This inquiry sought to discover the images of women as portrayed in the contemporary short stories entitled “Fallout” by Maria L.M. Fres-Felix and “Language” by Sunantha Mendoza. Feminist Literary Criticism, specifically liberal, radical, Freudian, socio-cultural, stereotypical feminist perspective were employed to critically analyze the actions and feminist perspective of the female characters. The study attempted to meet the following objectives: 1) to describe the images of women as depicted by the authors in the stories; 2) to identify the dominant devices used in the stories; and, 3) to determine the feminist themes conveyed in the stories. Through examining and analyzing the short stories, different images of women were discovered. The close textual reading resulted in the researcher’s coming up with the following findings: female characters are portrayed as involved, sophisticated, strong-minded, competitive, independent and unconventional. The dominant devices are symbols, juxtaposition, foreshadowing, imagery, idiom, metaphor, irony and figures of speech were effectively utilized in the stories to probe the images of women that are found in each story. Indeed, women will come a long way in facing the battle against patriarchal values.
This study aims to discover the emerging semiotic resources found in the Meranaw rina-rinaw. Through semiotic analysis, this ethnographic research determines how faithful the rina-rinaw has remained to the prototype, the traditional bayok, or how far it has drifted from the latter. Specifically, this study seeks to identify and discuss how the semiotic resources contribute to the meaning-making function of the rina-rinaw. The findings revealed the emerging semiotic resources such as the use of guitar as a musical accompaniment, the wearing of modern evening gowns instead of the Meranaw traditional malong or landap, transfer of the setting from the torogan to a private residence or more public place, and less formality and exclusiveness of the contemporary rina-rinaw event which, unlike the traditional bayok, is performed for the delectation of the general public. These semiotic resources have evolved in its own time. There are also evidence of departures or breaks where singers no longer exhibit the typical Meranaw arts of “kakini-kini” and “kakurum.” Instead, the onor walks naturally toward the stage. Moreover, the rina-rinaw event is open for everyone. The audience is no longer as exclusive as that of the traditional bayok; it is more heterogeneous. The participants could become rowdy or boisterous.
This is a comparative analysis of two novels entitled “The Son of Mad Mat Lela,” which is written by Ishak Hadji Muhammad, a famous Malaysian writer and the other one is “Teach us to Outgrow our Madness,” by a Japanese novelist Kenzaburo Oe. This study compared the literary styles of Muhammad and Oe through the lens of their vocabulary and language use. Muhammad’s literary styles is simple, clear and vivid. One reads the story with delight because the words that strung together sound on the air like music. He does not use metaphor; his style is still striking in his own way. Many readers still notice his style no matter how plain it is. This is to say that Muhammad could write lucidly, simply and lively by observing grammar rules in writing. He uses common phrases of the day not with artificially but with naturalness. While, Oe’s literary style is more of long and complex sentences or two that occupy a paragraph. Most of his passages convey strong emotion describing an intimate knowledge of the lives of the characters.
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