This document provides an overview of a literature course focusing on female voices in 21st century works from the Philippines and other parts of the world. [The course objectives are to familiarize students with historiographic metafiction, interrogate history to reveal marginalized voices, and have students write their own metafiction respecting marginalized groups.] Metafiction and historiographic metafiction are defined as fiction that draws attention to itself as an artificial construction and fictionalizes actual historical events/figures. [Students will read and discuss works that bring marginalized female perspectives to the forefront, including adapting familiar stories from different points of view.]
This document provides an overview of a literature course focusing on female voices in 21st century works from the Philippines and other parts of the world. [The course objectives are to familiarize students with historiographic metafiction, interrogate history to reveal marginalized voices, and have students write their own metafiction respecting marginalized groups.] Metafiction and historiographic metafiction are defined as fiction that draws attention to itself as an artificial construction and fictionalizes actual historical events/figures. [Students will read and discuss works that bring marginalized female perspectives to the forefront, including adapting familiar stories from different points of view.]
This document provides an overview of a literature course focusing on female voices in 21st century works from the Philippines and other parts of the world. [The course objectives are to familiarize students with historiographic metafiction, interrogate history to reveal marginalized voices, and have students write their own metafiction respecting marginalized groups.] Metafiction and historiographic metafiction are defined as fiction that draws attention to itself as an artificial construction and fictionalizes actual historical events/figures. [Students will read and discuss works that bring marginalized female perspectives to the forefront, including adapting familiar stories from different points of view.]
1. familiarize with a historiographic metafiction, 2. interrogate history to reveal marginal voices, 3. write your own metafiction with awareness and respect with the marginalized voices Metafiction -It is essentially writing about writing “foregrounding the apparatus” as it’s typical of deconstructionist approaches making the artificiality of art or the fictionality of fiction apparent to the reader and generally disregards the necessity for “willing suspension of disbelief.”
-It is often employed to undermine the authority of the
author, for unexpected narrative shifts, to advance a story in a unique way, for emotional distance or to comment on the act of storytelling. Histographic Metafiction
Linda Hutcheon coined the term
“histographic metafiction” to refer to works that fictionalize actual historical events or figures. Motivation: 1.Why do you think history is called “history” instead of “herstory? What does this reveal about the roots of history? a
2. Do you think women’s voices, and their perspectives, have
been heard and chronicled as faithfully as men’s perspectives? Why do you think so? a
3.What is the importance of the female perspective?
Reading
The Odyssey (Summary)
Questions
1. How would you describe Odysseus’
character? 2. How would you describe Penelope’s character? 3. If you had a choice, would you want to be Odysseus or Penelope? Explain Adaptation
Read the excerpt: “ A Low Art” by
Margaret Atwood Evaluation The class will be divided in a small group, each group retells familiar story from a different perspective in a form of skit. For example, you could retell Noli Me Tangere from the perspective of Sisa or Maria Clara, or you could tell the story of The Three Little Pigs from the perspective of the wolf. The criteria in grading the skit is as follows: 50% Understanding of the characters in the story and 50% Creativity. END OF PRESENTATION...