Gabriela Silang - Wikipedia
Gabriela Silang (March 19, – September 20, ) earned the title Gabriela Silang, wife of Diego Silang one of the most famous women in .. Yeah they broke a couple ribs The groups' goal was to ensure an independent Ilocos . Shortly, after their marriage, Millan died of old age. Gabriela met Diego Silang, a man of great intelligence, courage and determination who believed and fought. Diego Silang, Gabriela Silang. The marriage lasts only three years, then the aged husband passes away. The young widow, who is described as beautiful and.
These heroes were likely deemed popular choices due to the roles they played in the conventional history books of the Philippines. Inthe publisher felt that another set of six would be appropriate given that the first set sold moderately well and won a distinction by the Manila Critics Circle. This time, they felt it was necessary to address deficiencies with the original six. There were two deficiencies that were indicated: This influenced the decisions for the next set of six subjects.
Quezon, and Benigno Aquino were all chosen because they were heroic figures within the last century. Tahanan felt that these would be more relatable for young readers. Teodora Alonso and Mother Ignacia were chosen in order to add more women to the series.
Antonio Luna was the exception, since he was merely included because he was cut from the first set, and Tahanan felt that he needed to be included now that they had the chance. Tahanan openly admits that timeliness played a role in selecting their subjects. This is especially relevant to Benigno Aquino and Mother Ignacia.
Aquino died less than ten years before the second set was published, meaning that he was still a prominent topic of discussion. Since people still felt the spirit of the People Power Revolution, Tahanan felt he was a necessary inclusion. The case of Mother Ignacia is rather peculiar, since she has little to no political significance in our national history, unlike the other eleven subjects.
In fact, there is barely any information about her being oppressed by the Spanish colonizers that ruled the country when she was alive.
Her choice was justified by the publisher as being relevant due to her ongoing campaign to be canonized as a saint, which persists as of the writing of this article. In fact, the publisher admits that, had they a crystal ball that could predict future events, they might have instead included Lorenzo Ruiz or Pedro Calungsod, whose canonization campaigns proved much more successful.
The publisher admits that they would have wanted to publish more biographies and include more subjects. However, there were certain constraints that limited them to six books per release. Eventually, they decided to stop releasing books in the series because of two factors. As the Great Lives Series had a black and white format in order to stay within the one hundred peso price limit, the series was no longer in line with the plans of the distributor. Since then, Bookmark has decided to release the Modern Heroes for the Filipino Youth Series, which focuses on more contemporary figures with the goal of inspiring young people to emulate these figures, a bit of a leap from the Great Lives Series, which told the stories of these historical figures without removing the less inspiring aspects of their lives.
However, with the mainstreaming of the internet, they saw a massive drop in sales due to students preferring to simply search the subject online in order to get initial knowledge about them. This did not lead them to stop printing the series.
In fact, there is evidence that they continue to print these books to this day. This includes the fact that the distributor listed in the more recent printings is not Bookmark, Inc. However, this did not mean that Tahanan had the capability to invest in the creation of new biographies. This is why several names that they admit are deserving of inclusion have been left out.
A closer look at the series Now, we must take the time to assess each work individually. Considering that they are, for the most part, written by different writers, but released by the same publisher, it is relevant to see what aspects of each one stand out from the others in order to judge its literary value.
Only then can we determine its literary historical value with the goal in mind being its ability to engage a young reader to learn more about the subject. Gabriela Silang Written by Neni Sta. Romana-Cruz, this work is noteworthy for being the only one written about a woman in the original set of six. It also features the only warrior woman in the entire series.
The narrative also gives us insights into the anti-Spanish activities of the Filipinos before we had a concept of a nation. This is why the narrative explicitly emphasizes that she fought for Ilocos, her home province, not necessarily the Philippines as a whole, as such a concept did not exist during her time. The story is notable for its inclusion of several violent scenes that detail specific acts of brutality.
However, its main weakness is that it is not entirely about Gabriela Silang. While it is understandable that the story will talk about her husband Diego Silang to some extent, a large chunk of the narrative is hijacked by that of Diego Silang. A young reader might, at some point, forget that he or she is reading a biography of Gabriela and instead think it is one about Diego or about the couple as a pair.
Gabriela Silang - Bayani Art
Overall, it is quite an engaging work of literature despite its digression. The work does not fall short of sparking the interest of the reader. It provides enough information to give an initial wave of knowledge to the reader, while at the same time telling a story that will likely make the reader interested in learning more about the revolutionary forces in the Philippines that predated the Katipunan. Apolinario Mabini Written by Dr. Stephen Latorre, this work was also told quite well.
Despite the setting of the story being wartime, the subject made it so that there were hardly any scenes that took place in the battlefield. Given this restriction, the book concentrated on the efforts Mabini made to push for reforms in his country using his knowledge of the law and his brilliance as a writer. It ended up being quite engaging, despite the lack of action. It was moderately exciting, while managing to be both interesting and inspiring despite the bleak ending.
It ended up indirectly teaching the young reader how the revolution failed and how they as Filipinos can learn from its failure. Jose Rizal The first of three works in the series written by Sylvia Mendez Ventura, this biography stepped up to the task of writing about the national hero. It selected the information about his life that are normally found in conventional histories, including the writing of his novels and his involvement in numerous organizations that paved the way for the Katipunan.
There were some facts noticeably missing from his personal life, including the retraction controversy, which is barely alluded to in one paragraph, wherein it is mentioned in such a way that, if you as the reader know about it, then you would understand that the biography is denying it ever happened, whereas if you as the reader do not know about it, then you would not be informed about it from reading the biography.
As a story, it is written in such a way that the young reader can connect with Rizal on a personal level that allows one to understand his motivations behind his actions. As a literary historical text, the young reader would be brought toward a new understanding of these historical events and how Rizal shaped them and was shaped by them. It confronts the young reader with thoughts about what they would do had they been the one in his shoes. Andres Bonifacio Written by Isagani R.
Medina, this work does a moderately good job of telling the story of Bonifacio in a compelling manner. There is a rather awkward digression, wherein the narrative turns into a primer on the Katipunan rather than about the life of Bonifacio per se. Such information could have been condensed into a paragraph or two instead of pages twelve through sixteen.
As a work of literature, the biography makes Bonifacio to be a sympathetic character who is both flawed and worthy of adoration. While it highlights his excellent qualities, it also shows that he is human, allowing the young reader to relate to him better. Its digression into the Katipunan might make it lose points as a compelling biography, but it allows the young reader to come away from it with a lot of engaging information regarding the Philippine revolution and the life of one of its most prominent figures.
The result is that it manages to leave the young reader quite interested in learning more about the period in history when Bonifacio was around, so it works as a literary historical text. Emilio Aguinaldo Written by Elmer A. Ordonez, this work is quite well-written overall.
As a work of literature, it had the tendency to drag at certain parts, although it was undoubtedly captivating for the most part.
Between the length of the life of the subject and the digression into Bonifacio, the narrative ended up suffering due to a lack of real focus. Juan Luna One of two biographies in the series written by Carlos Quirino, this biography serves as a detailed and exciting account of the life of one of the greatest artists of the Philippines. It grips the reader with compelling scenes.
When Luna kills his wife, the reader both hates and understands him. However, as a literary historical text, it leaves the young reader with little information about the political past of the country.
Antonio Luna Written by Vivencio R. Jose, the work seems rather dry and impersonal. At points, the work reads like a summary of events and accomplishments rather than a narrative.
This scene was almost told in passing, with the young reader feeling next to no connection with the emotion in the scene. As a literary work, this biography does not fare well, as it reads more like a summary. In terms of literary history, this is probably the most scientific in the series, trying to tell factual events as they happened. It is possible that this is due to the author having written a full-length biography about Antonio Luna in the past.
This work then feels as if it might be a summary of his other work that was simply made digestible for young readers. Teodora Alonso Written by Ambeth Ocampo, who is more popularly known for writing about Rizal, this work is an interesting narrative, but one that ends up not reading like a biography on its subject. Instead, it regularly digresses to talk about Jose Rizal, telling us his story from another point of view. This is something that the text seems to be conscious about since it at some point at the end of the narrative feels the need to justify the hero status of Alonso by saying that she was a hero to Rizal, which makes her a hero to the nation that sees Rizal as a hero.
Gabriela Silang: Anti-colonial fighter in the Philippines | Liberation School
As a literary work, it is quite engaging, as it makes Alonso quite relatable, especially for young readers that are close to their mothers.
Had the biography been packaged as such, this would have been a great way for the young reader to be introduced to alternate forms of storytelling, without the shift being too jarring. Mother Ignacia Written by Dulce Festin-Baybay, this is the least political work of these series, as its subject is rarely seen oppressed by the ruling powers.
Instead, it shows the journey of Ignacia, as she tries to establish her own beaterio, which is not unlike a convent. There are also extended portions that just talk about historical events affecting Chinese people in the Philippines without adequately connecting Ignacia to them, save for saying that she is a Chinese mestiza.
As a literary work, it is engaging enough, but it does read as somewhat biased and skewed towards supporting her canonization, which would make sense, given that Tahanan admitted that the canonization campaign was part of the reason they included her. In fact, the end of the narrative stops being a narrative, and instead just talks about the process of being a saint. As a literary history, it is interesting mainly for religious readers, which there are quite a few of among the Filipino youth.
Another interesting aspect is that it gives insights into the lives of Chinese-Filipinos that are absent from any of the other works in the series. Romulo The second of the works written by Sylvia Mendez Ventura in the series, this constitutes an exciting narrative for the young reader.
It also mentions his flaws alongside his accomplishments in order to make him more relatable. As a work of literature, it is engaging enough to keep the reader reading until the end, focusing on exciting scenes that help the young reader relate better to Romulo. As a literary historical work, the narrative gives a rather engaging, albeit pro-American, side of the story, which is fitting given that Romulo had a tendency to be pro-American.
Quezon The second work written by Carlos Quirino, this biography depicts a man who strives for Philippine independence and for Filipinos to be proud of who they are. As literature, the narrative is engaging, and it allows the young reader to sympathize with a man who tried to work with the Americans in order to bring independence to the Filipinos. As literary history, it allows the young reader to learn about history in a way that allows him or her to become interested in the events, such that they might choose to read more about it.
Benigno Aquino The last of the three works written by Sylvia Mendez Ventura, this book is as good as her other two in the series. The character of Aquino is seen as admirable and sympathetic, although admittedly as one who is lacking in flaws that would make him easier to relate to.
It feels skewed to favor him at several points, which makes sense given the general sentiments towards the Martial Law period of Philippine history at the time. As a young reader of a literary text, the story is quite exciting, as the events happened recently enough for there to be no short supply of fascinating information. However, this works against it when it becomes a literary historical text, as the narrative is rather skewed, although admittedly this may be due to the interference of my personal historicity, as one who has been more informed about the shortcomings of the Aquinos.
However, the book does succeed in making young readers want to learn more about the Marcos dictatorship and the efforts done to end it. Overall, we can see that there is a variety when it comes to the competence of the different writers in rendering the historical events into personal biographies, especially when it comes to making them palatable to young readers.
The facts and how to show them In selecting the events for each narrative, the biographers included several types of information that helped forward the story of their biography. Some events are included for their historical importance. These are mainly what allow these biographies to serve as literary histories, providing an engaging way for the young reader to be introduced to these monumental events.
They allow us to see these events from the lens of the subject of the biography, allowing us to understand the role that that event had in shaping the life of the subject and the role the subject had in affecting that particular event. These are the events we would normally find in the conventional history book or the history textbooks of these young readers.
These events are found all over the twelve biographies included in the series. Romulo and Manuel L. Some events were included for their personal importance to the subject. Given that these subjects lived a long time from the perspective of the young reader, these personal facts and events serve to allow the subject to be better understood by the young reader, especially when it comes to their background and motivations.
As a whole, these facts allow us to have a better understanding of the role the subject played in history. According to James C. This means that in order to make the biography effective, personal information must be used in such a way that gives life to the subject, allowing the young reader to know him or her better. Some of these personal events include how Benigno Aquino took his daughter Kris to the movies when no one else wanted to, how Teodora Alonso taught Jose Rizal the story of the moths coming closer to the flame, how Juan Luna put on weight and grew a mustache that made him less attractive to his wife, and how Carlos P.
Romulo was treated well by an American who lived with his family. These all give us better insight into the character of these individuals, as well as the lives they led and the events they affected.
Some everyday practices were included in order to better paint a picture of the settings, as well as the lives led by their subjects. These are, in some contexts, referred to as habits. This means that these habits allow us to get into the very psyche of our subjects, as well as the people they interacted with on daily basis.
In such cases where these habits are no longer practiced, including them in the biography allows us to bridge the gap in time and space between the young reader and the subject.
These also set the tone for certain events to take place. A common technique is to set the tone of the setting with information about everyday life. Some of the examples of everyday experiences included in the biographies in the series include the things Teodora Alonso would do at home with her children to supplement their income, how children like Antonio Luna were taught by Spaniards with the rod and the cane, and how babies like Mother Ignacia were named after the patron saint of the day they were born.
Some facts included are there just to give trivial information to the reader. While these do not often enrich the narrative, these facts are included as a way to further educate the young readers of these biographies, as they can normally be relegated to short phrases, meaning the author has the ability to educate on tangential subjects without disrupting the narrative too much.
This allows them to still play a beneficial role for the young readers. These are not found in all of the biographies, but they are not uncommon and are easy to spot. It is not enough to take note of what kinds of information were included in these biographies. We must also analyze how these facts and events were arranged. This was done in a deliberate way that is essential to the way the young reader is to appreciate these texts.
For the most part, the events in the biographies are arranged chronologically. This is done in an effort to make the narratives easier to understand for young readers. Those in the range of eight to twelve likely do not have enough experience with nonlinear storytelling to be able to properly understand a fragmented narrative. This is why the middle of these narratives are told with the events following a straightforward path, with events following each other sequentially. However, the beginnings of these narratives are not as straightforward.
They usually employ a technique wherein they begin the narrative with one or several important and engaging events that are to be repeated later on in the story. This gives the young reader something to look forward to. Only then does it tell of how he was born.
Another way of beginning the narratives is by offering a query that gives the young reader something to think about. It should be something that can be easily understood given their limited life experience. Ending the narratives is also not that straightforward. While a story written for an adult might abruptly end with the death of the protagonist, these biographies do not have the liberty to do so. This is because they are written, at least partially to impart values to young readers.
While this does not necessitate them being overtly didactic, it requires a synthesis of information at the end of the narrative in order to make sure its points get across. Sometimes, these narratives end with a message about the legacy of the subject.
If anything, Juan Luna had the most negative portrayal in the series, as there was a heavy focus on how he killed his wife. Other than the mere arrangement of information, the way the plot of the narratives is presented is also worthy of note. For this, we can look to the emplotment of history. Interestingly enough, the Great Lives Series has a rather even distribution of the four modes of emplotment, although it is doubtful that this was intentional.
The biographies of Emilio Aguinaldo, Carlos P. Romulo, and Manuel L. Quezon are all examples of comedies because they feature the subject gaining small victories against the system and end with them being somewhat satisfied despite the lack of structural change.
The biographies of Gabriela Silang, Andres Bonifacio, and Antonio Luna are tragedies, as these feature the figures dying almost in vain without seeing much progress in their goals.
The biographies of Mother Ignacia, Jose Rizal, and Benigno Aquino are romances since these show the subjects making a lasting change even after their death. The biographies of Teodora Alonso, Juan Luna, and Apolinario Mabini are satires in that they show the subject struggle against the system that they are more or less helpless against, as they end up merely victims of their circumstances.
While the lives of these subjects could have been presented in other modes of emplotment, the writers of the series chose for them to be presented this way, meaning that there is no one mode that is better for younger readers. Rather, it is more a matter of how these emplotments are executed. The way information is presented is also done in such a way that it protects the biographies against possible inconsistencies.
It does this by distinguishing between two types of information: Those that are generally agreed upon are the ones that the conventional history textbooks state as fact. For the sake of telling a compelling literary history, these biographies state these events as fact, as well. As we can never really know for sure if these events really happened and if the pieces of evidence that we consider sources are accurate, these may not necessarily be true.
But they are presented as truth because the goal of a literary history is not to simply present the facts in as accurate a manner as possible, but to present them in a compelling and engaging way, one that would be dampened by constant citing of sources.
However, there are quite a few bits of information that are considered to be contested or lack definitive sources. This means that there are either inadequate records to verify an event or there is more than one record and these are inconsistent with each other. However, some of these events are important to the narrative, so they are included nonetheless.
In order to signpost these particular bits of information, the authors make use of disclaimers that communicate to the reader that the particular information being presented is not necessarily fact or truth, but helps forward the greater truth that the narrative is trying to convey.
These disclaimers can be used to qualify a variety of types of information, including information provided by the subject of the biography or those close to them. There are a few major examples of this, wherein a huge chunk of the narrative is given a disclaimer. Ignacia lived during the seventeenth century, at a time when there were no newspapers. Because of the lack of historical records, little is known about her early life.
This is how these writers tell the story of young Ignacia. These disclaimers could potentially not be understood by young readers. There is the chance that they are too young that it will simply be ignored and the bit of information will be taken as fact. However, with the help of a teacher or parent, they can learn to understand how to process this information, as well as how to spot disclaimers in other texts. Overall, the way the biographies are told favor the literary historical narrative over the scientific historical method of simply telling it like it happened, assuming that were even possible.
This is because these biographies place greater value in telling a good story to a young reader, rather than tell a story that is a hundred percent factual. For the most part, it matters to the writers that there is literary merit in their work. This is because when telling a story for a younger reader, one will not get away with dry facts told in a clear and straightforward manner. Engagement with the young reader is key. It must also be noted that these texts are supplemental materials to the study of history.
These school- aged children are supposed to be learning history from their textbooks, while these biographies help improve their interest in history. The main goals of these biographies are to get young readers to be interested in history and to make them think about it, not to blindly swallow facts.
As such, these biographies cannot and do not claim to know exactly what happened, as a scientific history might. It simply claims to do the best it can when it comes to presenting facts, while also valuing the way the work is presented as a literary history.
There are several problems that come with writing for young readers that is unique when compared to writing for adults. It wanted to mitigate the risk that they would be writing for a target audience that was out of reach for the chosen genre.
However, it does not totally remove the risk, as different children progress at different rates. This means that some of the young readers aged eight or nine might still have trouble when it comes to understanding perspectives other than his or her own.
This is why when literature is written for young readers, even of this age group, the writing is done is such a way that is openly trying to engage the reader, as if trying to include him or her into the story. It has to do this in order to be more interesting to their minds.Xiao Time: Ang kuwento ng buhay nina Diego Silang at Gabriela Silang -- [April 7, 2014]
According to Charlotte S. The only way to tell an exciting story is use literary techniques that have been utilized to make stories exciting since our ancestors started telling stories back during the days of orality. This is why the literary biography is the only biography for young readers. A scientific biography that prioritizes getting all the facts straight above all else would lose the interest of a young reader almost instantly.
If we were to compare a biographical text written for adults with a biographical text written for young readers, the differences will be evident.
For instance, let us look at the example of how Jose Rizal wrote his first novel, as told by Esteban A. Rizal was convinced that the best weapon he could wield in combatting the enemies of his people and in upholding the rights of the Filipinos was the pen. She was married to Don Tomas Millan a wealthy and known businessman in Ilocos. Shortly, after their marriage, Millan died of old age. Gabriela met Diego Silang, a man of great intelligence, courage and determination who believed and fought towards the independence of the Filipino people.
The two wed in and inshe joined the revolt against the Spaniards alongside Diego. His revolt was successful at first but was derailed by fellow locals, Pedro Becbec and Miguel Vicos, who sided with the Spaniards.
After Diego was assassinated, Gabriela vowed to avenge his death, and to continue the struggle. She was in great affliction, but had no time to lose. The rebels lost hope after the death of their leader. None of the men stepped up to be the new face of the rebellion. She greatly armed herself and informed the people that the struggle was far from over.
She soon gained more followers. Gabriela began to assist people living in other cities.