This lesson provides a discussion about Deconstruction as a philosophy that developed into a

method for reading a literary piece and a theory for literary criticism. Understanding the process
of deconstruction in the field of literature sets off an opportunity for advancing the elements in
the narrative of many children and adolescents' classical tales and towards rewriting these
literary works into transformed masterpieces that present the realities of modern society.

Deconstruction as a Reaction to Structuralism

Structuralism first emerged in France in the 1950s and generally pertained to the idea of
understanding the world in structures: relationships between categories and subcategories, whole
and parts (Mambrol, 2016). It initially functions as a linguistic principle used to explain the
relationship between language and culture and was introduced by the Swiss linguist Ferdinand de
Saussure. However, this theory found its way into literary criticism through the works of the
French anthropologist Claude Lévi-Strauss (www.britannica.com). Based on the concept of
Strauss, particular ideas belong to a more extensive structure to which they can be categorized or
identified. Structuralists explain that it is human nature to reduce complex concepts into systems
and categories depending on how a person perceives such structures (Mambrol, 2016). It aims to
unlock the universal principles to which human reacts and conforms. Strauss believed that these
systems and structures are constant and collective. Hence, in the study of literature, the process
begins with pointing out the characteristics of a literary piece and proceeds to classifying the text
to which category or system it belongs. It seeks to find unity and coherence in the elements and
parts of the literature and towards a larger external structure.

Strauss applied the structuralist principle in his study of the world's different mythologies. In his
study, he found that these mythologies are similar in many things, and thus he sought to
categorize and organize these into meaningful structures. It resulted in the development of the
concept of a binary opposition which indicates that the oppositional relationship of two words or
ideas determines the meaning of each. Examples of these are light/dark, high/low, happy/sad,
beautiful/ugly, and life/death. These binary oppositions indeed illustrate a hierarchy where one is
considered superior or much preferred over the other. The structuralist concept seeks to find
certainty and definite relationships among concepts in the literary text.

Deconstruction is a reaction towards the concepts and definitive nature of structuralist principles.
Jacques Derrida initially introduced the concept of deconstruction in literature, intending to
expose and undermine the embedded Western structure and ideas in many literary texts.
However, it later developed into a method in reading a literary piece and a theory for literary
criticism. It challenges the structuralist theory for its dependence on the language systems as a
perfect instrument at determining limitations, coherence, and definitive meanings literary piece.

There are three procedures in Derrida's deconstructive literary criticism:

1. inverting the hierarchy;

2. deconstructing firmly definitive limitations or margins, and

3. analysis of inherent rhetoricity.

The first one is a means to destabilizing existing binary oppositions in particular literary pieces.
Challenging the existing definitive binaries is essential in the operation. It undergoes the process
of reversal and proceeds to the process of highlighting the instability of the hierarchy. It unfolds
by emphasizing that one term is not always superior over or inferior to the other.

The second procedure means avoiding any impulse to categorize a specific literary work in any
particular pattern, system, or rule. The deconstruction theory indicates the dismantling of the
present social or cultural structure, not constructing new meanings of literary pieces on top of
these structures. It is about establishing the inconsistent features and elements of the literary
piece.

The third operation is complex since it somehow means exploring and challenging the existing
binaries by unraveling possibilities that undermine the definitive divisions of the opposing
concepts. As an example, Derrida takes on the binary opposition of literal/metaphor. People view
metaphor merely as an alternative for expressing literal concepts; however, metaphor is a
creative manner of expressing literal meanings. This process is the inversion of the hierarchy.
Rhetoricity unfolds when considering possibilities that literal meanings were once metaphors
that neutralized over time and lost creativity.

Moreover, Derrida describes his process as double reading, and for a good reason. It begins with
reading the literary piece intelligibly as it stimulates the recognition of determinate meanings
presented in the text. It serves as a springboard of critical reading where one reverses the
hierarchy and explores every possibility of meanings until it arrives at an aporia which pertains
to a situation where the explorations of meanings arrive at a deadlock (Abrams, 1999)

In one way or another, it illustrates the dynamism of human and the language the essence of
human experience in literature— that it is difficult to interpret these through determinative and
conclusive readings.

Rewriting/Deconstruction of Classical Tales

As a form of literary criticism, deconstruction addresses the political and social issues
surrounding several book challenges among children and adolescent literary pieces. As a review,
conservative groups, minority groups, or individuals challenge certain books based on culturally
or socially offensive content, brutal and violent matters House, the conduct of the censorship
process, which later paved the formulation of the Political Correctness (PC) Ideology.

Censorship works effectively on pieces of literature that display brutality, violence, and
obscenity. Stakeholders and censors collectively decide when it comes to these matters.
Authorities immediately process these challenged books for restriction or banning based on the
decision reached. However, other book or literature challenges stem from social and political
issues that vary culturally.

Political Correctness is more than censorship. It sought to eliminate existing political and social
biases deemed to be offensive to any minority groups. It was a good cause, but, over time, its
implementation has gone overboard. It instead focused on formulating several unnecessary
terminologies to hide or alter words deemed insulting or damaging (Kinsler, 1995), Like, leprosy
was later named Hansen's disease, while short people are called vertically challenged individuals.
Imagine reading the story of Rumplestiltskin described as vertically challenged. The PC
movement believed that these would help eliminate the tone of discrimination. Many considered
this step unnecessary or absurd because it still refers to and means the same thing no matter how
they change the name.

In some situations, authorities censor obscene or offensive content by altering the words to
promote political correctness and thus destroying the aesthetics of the text. One example is the
rewriting of parts of Shakespeare's Hamlet, where the author Thomas Bowdler changed Ophelia's
suicide into an illustration of accidental drowning. The implementation of the Political
Correctness ideology has gone to extremes that it went downhill towards hiding the truth among
young readers, making them ignorant about the absurdities, violence, discrimination, and other
problems in the real world. It seems to deny the existence of these problems instead of making
every child informed and aware. There might not even be a need to change these since very
young children would never be accustomed to reading Shakespeare's works.

One popular topic of Political Correctness is gender bias, influenced by the existing structure that
the society created and observed. There seems to be a constant struggle between femininity and
masculinity, male and female, man and woman. Feminists feel the need to empower women, and
it led to propositions of changing gender-biased words to neutral terminologies like man and
woman transformed to a person while mother and father to parents. Nevertheless, however they
change the name, it does not change the essence of the word and does not, in any way, empower
the women minority. The failed attempt of the Political Correctness ideology inspired the
comedian James F. Garner to publish the book Politically Correct Bedtime Stories. Despite its
purpose of highlighting the tragedy of the PC ideology, this published book is no more than a
parody of the original bedtime stories. Even though it seeks to extinguish the target issues of the
original text and the PC ideology, its meaning is dependent on the original book. Individuals who
have not read the original book will never understand the significance of the parody in the new
book. It is no deconstruction, rather a mere reversion of the characters and their distinguishing
characteristics. Even bestowing masculine characteristics or attitudes to female characters does
not empower women; instead, it makes the woman a poor version of a man (Hourihan, 1997).

Deconstruction does not stop at pointing out binary oppositions and inverting the values and
meanings; it advances towards exploring countless interpretations at every rhetoricity of the
context. Gender bias is one of the things that deconstruction seeks to dismantle to foster growth
and development in meaning-making and perceiving the world.

The way classical tales portray or present women has persisted for decades, mainly on how
princesses always need saving and how beauty goes with the excellent character
(www.bbc.com). Tales present women as weak and passive, incapable of defending themselves,
and great at possessing exceptional beauty. Many even accuse the concept of beauty propagated
in the tales as the contributing factors to the insecurities among young adults nowadays
(www.bbc.com). This instance exemplifies how children's classical tales provide readers a social
structure about the meaning of beauty, the essence of a woman, and the role of women in society.
These seem definitive and hierarchical and promote stereotyping. However, the incessant
demands of the feminist groups worldwide led to reimagining the character and role of women in
the modern culture of the current society, thus presenting the need to deconstruct and rewrite
these literary texts. Deconstructive criticism of classical tales provides an opportunity of
exploring rhetoricity that provides refreshing possibilities or truth. It is a vehicle in rewriting and
reinventing classical tales to suit the beliefs and culture of modern society. In this instance, the
changing social and political structures in the new version of the literature become a credible
demonstration of the ever-changing realities of the world.

Moving Pictures as a New Resource of Learning, Extending the Reach of Censorship

Internet and digital transformation, particularly its visual nature, influenced the course of the
educational system. The Philippines, for one, acknowledges this revolution, thus including
viewing as the fifth language skill in the new language curriculum framework. Viewing includes
the activities that involve comprehending and analyzing visual media, including moving pictures
such as television and film. It is a fact that children and adolescents alike enjoy these forms of
technology. Hence, learning about the favorite classical tales is no longer limited to reading
books, these are now available through viewing televisions and films.

Regarding the value of film as another form of resource for learning in the new generation, as
were the books, authorities felt the need to extend the application of censorship. It started in the
United States when the Supreme Court decided to ban The Miracle-a film of Roberto Rosselini -
for its heretical content.

Different countries in the global community establish censorship committees tasked to censor
different film productions intended for cinemas. The film is quite a big industry that reaches a
significant audience-varied in age and gender. Censoring films means restricting the viewing of
these media for specific age groups, observing the level of maturity of these particular audiences
in cinemas. Aside from this, the censorship committee's decision may vary subject to the
community's valued culture and traditions. In worst cases, when films are guilty of having
extremely inappropriate content, this is completely banned from the country, and authorities
deny the film production company the opportunity for showing on their big screen.

It currently happened in Malaysia a country known to value Islamic culture— when the
government decided to ban the showing of Disney's live action film Beauty and the Beast for its
LGBTQ+ implications and content. The government authorities regarded the content as offensive
to their religious beliefs.