LITERARY,

BIOGRAPHICAL,
LINGUISTIC AND
SOCIO-CULTURAL
CONTEXTS
What you need to know:

At the end of this lesson, the learners are

expected to:
• analyze selected literary works by writers
from Visayas and Mindanao;
• identify the context of a given literary text;
• relate the context of a literary text to its
meaning; and
• situate or place the literary text in the
context of the region where the writer is from
and of the nation.
What is it?

A. Literary Text
is a piece of written material,
such as a book or poem that
has the purpose of telling a story
or entertaining, as in a fictional
novel.
Context
anything beyond the specific
words of a literary work that may
be relevant to understanding
the meaning. Contexts may be
economic, social, cultural,
historical, literary, biographical,
etc.
Examples:
a. the political context of the rule of
Elizabeth and James,
b. the religious context of Calivinism,
c. the social context homosexual
relations and crosse dressing
d. the literary context of
Renaissance literature,
Socio-cultural
combining social and cultural
factors.
related to the different groups of
people in society and their habits,
traditions, and beliefs:
Socio-cultural
Sociocultural factors influence
people's feelings, values, beliefs,
behaviors, attitudes, and
interactions. Examples include
social classes, religious beliefs,
wealth distribution, language,
business practices, social values,
customer preferences, social
organization, and attitude towards
work.
Socio-cultural
 There are a number of socio-
cultural issues that can have an
impact on a community or society.
Examples of socio-cultural issues
include poverty, inequality, racism,
sexism, and xenophobia.
Sa Kasintahang Nilimot Na
Benilda S. Santos

Ang totoo, ayaw na kitang makausap.

Nakakainis kasi ang tawa mo sa telepono.
Lahat ng bagay pinagtatawanan mo— kahit
hindi nakakatawa
nagiging biro sa ‘yo.

Ayaw ko nang ganito.

Pakiramdam ko kasi, maysakit ang tawa mo
at medyo takot akong mahawa pamikrobyong
dala-dala mo.
Ayaw kong manghina pa ang malusog-lusog
nang kaligayahan ko.
Ngunit alam ko:
makikipagkita pa rin ako sa iyo alang-
alang sa mga alaalang nakapagpapabanal
sa tao
at dahil alam kong sa likod ng
malalakas na halakhak ang totoo,
hinihingan mo ako ng reseta sa sakit
mo.

Hindi mo alam,
wala na akong maibibigay na anupamang
gamot.
Ang umiibig pala nang tapat sa iba
nagiging maramot.
 HUG SOMEONE TODAY, WHILE THERE'S TIME
My father isn't the expressive, sentimental type.
He isn't the hugging, "I love you" kind of a guy.
But I recall as a young boy, he showed his love to me the only way he knew
best: He spent enormous time with me. We'd jog together every night, walk to
a pizza joint on weekends, and simply talk. (Actually, I'd do the talking and
he'd do the listening.)
My father was my best friend.
A few months ago, Dad was trying to fix a light bulb in our garage. Standing
onto a chair for greater reach, he lost his balance and went crashing down.
His head hit the concrete floor and immediately, blood spurted out like water
from an open faucet.
Because of the impact, there was like a dripping faucet inside his brain as
well. Blood clots started to appear in his X-rays, and he began to experience
paralysis in his body. Even after brain surgery, he lost his language ability
because of a new blood clot, found even deeper than the others-too deep
for another surgery to reach.
The gravest blow was severe pneumonia, an infection that developed after a
few months of staying in the hospital. His lungs were now filled with fluid, and
that was when the crisis hit.
He was hooked up to a respirator, and the long wait began:
The doctors told us frankly that he could go anytime. At that point, he was
only absorbing 20% of the oxygen they were pumping into him. Someone
doesn't last too long in that state.
I looked at Dad's hands and face, and they were bluish in color. I whispered to
his ear, "I love you, Dad."
That was when he regained consciousness for a few minutes. He looked at me
with so much sadness in his eyes.
Then he did something that he never did in my entire life. He raised his hands
towards my face, and clasped me on both cheeks. Then he brought me
down towards him, and gave me a hug.
My father gave me a hug. He was telling me that he loved me, too.
He was also probably bidding farewell. My emotions were running wild inside
me. I was both grieving and joyful.
Joyful because for the first time, my tough, unsentimental father gave me a
hug. Grieving because he was going away. Grieving because it might be the
last hug I'll ever get from him.
"Dad, we should have done this a long time ago," I muttered to myself.
Today, my father has recovered a little bit, narrowly escaping that ordeal.
I hug him more often now. Hug someone today, while there's time.
SAY 'THANK YOU' OFTEN
When I was a kid, I sort of liked getting sick.
Honest.
Not only because I could miss school and stay home. I liked being sick
because Mom would bring me milk and cookies as I stayed in bed.
In all the times I got sick as a kid (which was about every other month), I never
saw my Mom get too tired not to serve me, or feed me, or fuss over me. In my
mind, the earth may shake, the moon melt, and the sun explode, but she was
the one thing in this universe that will never ever change.
Many years later, already as a lay missionary, I remember getting terribly sick.
And there she was, just as if the decades folded up into mere days, as she
went up to my room for her hourly visits, bringing food, warm clothes,
medicine, prayer, etc. Again, it felt good having a loving mother to watch
over me.
All I had to do was ask, and she'd be there for me.
But this time, as her visits progressed, I noticed how she entered my room
almost panting, her breath short, her words faint, her movements slow. I also
read in her eyes the acceptance of a painful loss: for the first time, she was
discovering that she couldn't care for me much longer.
My suspicions were right. A few days later, she
tearfully shared with me her emotional realization.
"I'm just getting older, Bo. I get so tired these past few days caring for you. I
began thinking that perhaps it'll be good for you to get married and have a wife
now." That was the first time she ever said that to me-someone who for years
always wanted me to be a priest.
One day, Mom got sick. A rare event when it happens. So I went to her room, sat
beside her, and chatted about everything she wanted to talk about.
(To her, talking to me is better than all the milk and cookies in the world.) I felt
good just being beside her.
I'm writing this to you, Mom.
I know I travel a lot and I'm rarely at home, because that's the life of a missionary.
And I do thank you for your all-out support for me in my decision to serve the
Lord.
But if you do get sick, and no one's at home to give you milk and cookies, I want
you to know that all you have to do is call me, and I'll be there for you. Yes, we
can talk as much as you want.
You're the best mother I can ever wish for.
You may be too old to care for me the way you did, but I'm old enough to care
for you now.
In my pride, I don't show it as much as I should, but I just want you to know that I
love you, Mom.
I really, really do.
You have given me your life.
Thank you,
ABOUT THE AUTHOR:
Bo Sanchez is the founder of ANAWIM, a
special ministry for the poor, providing a home
for the abandoned elderly and a few
children.
He also established SHEPHERD'S VOICE
Publications, a media ministry that publishes
one of the widest read Catholic literature in
the Philippines. He also organized the LIGHT
OF JESUS TRAINING CENTER, a teaching
institute whose mission is to impart truth
through seminars and workshops all over the
country.
He also pioneered the LIGHT OF JESUS
Community, an organization of lay Catholics
from where was born the LIGHT OF JESUS
Counseling Center. Bo began preaching at
the age of thirteen and hasn't stopped ever
since. He lives with his wife, Marowe, and son,
Benedict Thomas, in Manila, Philippines.
 Talk to Lots of Guys
Don't Search for a Spouse. Search Instead for Self-Knowledge, Fun
and Friends
Let your acquaintances be many... (Sirach 6:6)
Read this love letter from Sam to his girlfriend Judi.
And as you read it, imagine yourself to be Judi.
Dearest Judi,
Our destinies are written in the stars.
Before the world was made, God had already predestined that
we be together - you and I in each other's arms. Before history began,
He chose us for each other. So the moment we were born, we were
already searching for each other - for our other half. So we looked
and stumbled upon different people, and though they made us
happy, they didn't make us complete. For in the end, only you can
make me whole, and only I can make you whole.
And because we were meant to be for each other, no matter
what we did or where we went, fate would bring us together.
And on that historic day, I saw you. And my life has never been
the same.
 From the first moment I gazed upon you, something leapt in my
heart. Immediately, I knew that I had found the one I was looking
for. Yes, it was love at first sight.
And yes, Judi, God has chosen you for me.
Thank you for saying yes to God's will.
I love you,
Sam
 Myth #2: There's One Person Out There Meant for Me
This insane belief is so popular.
Almost everyone I've talked to believes that somewhere out there
in the world is "one specific person God has chosen for me." That
out of three billion males (or females), the Almighty has
handpicked one person to be my spouse.
Some say that even the Bible seems to say this: Eve was a rib
taken from Adam — the rib being close to his heart.
They were two halves searching for each other. (This was
Plato's idea, too.)
But friends, here's the truth: God has not pre-selected one person
out there for you.
I repeat my point in the Preface of this book: God's will is bigger
than we think it is, God's Will can actually contain a few good
men to choose from. Any of these few good men could be in His
Perfect will.
Don't Pass the Choice to God —Take Full Responsibility for Your
Life!
My message: You're free to choose!
Some people turn white in panic when I say this.
Basically, they want God to choose for them - so that if
something goes wrong with the marriage, they can blame
God.
For many people, discerning God's will is really a way of
escaping full responsibility for their choices.
Believe me, I cannot tell you how many times I've heard this line
from married people: "Why did God choose this man for me to
marry? He turned out to be a monster!" I'd answer, "He didn't
choose your spouse. You did." And they answer me with anger,
"But I prayed for His choice for my life. And I asked for signs -
and the signs came!" (I'll talk more about signs in Step #6: Know
What You Want in a Spouse.)
 Is It Okay to Flirt?
For many people, flirt is a dirty word.
When someone says, "She's a flirt," you think dirty
thoughts. For many, it's equal to "seduction." But
gosh, I've been racking my brain looking for
another word that describes wholesome flirting —
and I can't find another word!
So I'm creating a new word myself. (Webster, listen
up!)
Wholesome flirting is flirtsome?
I'm referring to the way a woman intentionally
attracts a man to notice her in a wholesome,
friendly way.
How to Flirtsome
In my book, that's what single women should do if they're
interested in another man. And no, it doesn't have anything to do
with seduction or something dirty at all.
For example, when a single woman attends a sports activity of
the office or prayer group or club, and she brings piping hot
cinnamon rolls to the guys playing basketball — guess what? In my
book, she's flirtsoming.
And it's good flirting. This one guy she's attracted to didn't really
notice her before. But now, she's the girl with the charming smile
who brought cinnamon rolls for the basketball team.
And when they're eating lunch after the game, she
intentionally sits beside him and starts a conversation.
What do you call that? Again, in my book, she's flirtsoming. And
thank God she is!
Girl, flirtsome!
• As a reader, why do you
have to make sense of the
context of a literary work?

• How is each literary works as

representative of the region
where the writer is from and of
the nation?
 Merlie M. Alunan
was born in Dingle, Iloilo and
graduated with a Creative
Writing degree from Siliman
University. She is Professor
Emeritus at the University of
the Philippines and
promotes writing in the
mother tongue. Her poems
are in English, Cebuano, and
Waray. At present, she
resides in Tacloban City.
Old Women in Our Village (An Excerpt) by
Merlie M. Alunan
Explanation:
The imagery in "Old Women in Our Village"
(2012) is heightened through the use of
sound devices. For instance, the
cacophony in the first stanza implies strong
feelings, like in the line "against rock faces,
landlocks, hills." Then euphony in the next
stanza evokes pleasant feelings as in the
line "the sea's sibilant sighing." This suggests
an impending disaster, which is echoed in
the rest of the poem.
 Gutierrez Mangansakan III
an advocate of the Moro culture, is
a filmmaker and writer from
Pagalungan, Maguindanao. In
2001, his film House under the
Crescent Moon won the grand
prize for video documentary from
the Cultural Center of the
Philippines Prize for Independent
Film and Video. Since then, he has
made films that focus on the plight
of women and children. Also, he
was the editor of Children of the
Ever-Changing Moon (2007), a
collection of essays by young Moro
writers. He became a fellow at the
University of lowa's International
Program in 2008.
 A Harvest of Sorrows by Gutierrez Mangansakan Il
Explanation:
"A Harvest of Sorrows" begins with the narrator's arrival at
an evacuation center at 9 AM in a remote village in
Mindanao. He has come to give away several sacks of rice
to the refugees in the center.
The refugees have fled their homes because fighting broke
out in their villages. At the center he meets his friend
Ayesha, the social worker who is in charge of supervising
relief operations. Ayesha tells him that a woman in the
center gave birth to a stillborn child, and the father does
not know it yet. The father, together with the other men,
has gone back to the village to guard the rice fields, where
crops are ready for harvest in ten days. Later, while the
narrator and Ayesha are having coffee, the latter
announces that the father will be sent for and that the
child will be buried after the noon prayer.
 Important Points
Each writer in the lesson tackles a theme that situates his or her work
in a context specific to the region.
Merlie Alunan's poem "Old Women in Our Village" depicts sea, an
important part of life of the Visayans, as an agent of destruction and
death. On the other hand, Gutierrez Mangansakan I's short story *A
Harvest of Sorrows highlights the plight of refugees from war.
Context - This is the background of the text which may have been
influenced by the author's life, language, society, and culture.
Imagery - This language awakens the reader's sensory perceptions
through words and phrases.
Cacophony - This sound device refers to words or phrases with harsh
sounds that create a disturbing tone.
Euphony - This sound device refers to words or phrases with melodic
sounds that create a calmina tone.
Sent
B. LITERARY READING THROUGH A
BIOGRAPHICAL CONTEXT

At the end of this lesson, the

learners are expected to

• analyze a literary text through a

biographical context.
Biographical Context
• places a particular literary work within the context of the author's
life.
• Consider the circumstances under which the literary work was
written.
• While exploring biographical context, useful sources include
biographies of the author, autobiographies or memoirs by the author
or by people who knew him or her, and critical works that give close
attention to the author's life.
• In analyzing a text based on its biographical context, you should
consider not only how the factors mentioned earlier have caused an
impact to the author, but also how these factors were reflected in,
and have helped shape, his or her work(s).
• It is important to take into consideration the literary background of
the author.
• You must research about who and which the author reads as
these may have also influenced him or her and his or her work(s).
 Biographical Context
• places a particular literary work within the context of the author's
life.
• Consider the circumstances under which the literary work was
written.
• While exploring biographical context, useful sources include
biographies of the author, autobiographies or memoirs by the author
or by people who knew him or her, and critical works that give close
attention to the author's life.
• In analyzing a text based on its biographical context, you should
consider not only how the factors mentioned earlier have caused an
impact to the author, but also how these factors were reflected in,
and have helped shape, his or her work(s).
• It is important to take into consideration the literary background of
the author.
• You must research about who and which the author reads as these
may have also influenced him or her and his or her work(s).
 Bob Ong
Roberto Ong, is a good
example of a Filipino
contemporary writer.
He's known for using
informal Filipino funny
words that mirrors the
everyday life of a local
Filipino man.
 ABNKKBSNPLAko
by Bob Ong
Explanation:
ABNKKBSNPLAKo is an autobiography detailing author
Bob Ong's school days, from his experiences on his first
day of primary school to his disastrous university
experience and culminating with his entry into the
education sector himself, as a teacher. The book is
written in Tagalog, the language of the Philippine
Islands. The autobiography's long title is meant to be
read phonetically, as "Aba, nakakabasa na pala ako?!"
which when translated to English means, "Wow, I can
actually read now?!" Bob Ong is Filipino, but the name is
a pseudonym and his true identity is unconfirmed,
though several contemporary Filipino authors have
been proposed.
For Oral Recitation:
1. What is a biographical context?
2. What is a literary text? (Define)
3. Why do we need to consider the
background of the author in
understanding the meaning of a literary
text?
4. What factors are to be looked into in
using biographical context in
understanding the meaning of a text?
 C. LITERARY READING THROUGH A
LINGUISTIC CONTEXT
At the end of this lesson, the learners are
expected to
• analyze the literary text through linguistic
contexts and discuss how they enhance
the text's meaning and enrich the reader's
understanding; and
• explain the relationship of context with
the text's meaning.
Linguistic Context
• is discourse that surrounds a
language unit and helps to
determine its interpretation.
• refers to the context within the
discourse, that is, the relationship
between the words, phrases,
sentences and even paragraphs.
F. Sionil Jose
His novels and short stories depict
the social underpinnings of class
struggles and colonialism in
Filipino society.
Joses works-written in English-
have been translated into 28
languages including Korean,
Indonesian, Czech, Russian,
Latvian, Ukrainian and Dutch.
 Puppy Love (Excerpt)
by F. Sionil Jose
We returned close to midnight from the district
competition in a fleet of carretela's and parted in the
school-house where we lift the odds and ends, we used,
the athletes their athletic equipment. We won in the
dance competition. I walked Gina to her house. February
and the cool night had a full moon sailing in the sky. I was
hungry and so was she; we meet a few townspeople on
their way from the movie house and they asked us how
we fared.
"We won! We won!" Gina gushed.
I wanted to stay with Gina but upon approaching their
house, all lights were on. They had some guests, and I was
too shy to go although I doubted very much if there was
any food in our house.
 Puppy Love (Excerpt)
by F. Sionil Jose
Explanation:
"Puppy Love" by F. Sionil Jose is a story of
love, tragedy, revelation and hope. The
story is culled from Filipino life, it uses
simple words, figures of speech (e.g., "full
moon sailing in the sky"). and sensory
images. The author knows how to play
with the language where the readers can
visualize the subject, characters or settings
in that way, they can understand its
underlying meaning.
Jose Garcia Villa
(August 5, 1908 - February 7,
1997) was a Filipino poet,
literary critic, short story writer,
and painter. He was awarded
the National Artist of the
Philippines title for literature in
1973, as well as the
Guggenheim Fellowship in
creative writing by Conrad
Aiken.
 "Lyric 17"
by Jose Garcia Villa
First, a poem must be magical, Then musical as a sea-
guil.
It must be a brightness moving And hold secret a bird's
flowering.
It must be slender as a bell, And it must hold fire as
well.
It must have the wisdom of bows, And it must kneel lie
a rose.
It must be able to hear The luminance of dove and
deer.
It must be able to hide What it seeks, like a bride.
And over all I would like to hover God, smiling from the
poem's cover.
 "Lyric 17" by Jose Garcia Villa
• The interpretation of the poem "Lyric 17" by Jose Garcia
Villa surrounds language unit that helps effectively
determine the meaning of the text
• This poem is about what qualities make poetry good.
• The author is trying to convey the right qualities that are
required in a poem to make it satisfactory.
• The poem feels passionate towards poem writing as
can be seen through how instead of merely writing an
instruction sheet og
how to write a good poem" he instead writes a poem
about good poems.
• What more, the language he uses is fanciful and the
metaphors and rhyming couplets indicates the thought
put behind his work.
 Lyric 17"
by Jose Garcia Villa
• In the poem, the term "musical as a seagull" may
indicate that the poem should be a rarity and something
unheard of; "a diamond in the rough" very much alike
how one has never heard of a musical seagull. The poeng
similarly should also be fluent.
• Meanwhile "brightness moving" may indicate how
poems should not be dark" it should be optimistic and
pleasant and should not b constant" rather captivating
and intriguing to one's reader.
• The phrase "holds secret a bird's flowering" is a
metaphor that indicates towards the hatching of a bird
young from an egg. This represents showing a new
perspective to the reader and how the poem should
inspire its audience to think and not merely be able to
and its meaning from merely reading it.
 Lyric 17"
by Jose Garcia Villa
• "Fire as well" represents wit and brain in a poem that makes
a poem interesting and not dull.
• "Slender as a bell" refers to how tells have multiple sizes
• "Wisdom of bows" has multiple meanings such as firstly, the
tradition of bowing; secondly, archery, and lastly, ribbon
tying.
• All things that are in different areas and hold symbolisms
such as bowing being a form of respect, archery being a skill
that can be used as a form of leisure or someone's livelihood
and bows something for aesthetic purposes.
• "Kneel like a rose" indicates humility in beauty and strength.
While a rose is beautiful it has unseen strength in thorns and
kneeling indicates submission thus subsequently referring to
humility.
 "Lyric 17"
by Jose Garcia Villa
• Meanwhile, "must be able to hear" shows that the poem
must be sensitive and be able to sense its reader while
guiding and appeal to its audience with more than visual
imagery.
• "Luminance of dove and deer" possible gives references
to the how a deer symbolizes gentleness and the dove
purity.
• "Must be able to hide"
and "seeks like a bride" brings
attention how while the poems meaning should not be in
clear vision, it should not be completely obscured to the
point it is lost as well as indicating that it should draw the
audience attention like how the bride seeks attention on
special day.
 "Lyric 17"
by Jose Garcia Villa
• "And over God smiling from the poem's cover" shows
that the writer of the poem would be the God of the
poem and has free rule over the poem instead of
something obstructing his ability to create freely.
Throughout the poem, the word (must) is used eight times.
This shows the writer's compulsion as to how strongly he
feels that all writers should follow the guidelines, above in
poem writing.
• If you are writing a poem or any genre of literature
because you want to capture a feeling that you
experienced, maximize your creativity especially on the
use of language. The use of beautiful language in the text
determines the effective and correct meaning of the
expression.
 D. LITERARY READING THROUGH A SOCIO-
CULTURAL CONTEXT
At the end of this lesson, the learners are expected
to:

• analyze the literary text through I socio-cultural

contexts and discuss how they enhance the text's
meaning and enrich the reader's understanding;
and
• explain the relationship of context with the text's
meaning.
 Socio-cultural Context

• is evident when literary works respond in some way

to the society in which they were written, and most
often (though not always) that response takes the
form of criticism.
• Sociocultural context is about how a particular
literary work depicts society. Sources you might
investigate include works (books and articles) of history
or sociology that talk about the strengths, weaknesses,
and changes occurring in the society during the
period in which the literary work is set, and critical
works that emphasize the connection between the
society and the literary work.
Example:
ABNKKBSNPLAko
by Bob Ong
Explanation:
ABNKKBSNPLAko depicts the Filipino culture and,
although in a humorous way, reveals the social
realities and issues that remain present up until
now namely education, economy, corruption up
until personal struggles. The author also leaves
audiences with advice regarding life and school in
general.
 Ben Singkol by F. Sionil Jose
Ben Singkol is about Benjamin "Ben" Singkol, who is described
as "perhaps the most interesting character" created by the
author.
Based on José's novel, Singkol is a renowned novelist who
wrote the book entitled "Pain", an autobiography written
during the Japanese occupation of the Philippines. Through
the fictional novel Singkol recalled the hardships experienced
by the Filipinos during the occupation. Singkol was described
to be a coward, a
"supot" or an uncircumcised man who did not only run away
from such a "ritual of manhood" but also evaded his "foxhole in
Bataan when the Japanese soldiers were closing in". Singkol
was a "runner" or "evader" throughout much of his lifetime,
while being haunted by the "poverty of his boyhood" and of
the "treachery that he may have committed" in the past.