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G11 STEM - 1ST SEM > 21ST WEEK 1-7 > Flashcards

21ST WEEK 1-7 Flashcards

1
Q

Began on January 1, 2001, and will end on December 31, 2100.

A

21st Century

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2
Q

“Century of Inventions”, “technological developments”, and “globalization”

A

21st Century

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3
Q

Technology allows 24/7 access to information, constant social interaction, and easily created and shared digital content.

A

21st Century

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4
Q

Characteristics of 21st Century Literature

A

Borderless, Symbolic, Fluid, Fearless, Inventive

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5
Q

is an attempt to mirror life. It refers to any textual form of acceptable cognitive and or affective expression which is the representation of man’s experiences of the past and his expectations of the future

A

Literature

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6
Q

is the product of imagination, originality, style of expression, thought, emotions and feelings, idea etc.

A

Literature

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7
Q

Functions of Literature:

A
  • For documentation
  • For call to action
  • For expression
  • For entertainment
  • For transmission
  • For critical thinking
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8
Q

PRE-SPANISH LITERATURE - is characterized by:

A
  1. their folk speeches
  2. folk songs
  3. folk narratives
  4. indigenous rituals
  5. mimetic dances
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9
Q

refers to the dialect, or style of speaking, unique to people living within a geographic area)

Examples: bugtong (riddle)
salawikain (proverbs)

A

their folk speeches

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10
Q

folk songs examples

A
  • Ang Gatas At Ang Itlog (The Milk and The Eggs)
  • Aking Bituin (My Star)
  • Magtanim Ay Di Biro (Planting Rice)
  • Atin Ku Pung Sinsing (Once I had a Ring - Lyrics in Panpango)
  • Leron, Leron Sinta (My Dear Little Leron)
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11
Q

(stories handed down from the remote past by words of mouth from one generation to another, reflecting the people’s tradition, feelings, beliefs and judgments)

A

folk narratives

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12
Q

ritual traditions of Filipinos are best understood in terms of their intentions. At the core of any ritual is the fundamental belief that there exists a delicate balance between man and nature, and the spirit world)

A

indigenous rituals

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13
Q

Examples:
- Healing Practices
- Entering a Newly Built House (Segep di Baey)
- Festival (Begnas And Pacde)
- The Agricultural Cycle Practices in Tadian Festival (Obaya)
- Wedding Celebration (Dawak) - Child Birth in Tadian

A

indigenous rituals

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14
Q

(type of dance that imitates nature; it mimics the behaviors of animals and natural phenomena)

A

mimetic dances

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15
Q
  • Itik-Itik
  • Mananagat (Cebuano for “fisherman”)
  • The monkey dance (Aeta dance)
  • The bee dance The lover’s dance - - The battle dance
A

mimetic dances

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16
Q

Predominantly a reflection of the indigenous culture and traditions of the land.

A

Pre-Spanish period

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17
Q

used for inscribing the ancient Tagalog script back in pre-spanish period

A

knives

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18
Q

The literature thus preserved was limited to the ________ basic symbols of the language. With just three vowels and consonantal symbols that had predetermined.

A

seventeen

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19
Q

The people of Manila and native groups within the Philippines used to write on ________ and the ___________.

A

Pre-Spasish Period

bamboo, arecaceae palm

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20
Q

Philippine LITERATURE
DURING PRE- HISPANIC PERIOD

A
  1. awit or song
  2. riddle or bugtong
  3. sawikain (or salawikain)
  4. epic or epiko
  5. bulong (chants)
  6. kasabihan or sayings
  7. tanaga
  8. ambahan
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21
Q

are “long verse narratives on chivalric-heroic, religious, legendary and folkloric themes

A

AWIT OR SONG

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22
Q

Have measures of twelve syallaboles (dodecasyllabic) and slowly sung to the accompaniment of a guitar or banduria

Example: FLORANTE AT LAURA by Francisco Balagtas

A

AWIT

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23
Q

Have measures of eight syllables (octasyllabic) and recited to a martial beat

Ex: IBONG ADARNA

A

CORRIDOS

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24
Q

uyayi

A

lullaby

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25
Q

komintang

A

war song

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26
Q

kundiman

A

melancholic love song

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27
Q

harana

A

serenade

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28
Q

tagay

A

drinking song

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29
Q

mambayu

A

Kalinga rice-pounding song

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30
Q

subli

A

dance-ritual song of courtship/marriage

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31
Q

tagulaylay

A

songs of the dead

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32
Q

uses “talinhaga”, or a metaphor that actually helps convey the answer to the _______

A

Riddle or bugtong

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33
Q

These are proverbs that are used to express pieces of wisdom or beliefs that are important to Filipino society. These forms are all done in verse, or metrical writing.

A

SAWIKAIN (OR SALAWIKAIN)

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34
Q

This is the major pre-Hispanic poetic form. These are long, episodic, chanted poems which told a story, normally about a legendary hero and his adventures, often contending with, and also being aided by, supernatural creatures and spirits. Often chanted at feasts and rituals.

EX: BIAG NI LAM-ANG

A

EPIC OR EPIKO

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35
Q

Used in witchcraft or enchantments

Examples:
- Hele hele Bago kyeme
- Tabi, tabi po, Ingkong Makikiraan po lamang.

A

BULONG

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36
Q

It is used in teasing or to comment on a persons’ actuations

A

KASABIHAN OR SAYINGS

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37
Q

is a quatrain with seven syllables each with the same rhyme at the end of each line

A

TANAGA

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38
Q

is a traditional poetry of the Hanunoo Mangyans of Oriental Mindoro which is normally inscribed on bamboo using a pre-Colonial syllabic writing system called the Surat Mangyan. It is seven- syllable metric lines that can be composed of more than four lines, is usually chanted and teaches lessons about life.

A

AMBAHAN

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39
Q

Literature started to flourish during his time

A

SPANISH PERIOD

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40
Q

SPANISH INFLUENCES ON THE PHILIPPINE LITERATURE

A
  1. ALIBATA
  2. Christian Doctrine
  3. Spanish language became the literary language this time
  4. European legends and traditions
  5. Ancient literature was collected and translated to Tagalog
  6. Grammar books were printed in Filipino
  7. Religious tone
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41
Q

THE FIRST BOOKS

A
  1. Ang Doctrina Cristiana (The Christian Doctrine)
  2. Nuestra Senora del Rosario
  3. Libro de los Cuatro Postprimeras de Hombre (in
    Spanish and Tagalog)
  4. Ang Barlaan at Josephat
  5. The Pasion
  6. Urbana at Felisa
  7. Ang mga Dalit kay Maria (Psalms for Mary)
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42
Q

Philippine literature during SPANISH PERIOD

A
  1. PASYON
  2. SENAKULO
  3. KOMEDYA
  4. CARILLO
  5. RELIGIOUS DRAMA (PANUNULUYAN)
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43
Q

involves the chanting of a narrative about Jesus’ death and resurrection.

A

PASYON

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44
Q

also known as Passion plays depict the passion and death of Jesus Christ. These are staged in various parts of the country in the week leading to Easter. The most famous sanakulo is Marinduque’s Moriones Festival.

A

SENAKULO

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45
Q

is performed at the local fiestas. Moro-moro is a type of Secular Komedya which portrays the clash between the Muslims and the Christians where the forbidden romance between the prince and the princess is settled by having non-Christian be converted to Christianity or by his or her death followed by a resurrection through divine intervention.

A

KOMEDYA

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46
Q

It is a play that uses shadows as its main spectacle. This is created by animating figures made from cardboard, which are projected onto a white screen.

A

CARILLO

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47
Q

(Tagalog for “asking for lodgings”) is a Philippine Christmas dramatic ritual narrating the Holy Family’s search for a place to stay in Bethlehem for Jesus Christ’s birth through song.

A

RELIGIOUS DRAMA (PANUNULUAN

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48
Q

3 PERIODS IN PHILIPPINE LITERATURE IN ENGLISH

A
  1. THE RE-ORIENTATION PERIOD (1898-1910)
  2. THE APPRENTICESHIP OR THE PERIOD OF IMMITATION (1910-1925)
  3. The emergence Period or the period of self-discovery and growth (1925-1941)
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49
Q
  • 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.
A

THE RE-ORIENTATION PERIOD (1898-1910)

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50
Q

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.

A

THE RE-ORIENTATION PERIOD (1898-1910)

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51
Q

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

A

THE RE-ORIENTATION PERIOD (1898-1910)

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52
Q

Filipino student writers learned the language and tried to produce their pieces patterned after the foreign models.

A

The apprenticeship or the period of imitation (1910-1925)

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53
Q

Literary pieces of study were made by foreign authors.

A

The apprenticeship or the period of imitation (1910-1925)

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54
Q

Filipino writers imitated American and English writers.

A

The apprenticeship or the period of imitation (1910-1925)

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55
Q

More essays, short stories, and poems in English appeared.

A

The apprenticeship or the period of imitation (1910-1925)

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56
Q

Tales of romance and adventures

A

The apprenticeship or the period of imitation (1910-1925)

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57
Q

Short story anthologies

A

The apprenticeship or the period of imitation (1910-1925)

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58
Q

Essays matured earlier in the milieu of social, economic, and political developments and projected Philippine customs and traditions.

A

The apprenticeship or the period of imitation (1910-1925)

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59
Q

Plays were highly emotional rather than intellectual experiences.

A

The apprenticeship or the period of imitation (1910-1925)

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60
Q

POETIC STYLES - AMERICAN REGIME

A
  1. FREE VERSE
  2. NEW CRITICISM
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61
Q

it is a literary device that can be defined as poetry that is free from limitations of regular meteor rhythm and does not rhyme with fixed forms.

A

FREE VERSE

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62
Q

it was a formalist movements in literary theory that dominated American literary criticism in the middle decades of the 20th century. It emphasized close reading, particularly of poetry, to discover how a work of literature functioned as a self-contained, self- referential aesthetic object.

A

NEW CRITICISM

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63
Q

Time of self-discovery and rapid growth

A

The emergence Period or the period of self-discovery and growth (1925-1941)

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64
Q

Period of original works with more control of the language

A

The emergence Period or the period of self-discovery and growth (1925-1941)

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65
Q

Writer’s experimentation with forms and techniques

A

The emergence Period or the period of self-discovery and growth (1925-1941)

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66
Q

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.

A

The emergence Period or the period of self-discovery and growth (1925-1941)

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67
Q

Writers set out to create a national literature: one that reflects the Filipino way of life, the traditional values of the people as Filipinos and utilize the tropical vegetation of the islands.

A

The emergence Period or the period of self-discovery and growth (1925-1941)

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68
Q

The Bureau of Education published Philippine Prose and Poetry, prescribed as a high school textbook. The period shifted from romantic idealism to romantic realism.

A

The emergence Period or the period of self-discovery and growth (1925-1941)

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69
Q

Between 1941-1945, Philippine Literature was interrupted in its development when we were again conquered by another foreign country

A

JAPANESE PERIOD

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70
Q

Philippine literature in English came to a halt.

A

JAPANESE PERIOD

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71
Q

Except for the Tribune and the Philippine Review, Pillars, Free Philippines, and Filipina, almost all newspapers in English were stopped by the Japanese.

A

JAPANESE PERIOD

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72
Q

During this time, there was no freedom of speech and of the press.

A

JAPANESE PERIOD

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73
Q

Victoria Abelardo has described Filipino writing during the Japanese occupation as being pessimistic and bitter.

A

VICTORIA ABELARDO

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74
Q

There were some efforts at escapist literature, but in general, the literary output was minor and insignificant. Because of strict censorship, few literary works were printed during the war years.

A

JAPANESE PERIOD

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75
Q

The weekly ________ was placed under strict surveillance until it was managed by a Japanese named _______.

A

LIWAYWAY; ISHIWARA

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76
Q

The only contact with the outside world was done with utmost secrecy through the underground radio program called _________

A

JAPANESE PERIOD

“VOICE OF FREEDOM”

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77
Q

Tagalog was favored by the ______ military authority and writing in English was consigned to a limbo.

A

JAPANESE

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78
Q

they were able to influence and encourage the Filipino in developing the vernacular literature.

A

JAPANESE

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79
Q

The only Filipino writers who could write freely were those who were living in the United States.

A

JAPANESE PERIOD

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80
Q

Most writers and authors were lead to either go underground or write in Tagalog.

A

JAPANESE PERIOD

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81
Q

So, Filipino literature was given a break during this period.

A

JAPANESE PERIOD

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82
Q

Filipino literature also experienced renewed attention because writers in English turned to writing in Filipino.

A

JAPANESE PERIOD

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83
Q

The Three types of poems emerged during this period.

A

HAIKU
TANAGA
KARANIWANG ANYO (USUAL FORM)

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84
Q
  • a poem of free verse that the Japanese liked.
  • It is made up of seventeen (17) syllables divided into three (3) lines. The first line has five, the second – seven and the third – five. It is allegorical in meaning, short and covers a wide scope in meaning.
A

HAIKU

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85
Q

it is short, but has measure and rhyme. Each line has seventeen syllables and is also allegorical in meaning.

A

TANAGA

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86
Q

the usual and common form of poetry

A

KARANIWANG ANYO (USUAL FORM)

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87
Q

The field of the short story widened during the their Occupation.

A

JAPANESE PERIOD

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88
Q

FILIPINO SHORT STORIES WRITERS IN JAPANESE PERIOD

A

Brigido Batungbakal
Macario Pineda
Serafin Guinigindo
Liwayway Arceo,
Narciso Ramos
NVM Gonzales
Alicia Lopez Lim
Ligaya Perez
Gloria Guzman

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89
Q

The drama experienced a lull during this period because movie houses showing American films were closed.

A

JAPANESE PERIOD

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90
Q

The big movie houses were just made to show stage shows. Many of the plays were reproductions of English plays to Tagalog.

A

JAPANESE PERIOD - FILIPINO DRAMA

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91
Q

They also founded the organization of Filipino players named Dramatic Philippines.

A

FRANCISCO SOC RODRIGO
ALBERTO CONCIO
NARCISO PIMENTEL

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92
Q

PANDAY PIRA

A

JOSE MA. HERNANDEZ

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93
Q

SA PULA, SA PUTI

A

FRANCISCO SOC RODRIGO

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94
Q

BULAGA

A

Clodualdo del Mundo

95
Q

SINO BA KAYO?, DAHIL SA ANAK, and HIGANTE NG PATAY.

A

Julian Cruz Balmaceda

96
Q

LUPANG TINUBUAN

A

ANDRES BONIFACIO

97
Q

The early post-liberation period was marked by a kind of “struggle of mind and spirit” posed by the sudden emancipation from the enemy, and the wild desire to see print.

A

The Post-war Period – First Decade – The Rebirth of Freedom (1946-1970)

98
Q

There was a proliferation of newspapers like the FREE PRESS, MORNING SUN, of Sergio Osmeña Sr., DAILY MIRROR of Joaquin Roces, EVENING NEWS of Ramon Lopezes and the BULLETIN of Menzi. This only proved that there were more readers in English than in any other vernaculars like Tagalog, Ilocano or Hiligaynon.

A

The Post-war Period – First Decade – The Rebirth of Freedom (1946-1970)

99
Q

Journalists had their day. They indulged in more militant attitude in their reporting which bordered on the libelous. Gradually, as normality was restored, the tones and themes of the writings turned to the less pressing problems of economic survival.

A

The Post-war Period – First Decade – The Rebirth of Freedom (1946-1970)

100
Q

Some Filipino writers who had gone abroad and had written during the interims came back to publish their works. Not all the books published during the period reflected the war year; some were compilations or second editions of what have been written before.

A

The Post-war Period – First Decade – The Rebirth of Freedom (1946-1970)

101
Q

For the first twenty years, many books were published…both in Filipino and in English. Among the writers during this time were: Fred Ruiz Castro, Dominador I. Ilio, and C.B. Rigor.

A

The Post-war Period – First Decade – The Rebirth of Freedom (1946-1970)

102
Q

Longer and longer pieces were being written by writers of the period. Stevan Javellana’s WITHOUT SEEING THE DAWN tells of the grim experiences of war during the Japanese Occupation.

A

The Post-war Period – First Decade – The Rebirth of Freedom (1946-1970)

103
Q

In 1946, the Barangay Writer’s Project whose aim was to publish works in English by Filipinos was established.

A

The Post-war Period – First Decade – The Rebirth of Freedom (1946-1970)

104
Q

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.

A

The Post-war Period – First Decade – The Rebirth of Freedom (1946-1970)

105
Q

Newspapers and magazine publications were re-opened like the Bulaklak, Liwayway, Ilang Ilang and Sinag Tala.

A

The Post-war Period – First Decade – The Rebirth of Freedom (1946-1970)

106
Q

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.

A

Period of Activism (1970-1972)

107
Q

Activists were imprisoned in military camps together with rebel writers.

A

Period of Activism (1970-1972)

108
Q

The seeds of activism resulted in the declaration of Martial Law in
1972.

A

Period of Activism (1970-1972)

109
Q

Period of Bloody Placards

A

Period of Activism (1970-1972)

110
Q

Literature showed reverence for the poor at its peak.

A

Period of Activism (1970-1972)

111
Q

The literature of the activists reached a point where they started boldly what should be done to effect changes.

A

Period of Activism (1970-1972)

112
Q

started on September 21, 1972. The Carlos Palanca Awards continued to give annual awards.

A

Period of the New Society (1972-1981)

113
Q

Almost all themes in most writings dealt with the development or progress of the country – like the Green Revolution, family planning, proper nutrition, environment, drug addiction and pollution.

A

Period of the New Society (1972-1981)

114
Q

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.

A

Period of the New Society (1972-1981)

115
Q

Themes of most poems dealt with patience, regard for native culture, customs and the beauties of nature and surroundings.

A

Period of the New Society (1972-1981)

116
Q

Radio continued to be patronized during this period. The play series like SI MATAR, DAHLIA, ITO ANG PALAD KO, and MR. LONELY were the forms of recreation of those without television. Even the new songs were first heard over the airwaves.

A

Period of the New Society (1972-1981)

117
Q

Newspapers donned new forms: news on economic progress, discipline, culture, tourism were favored rather than sensationalized reporting of killings, rapes, robberies, and others.

A

Period of the New Society (1972-1981)

118
Q

The forms of literature that led during this period were the essays, debates and poetry. The short stories, like the novels and plays were no different in style from those written before the onset of activism.

A

Period of the New Society (1972-1981)

119
Q

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.

A

Period of the Third Republic (1981-1986)

120
Q

During this period, Senator Benigno S. Aquno Jr., the idol of the Filipino masses, whom they hoped to be the next president, was brutally murdered on August 21, 1983.

A

Period of the Third Republic (1981-1986)

121
Q

The Don Carlos Palanca Memorial Awards for literature which was launched in 1950, continued its recognition of the best in the literary fields – poetry, short story, essays, and the one and three-act
plays.

A

Period of the Third Republic (1981-1986)

122
Q

Poems during this period 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.

A

Period of the Third Republic (1981-1986)

123
Q

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.

A

Period of the Third Republic (1981-1986)

124
Q

The people’s love for sex films was unabated.

A

Period of the Third Republic (1981-1986)

125
Q

Opposition tabloids flourished and was called as “mosquito press”. News – “political pornography”

A

Period of the Third Republic (1981-1986)

126
Q

There was a merging of the separate streams of oral and written literature.

A

Period of the Third Republic (1981-1986)

127
Q

The Martial Law Regime of F. E. Marcos fell on February 25, 1986 in a popular non-violent
uprising called EDSA REVOLUTION.

A

The Contemporary Period (1986 – present)

128
Q

The Post-Martial Law Society was restored with President Corazon C. Aquino at the helm.

A

The Contemporary Period (1986 – present)

129
Q

Award-giving bodies, annual competitions, and publications provide incentives for writers to keep producing literary pieces.

A

The Contemporary Period (1986 – present)

130
Q

Post-EDSA centers for creative writing were grouped into two:

A

ACADEMIC INSTITUTIONS
WRITER’S ORGANIZATION

131
Q

where Creative Writing is part of the curricular offerings

A

ACADEMIC INSTITUTIONS

132
Q

that sponsor symposia on writing and/ or set up workshops for its members and other interested parties.

A

WRITER’S ORGANIZATION

133
Q

This period was the entry of marginalized authors, genres, and themes into the main-stream of Philippine critical discourse.

A

The Contemporary Period (1986 – present)

134
Q

There was developing thrust towards the retrieval and the recuperation of writing in Philippine languages other than Tagalog.

A

The Contemporary Period (1986 – present)

135
Q

The non-fiction published pieces consist of collections of essays originally published as newspaper columns.

A

The Contemporary Period (1986 – present)

136
Q

refers to measuring rod used

A

CANON

137
Q

means using a standard / measure in identifying great literary masterpieces
- authorized;recognized;
accepted: canonicalworks.

A

CANONICAL

138
Q

A literature that reflects the history and culture of a country, usually created by its local writers.

A

NATIONAL LITERATURE

139
Q

It plays an important role in preserving and inspiring the literature of today and in introducing to future generations the Filipino values that we have inherited from our ancestors.

A

NATIONAL LITERATURE

140
Q

_____________, which was signed just February 10, 2015, declares April as Buwan ng Panitikang Filipino or National Literature Month

A

PROCLAMATION NO. 968

141
Q

The form and content of their writings created a sense of nationhood or instilled nationalism

A

filipino national artist in literature

142
Q

Pioneered a unique style of creative expression in the literary arts that inspired younger generations writers

A

filipino national artist in literature

143
Q

Displayed consistent excellence in the quality of their works

A

filipino national artist in literature

144
Q

Gained recognitions and awards from prestigious national or international literary institutions

A

filipino national artist in literature

145
Q

is an order bestowed by the Philippines on Filipinos who have made significant contributions to the development of Philippine art. Originally instituted as an Award, it was elevated to the status of Order in 2003.

A

National Artists of the Philippines (Filipino: Pambansang Alagad ng Sining sa Pilipinas)

146
Q

He was born in Hagonoy, Bulacan but grew up in Tondo, Manila. His poems and novels written purely in the Filipino mother tongue tackle issues of the poor and working class.

A

AMADO V. HERNANDEZ

147
Q

He was also a Manileño, from Malate’s Singalong St.; he was known here and abroad as the “master of the comma poem” a unique style he created.

A

JOSE GARCIA VILLA

148
Q

He was a versatile Filipino from San Juan, was a journalist, historian, playwright, scriptwriter and biographer. But it was his mysterious and suspense-filled novels that became his trademark style.

A

NICK JOAQUIN

149
Q

A 4’ 11” son of Camiling, Tarlac, was a WW2 soldier, UN diplomat and foreign affairs secretary under eight Philippine presidents. He wrote 18 books, mostly memoirs about him, Douglas McArthur, Pres. Quezon and especially Russian Andre Vishinky who he silenced with this quote in a UN assembly: “It is the duty of the little Davids of this world to fling the pebbles of truth in the eyes of the blustering Goliaths and force them to behave.

A

CARLOS P. ROMULO

150
Q

A native of Romblon island, was a poet, essayist, novelist and teacher who depicted with his pen the Filipino spirit in rural and urban settings. His other works focus on nature like The Bamboo Dancers, The Winds of April, Seven Hills Away and Work in the Mountains.

A
  1. Néstor Vicente Madali (Nvm) gonzales (1997)
151
Q

She who hails from Bayombong, Nueva Vizcaya was a poet, a novelist, a literary critic, a teacher and the only female National Artist for Literature. Her masterpieces are famous for her use of vivid metaphors and vibrant description that are fluid and not burdened with details.

A

EDITH L. TIEMPO

152
Q

a publisher, lecturer on cultural issues, and the founder of the Philippine chapter of the international organization PEN.

A

FRANCISCO SIONIL JOSE

153
Q

also known as the Rosales Novels, is a series of five historical and political novels written by Filipino National Artist F. Sionil José.

A

THE ROSALES SAGA

154
Q

also known as Rio Alma, is a poet, literary historian and critic, who has revived and reinvented traditional Filipino poetic forms, even as he championed modernist poetics.

A

VIRGILIO S. ALMARIO

155
Q

is a short story writer and essayist, and considered as the country’s best writer of comic short stories. He is known for his widely anthologized “My Brother’s Peculiar Chicken.”

A

ALEJANDRO ROCES

156
Q

is a poet, librettist, and scholar. As a poet, he introduced to Tagalog literature what is now known as Bagay poetry, a landmark aesthetic tendency that has helped to change the vernacular poetic tradition.

A

BIENVENIDO LUMBERA

157
Q

developed the social realist tradition in Philippine fiction. He gained prominence as a writer not only for his social conscience but also for his “masterful handling of the Tagalog language” and “supple prose style”.

A

LAZARO A. FRANCISCO

158
Q

is a poet, fictionist and essayist with exceptional achievements and significant contributions to the development of the country’s literary arts. He is acknowledged by peers and critics, and the nation at large as the foremost writer of his generation.

A

CIRILO F. BAUTISTA

159
Q

known as local color which pertains to any written literary genre that emphasizes characters, dialects, customs, topography and other features indigenous or native to a specific region.

A

REGIONAL LITERATURE

160
Q

known as “the father of Ilocano poetry and literature”. This blind poet like Homer produced an epic for his obra maestra Biag ni Lam-ang.

A

PEDRO BUKANEG

161
Q

poem collection written in the local Kapampangan dialect “Salitang Paca-Versu” has earned him accolades here and abroad such as the 1959 poet laureate of the Philippines, 1956 “Who’s Who in America”, the “International Who’s Who in Poetry”, and a Nobel Prize nomination.

A

AMADO M. YUZON

162
Q

a Bulakeño poet who earned for his duplo verses and corrido lyrical metrical romance Florante at Laura the following titles: “father of Tagalog literature”, “the prince of Tagalog poets”, and “Shakespeare of the Philippines.

A

FRANCISCO BALTAZAR

163
Q

He is also credited for creating the first Bicolano newspaper the An Parabareta. For all of these, earned the titles of “father of Bicolano literature” and “father of Visayan literature”.

A

MARIANO PERFECTO

164
Q

was a Filipino senator from Cebu during the Commonwealth period is also known as the “father of modern Cebuano literature”. He established the first Cebuano newspaper Ang Suga

A

VICENTE SOTTO

165
Q

She is regarded as the most prolific writer in the Hiligaynon language

A

MAGDALENA JALANDONI

166
Q

refers to any written literary genre emphasizing characters, dialect, customs, and topography native to a specific region in the country written, printed and published from the start of the new millennium up to the present time.

A

21st Century Regional Philippine Literature

167
Q

He was born in 1980 and is a native of Naga City. At age 27, he published his first book in 2007 “Antisipasyon asin iba pang Rawitdawit sa Bikol asin Ingles” (Anticipation and other Poems in Bicol and English. For the use of local dialects and settings in this book, he won the Philippine National Book Award for Poetry and the Manila Critics Circle in 2008.

A

Victor Dennis T. Nierva (Bicol)

168
Q

She continues to be a productive writer of the new millennium although born in the post WW2 era.

A

Cecilia Manguerra Brainard (Cebu)

169
Q

His 2001 Aklanon haiku with English translations “Sinead-Siad ngaKaeangitan/Strips of Heaven” was recognized with the Gawad Pambansang Alagad ni Balagtas by the Unyon ng mga Manunulat sa Pilipinas (UMPIL).

A

MELCHOR F. CICHON

170
Q

She was born in Davao City but now residing in the United Kingdom. In 2010, her debut novel Tall Story won the 2011 Europe Crystal Kite Award and the 2012 Philippine National Children’s Book Award. Again in 2014, her 2nd novel Shine won the Crystal Kite Award for Britain and
Ireland.

A

CANDY QUIMPO GOURLAY

171
Q

She wrote the novel entitled The Mango Bride which was released internationally by the global publisher Penguin Books in 2013. this same novel, which was then known as In the Service of Secrets, won for her the prestigious Carlos
Palanca Memorial Award in the novel category in 2011.

A

Marivi Soliven (Manila)

172
Q

All three are graduates of the Creative Writing Dept. of UP Diliman and have been awardees of the Carlos Palanca Memorial Award and other prestigious literary recognitions

A

Jose Wendell Capili
Carljoe Javier
Raissa Claire U. Rivera

173
Q

widely known as José Rizal, was a Filipino nationalist and polymath during the tail end of the Spanish colonial period of the Philippines.

A

José Protasio Rizal Mercado y Alonso Realonda

174
Q

was aFilipinographic novelistwho created the charactersDarna, Dyesebel,Captain Barbell

A

MARS RAVELO

175
Q

who authored the first Filipino modern English-language short story “Dead Stars”, was born in Lucena City, Quezon.Hewas among the first generation of Filipinos trained in the American education system which used English as the medium of instruction.

A

PAZ MARQUEZ-BENITEZ

176
Q

was a Filipino writer and feminist, remarkably noted as the first translator of Dr. José Rizal’s novel Noli Me Tangere into the Tagalog language.

A

PASCUAL H. POBLETE

177
Q

is a best-sellingauthor,entrepreneur,
Catholic lay preacher and minister. He is known as the “Preacher in Blue Jeans”.

A

BO SANCHEZ

178
Q

a well-known and recognized Filipino-language creative writer, editor, author, novelist, short story writer, essayist, fictionist, professor, textbook writer, and anthologist in the Philippines.

A

Efren Reyes Abueg

179
Q

graduatedvaledictorianin theUniversity of the Philippines, and later earned herMaster’s degreeinHarvard University for International Law.

A

LINDA TY CASPER

180
Q

was a Filipino poet, editor, author, and teacher. One of the country’s most respected writers

A

OPHELIA ALCANTARA DIMALANTA

181
Q

Filipino writers continue to write poetry, short stories, novellas, novels and essays whether these are socially committed, gender/ethnic related or are personal in intention or not.

A

CONTEMPORARY PERIOD

182
Q

Filipino writer has become more conscious of his art with the proliferation of writers workshops here and abroad and the bulk of literature available to him via the mass media including the internet.

A

CONTEMPORARY PERIOD

183
Q

depicts the history, culture and tradition of a country. It is hard to imagine a nation without it.

A

literature

184
Q

Chairman - Unyon ng mga Manunulat sa Pilipinas (Writers Union of the Philippines), a Founding Board Member of the Filipinas Copyright Licensing Society, Board Member of the Wika ng Kultura at Agham, a member of the Kabulig Bikol Writers Organization and the Albay Writers Group, and a consultant of the National Bookstore.

A

Abdon M. Balde Jr.

185
Q

Published writer of all sorts of genres (from serious poetry to horror stories for adolescents to humorous essays to erotic novel.)

A

Beverly Siy or Bebang

186
Q

She took up BA Creative Writing (Filipino) in the University of the Philippines while she worked as a waitress at night. She graduated cum laude in 2002. She immediately signed up for MA Filipino, major in Literature. She is very optimistic that she will finish the course soon.

A

Beverly Siy or Bebang

187
Q

She is the youngest member of UMPIL

A

Beverly Siy or Bebang

188
Q

Author of seven collections of poetry

A

ALLAN POPA

189
Q

Written 3 collections of short fiction: Men of the East and other Stories, Woman of AmKaw and other stories.

A

CHARLSON ONG

190
Q

Has written nine books and edited eight other titles, including the landmark Ladlad series of gay literature.

A

DANTON REMOTO

191
Q

a renowned teacher, editor, writer, and pioneer of creative nonfiction.

A

Cristina Pantoja Hidalgo

192
Q

One of those who conceptualized and created Batibot, the acclaimed children’s educational TV show.

A

Gemma Nemenzo

193
Q

Filipino playwright, novelist and writer of speculative fiction. His work has published both in his native Philippines and abroad

A

DEAN FRANCIS ALFAR

194
Q

He is an advocate of the literature of the fantastic, publishing the annual Philippine Speculative Fiction series, as well as a comic book creator and a blogger.

A

DEAN FRANCIS ALFAR

195
Q

National Book Critics Circle Awardee

A

Edward P. Jones

196
Q

Author of two books of poetry

A

Edgar Calabia Samar

197
Q

Unang Gantimpala sa Don Carlos Palanca Memorial Awards for Literature (2006), Gawad Soc Rodrigo (2007)

A

EROS ATALIA

198
Q

president of The Manila Times College and a Governor of the National Book Development Board

A

Isagani R. Cruz

199
Q

author of numerous poetry collections and works in literary and cultural criticism

A

J. Neil C. Garcia

200
Q

Has published more than 25 books of fiction and nonfiction

A

Jose Dalisay JR., PhD

201
Q

Villafania is one of the 11 outstanding Pangasinenses and recipient of the 1st ASNA Award for Arts and Culture

A

Santiago B. Villafania

202
Q

Is an author of short stories, personal essays, and scholarly articles.

A

Rosario Cruz-Lucero

203
Q

is a real estate developer, entrepreneur, Editor-in-chief of UNO Magazine, newspaper columnist , television and events host, erstwhile actor

A

RJ Ledesma

204
Q

Essayist and scholar, RESIL B. MOJARES authored such award-winning books as Origins and Rise of the Filipino Novel

A

Resil B. Mojares

205
Q

won the Manila Critics Circle’s National Book Award for Children’s Literature

A

Neni Sta. Romana Cruz

206
Q

ACCORDING TO FORM

A
  1. PROSE
  2. POETRY
  3. DRAMA
207
Q

a form of language that exhibits a natural flow of speech and grammatical structure

A

PROSE

208
Q

TYPES OF PROSE

A

NARRATIVE PROSE
NONFICTION PROSE-SPEECH
NONFICTION PROSE - EXPLICATION

209
Q

is a form of literature that uses aesthetic and rhythmic qualities of language

A

POETRY

210
Q

is a composition in verse or prose presenting a story in pantomime or dialogue, containing conflict of characters, particularly the ones who perform in front of audience on the stage.

A

DRAMA

211
Q

The person who writesdramafor stage directions

A

dramatist or playwright.

212
Q

ACCORDING TO CONTENT

A

FICTION
NON-FICTION

213
Q

literature in the form of prose, especially short stories and novels, that describes imaginary events and people.

A

FICTION

214
Q

the branch of literature comprising works of narrative prose dealing with or offering opinions or conjectures upon facts and reality, including biography, history, and the essay (opposed to fiction and distinguished from poetry and drama ).

A

NON-FICTION

215
Q

ACCORDING TO PRESENTATION

A

PRINT
ORAL
DIGITAL

216
Q

literary journal, book

A

print

217
Q

delivered

A

oral

218
Q

computer, internet

A

digital

219
Q
  • Keitai shousetsu (mobile phone novels)
  • Read and written on mobile phones and resemble text messages, utilizing affective visual elements which are not part of conventional orthographies, such as smileys (emoticons) and symbols.
A

CELLPHONE NOVEL

220
Q

Started in 2000 by a young Japanese writer from Tokyo who posted the short chapters of his novel by using a pseudonym ‘Yoshi”

A

CELLPHONE NOVEL

221
Q

text or online version of series of narratives sent through either mobile phones or internet

A

Text Serye

222
Q

short poems sent as text message or posts in the internet

A

Text Tula

223
Q

is poetry that is written on a page but performed for an audience.

A

Spoken Poetry

224
Q

this poetry tends to demonstrate a heavy use of rhythm, improvisation, free association, rhymes, rich poetic phrases, word play and slang.

A

Spoken Poetry

225
Q

It is more aggressive and “in your face” than more traditional forms of poetry.

A

Spoken Poetry

226
Q

What should be kept in mind when writing a spoken word poem?

A

Use of Concrete Language
Repitition
Rhyme
Attitude
Persona
Performance
Memorization

227
Q

This is the use words and phrases that project on the minds of the listeners vivid images, sounds, actions and other sensations.

A

Use of Concrete Language

228
Q

It is a simple but powerful poetic device that can help writer generate exciting poems.

A

REPITITION

229
Q

can enrich your poems and performance if used with skill, surprise and moderation.

A

RHYME

230
Q

It is important that a spoken word poem embodies the courage necessary to share one’s self with the rest of the world.

A

ATTITUDE

231
Q

Spoken poetry allows you to be anyone you want to be.

A

PERSONA

232
Q

After the poem is written, practice performing the poem with the elements of good stage presence in mind…

A

PERFORMANCE

233
Q

If you have a poem memorized you can focus more on the performance of the poem. However, so far as performance is concerned, it is more important to “learn your poem by heart”

A

MEMORIZATION

234
Q

is a genre of writing that uses literary styles and techniques to create factually accurate narratives.

A

Creative nonfiction

G11 STEM - 1ST SEM (15 decks)

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