Let us

check
what you
have learn.
REVIEW :

How can 21st century literature

helps us to appreciate the
diversity of human experience?
 THE SUN AND THE MOON
(A BAGOBO TRADITION STORY)

LET US ANSWER YOUR

ASSIGNMENT!
 THE SUN AND THE MOON
(A BAGOBO TRADITION STORY)

LET US ANSWER THE GUIDE

QUESTION IN THE STORY YOU
HAVE READ.
 THE SUN AND THE MOON
(A BAGOBO TRADITION STORY)

1.What kind of folk narrative is the

story? What characteristics of the
story make you think so?
 THE SUN AND THE MOON
(A BAGOBO TRADITION STORY)

2.How would you describe

the characters in the story?
 THE SUN AND THE MOON
(A BAGOBO TRADITION STORY)

3.What is the main source

of conflict?
 THE SUN AND THE MOON
(A BAGOBO TRADITION STORY)

4.How is the conflict

resolved?
 THE SUN AND THE MOON
(A BAGOBO TRADITION STORY)

5. What message does the

story seem to convey?
 The
PHILIPPINE
LITERATURE:
C O N T E M P O R A RY P E R I O D
CONTEMPORARY
\ KƏN-ˈTEM-PƏ-ˌRER-Ē\

1: mar ked by
char acter istics o f th e
pr esent per iod :
MO D E RN, CU RRE N T

2: happening, existing,
living, or co m ing in to
being dur ing the sam e
per iod of tim e
OVERVIEW
The term "contemporary
literature" usually applies to
anything written after World War
II.
It reflects current trends in life and
culture and because these things
change often, contemporary
literature changes often as well .

CHARLES M. SCHULZ
CONTEMPORARY LITERATURE MOST
OFTEN REFLECTS THE AUTHOR'S
PERSPECTIVE AND CAN COME
ACROSS AS DISTRUSTFUL. IT
QUESTIONS FACTS, HISTORICAL
PERSPECTIVES AND OFTEN
PRESENTS TWO CONTRADICTORY
ARGUMENTS SIDE BY SIDE.
• AFTER WORLD WAR II, THE
WORLD HAD A DIFFERENT
perspective on things. It changed
rapidly and literature changed
with it, almost as rapidly, despite
the fact that some authors held on
to their existing beliefs.

• These changes stemmed from a

belief that continues to grow
today, the belief that there is no
God.
• AFTER THE HORRORS
OF THE WAR, MANY
PEOPLE CAME TO THE
CONCLUSION THAT GOD
WAS EITHER DEAD OR
DID NOT EXIST IN THE
FIRST PLACE, WHICH
BROUGHT WITH IT THE
IDEA THAT MAYBE LIFE
WAS MEANINGLESS
 WRITERS STRUGGLED TO
COMMUNICATE IN A WAY
THAT SHOWED THE WORLD
HOW TO COPE WITH THIS
"TRUTH."
IN THE 21ST CENTURY,
CONTEMPORARY
LITERATURE
REFLECTS THESE BELIEFS
AND CHANGES OFTEN, BASED
ON HOW THE WORLD
CHANGES. IT IS BASED ON
HUMAN DIVERSITY,
CHARACTER, AND EMOTION.
 THE CONTEMPORARY LITERATURE
INCLUDES ALL THE
LITERARY APPEARANCES THAT HAVE
TAKEN PLACE SINCE POSTMODERNITY. IT
IS DEFINED BY A PERIOD BUT ALSO BY
ITS VERY PARTICULAR STYLE.
MOST ACADEMICS CALL
CONTEMPORARY LITERATURE ALL
LITERARY PRODUCTION AFTER THE
SECOND WORLD WAR,
 IN THE 1940S.
THIS PERIOD EXTENDS TO THE PRESENT. IT
IS
CHARACTERIZED BY FRAGMENTATION,
UNRELIABLE NARRATORS, PASTICHE
(IMITATION OF STYLES AND AUTHORS),
CHANGING NARRATION, NON-LINEAR
PRESENTATION AND PLAY AND
UNCERTAINTY IN LANGUAGE.
Characteristics of Contemporary
Literature
 Point of View
The works of contemporary literature reflect the
social and political views of their authors. These
are shown through the characters, the connections
with the events, and the socio-economic messages
of their works.
 Magical Realism

The development of magical realism

as a narrative technique represents an
innovation in 20th-century contemporary
literature. This revolutionary technique is
marked by a deep social and political
character.
Innovative Narrative Resources

There is a break with

previous narrative
techniques. Contemporary
literature uses Modern
narrative resources, such as
the modification of time
and the presentation of the
inner world of the
characters.
Different Eras in Contemporary
Literature
• POSTWAR PHILIPPINE
LITERATURE (THE REPUBLIC
PERIOD)

• PHILIPPINE LITERATURE DURING

“MARTIAL LAW”

• PHILIPPINE LITERATURE POST-

EDSA REVOLUTION (1986–1995)

• 21ST CENTURY PHILIPPINE

LITERATURE (2001–PRESENT)
 Philippine Literature Postwar

• From 1941 to 1945,

Philippine literature was
interrupted in its development
when the Philippines was
again occupied by Japan.
• Philippine literature in
English came to halt.
• Writers had a renewed
attention to literature in the
Filipino language.
 POST WAR LITERATURE
• Dominated by writers in English who were educated
and trained in writers’ workshops in the United States
or England
• Edilberto and Edith Tiempo (novelists, poet)
• Francisco Arcellana (short-fictionist)
• Ricaredo Demetillo (poet-critic)
• Amador Daguio (poet-fictionist)
• Carlos Angeles (poet)
• N.V.M. Gonzalez (fictionist)
• Bienvenido N. Santos (fictionist)
 Philippine Literature Postwar

With their credentials and

solid reputations, these
writers influenced the form
and direction of the next
generation of writers mainly
in accordance with the tenets
of the formalist New Critics
of America and England.
 Characteristics of Philippine Postwar Literature

● Romanticism
○ 18th century literary, artistic, and
philosophical movement
○ Reaction against neoclassicism
○ emphasizes the imagination and
emotions
 Characteristics of Philippine Postwar Literature

● Nationalism
○ exalting one’s nation above all others
○ placing primary emphasis on the
promotion of the nation’s culture and
welfare before those of other nations.

● Independence
○ the quality or state of having freedom
from being controlled by others
 Characteristics of Philippine Postwar Literature

● Nature
○ In Philippine postwar literature,
natural scenery is praised and
described.

● Expression of feelings
○ Characters in Philippine postwar
literature were portrayed as being
able to express their feelings
through their thoughts, words, and
actions.
Philippine Literature during Martial Law
 Philippine Literature during Martial Law
Martial Law
• Proclamation No. 1081 by former
President Ferdinand Marcos on September
21, 1972
• Prominent political figures and media
personalities openly critical of the
government were arrested, incarcerated,
and/or went missing.
• Literary works emerged to expose, narrate,
or express anomalies, conspiracies, and
leftist views about “military abuses against
citizens, economic plunder by bureaucrats
and cronies of the regime, and
impoverishment of the masses.”
Literary Works during the Martial Law era

1. Protest literature
- sometimes called revolutionary literature refers to works
that express distaste, disagreement, or transgression to the
present government, applicable to the current political, social,
and/or economic conditions of the country when the works were
written.

A notable example was Lualhati Bautista’s Dekada ’70

Literary Works during the Martial Law era

2. Proletarian literature

●refers to literary works written by working-class authors about

the working class
●It shows the experiences and struggles of the working class.
Literary Works during the Martial Law era

3.Prison literature

●Refers to literary works produced by authors who are

incarcerated or confined in a secluded area such as a prison cell
●During martial law, the government arrested not only political
and media dissidents but also writers and scholars.
 4. Circumvention literature
refers to literary works that express social and
political transgression through metaphors, allegories,
symbolisms, etc.
prevalent from 1972 to 1983; the artists’ way of
“talking about and speaking the truth”
used subtle codes and symbols so that the Marcos
regime’s censors and inspectors do not notice the
subversive message in the works
 Social Realism in Protest Literature

Works that aimed to effect social change

through portraying the truths of society,
everyday happenings, current events, and
interaction and disparity of social classes are
classified as depicting social realism.
Philippine Literature Post-EDSA Revolution
(1986–1995)
 Notable Events in the Literary Scene
Post-Martial Law

Critics such as Virgilio Almario, Isagani Cruz, and

Soledad Reyes embarked on different approaches, post-
structuralist and postcolonial, in reading Philippine
writing.
Publishers who produced and embarked on nontraditional
projects (anthologies, novels, poems, etc.) emerged, such
as Anvil Publishing, New Day Publishers, and Solidaridad
Publishing House.
• The rise of gays’ and women's writings, including male authors
writing about women, enabled the flourishing of gay and feminist
discourse. The poem entitled “The Way We Live” (1992) by
Danton Remoto was one of the early poems during the 1990s that
was written by an author from the gay community.

• Post-EDSA writings paved the way for the development of

vernacular literature, or literature written using the daily speech
of common people, which also became a source of regional
literary histories.
Creative Writing Centers after EDSA

Academic institutions included creative

writing as part of their curricular offerings.
Students of literature are also allowed to
connect with other creative
writers/critics/professors.

Such academic institutions include the

Silliman University, the University of the
Philippines, the Ateneo de Manila
University, De la Salle University, and San
Carlos University in Cebu.
 • Writers’ organizations that periodically sponsor
symposia on writing and/or set up workshops for its
members and other interested parties include UMPIL
(Unyon ng mga Manunulat sa Pilipinas), PANULAT
(Pambansang Unyon ng mga Manunulat), Panday-Lipi,
GAT (Galian sa Arte at Tula), KATHA (Pangkat ng
Kabataang Kuwentista), LIRA (Linangan sa Imahen,
Retorika at Anyo), GUMIL (Gunglo Dagiti Mannurat
nga Ilokano), and LUDABI (Lubas sa Dagang
Binisaya).
 The
PHILIPPINE
LITERATURE:
I N T H E 2 1 s t C E N T U RY
Graphic novels, including comics, are gaining quite
a following.
Oral poetry is revived through poetry readings or
open mic readings, giving it a modern twist.
 An unusual kind of poetry
genre has emerged through
textula, where the entirety of
the poem is written and read in
mobile phones.
Nowadays, along with the rise of technology
and digitization, false narratives have also
become prevalent on social media. There is a
movement rewriting history in favor of former
president Ferdinand Marcos.
“A Different EDSA Story” by Ed Lingao:
Marcos is portrayed as a hero, while the
EDSA revolutionaries are portrayed as a mix
of professional protesters, military
adventurists, and people who do not have an
idea what they are fighting about.
The youth who did not experience martial law are
more attracted to the alternate version of the facts
because of its prevalence on social media.
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