the author. This approach is predicated on the
notion that there is such a thing as human awareness, which refers to the
urges, desires, and sentiments that an individual is not aware of but that
yet impact their emotions and behavior. While biographers speculate
about a writer's own intentions, whether conscious or unconscious, in a
literary work, critics utilize psychological methodologies to examine the
motivations of characters and the symbolic implications of events.
7. A relatively new and developing school of criticism called queer theory,
often known as gender studies, examines and challenges the themes of
gender identity and sexual orientation in literary works. The objectives
and goals of queer theory and feminist theory are similar in many ways,
being simultaneously both pragmatic and political. It also challenges the
idea that there is such a thing as "normal," because that assumes the
existence of a category for "deviant." Queer theorists' study and challenge
the idea that these categories exist at all, but particularly in terms of
 sexual activities and identities. To many of them, gender is not a fixed
identity that shapes actions and thoughts, but rather a "role" that is
"performed."
8. By attempting to explain what happens through a reader's mind when
they read a book, reader-response criticism shifts the focus from the text
to the reader. Critics of reader response texts are not concerned with what
the author intended to be understood or with the "correct" reading of a
text. They are curious about each reader's unique interaction with a book.
Because the reader is constructing meanings in texts rather than finding
them, there can never be a single, definitive interpretation of a text. This
method explores the diversity of texts rather than offering an explanation
for odd or incorrect interpretations. This type of approach draws attention
to our reading habits, the things that shape our interpretations, and the
insights that emerge about who we are.