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引用次数: 0
摘要
本文通过追溯菲律宾文学理论与批评(或Kritika)在其目标中的地位,反思当前菲律宾K至12高中文学课程中的文学与人文教育。它试图质疑其存在与否是否是当代菲律宾人文教育的“灾难性新自由主义”建筑的症状。虽然本研究将文学主题与玛莎·努斯鲍姆(Martha Nussbaum)的主张联系起来,即“想象力,创造性方面和严格的批判性思维方面”确实“随着国家更倾向于追求短期利润和适合盈利的技能而失去优势”,但本文也通过康斯坦丁诺(Constantino)的“对菲律宾人的错误教育”来定位她的观点,其目的是摆脱教育精神的非殖民化,这种教育精神从未打算促进民主,自由和平等。为了实现这一目标,将菲律宾Kritika置于文学教育中至关重要,因为它与Isagani R. Cruz的“西方文学理论的其他他者”概念相呼应,该概念将菲律宾人继承的教育描述为贫困,因为它“对世界上一半的文学文本和理论一无所知”。殖民主义霸权带来的贫穷“不知不觉地为菲律宾文学思想所共享”,新批评主义是“菲律宾文学界今天的统治范式”,尽管菲律宾后殖民研究中出现了新的批评家和最近的立场。
“THE OLD NEW CRITICAL”: A RETROSPECTIVE VIEW ON KRITIKA, NEOLIBERAL EDUCATION, AND PHILIPPINE K TO 12 CURRICULA IN 21ST CENTURY LITERATURE FOR SENIOR HIGH SCHOOL
This article reflects on literary and humanities education in the current Philippine K to 12 senior high school literature curricula, through tracing the position of Philippine literary theory and criticism, or Kritika, in its objectives. It seeks to problematize whether its presence or absence is symptomatic to the “disastrous neoliberal” architecture of contemporary Philippine humanities education. While this study relates the literature subject to Martha Nussbaum’s claim that “the imaginative, creative aspect, and the aspect of rigorous critical thought” are indeed “losing ground as nations prefer to pursue short-term profit and skills suited to profit-making”, this paper also locates her idea through Constantino’s “miseducation of Filipino people” with the aim of decolonizing from the educational ethos that was never intended to promote democracy, freedom, and equality. Toward that objective, locating Philippine Kritika in the literature education is essential since it speaks to Isagani R. Cruz’s concept of “the other Other of Western literary theory”, which describes the education that Filipinos have inherited as impoverished because of its “ignorance of half of the world’s literary texts and theories.” The poverty it brought via colonialist hegemony is “unconsciously shared by Philippine literary thought” as evidenced by New Criticism being “the ruling paradigm in Philippine literary circles today” despite the emergence of newer critics and recent positions in Philippine postcolonial studies.