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Filipino women writers
The history of Filipino women writers is an account of how Philippine women became literary “mistresses of the ink” and “lady pen-pushers” who created works of fiction and non-fiction across the genres. Writing in English, Spanish, Filipino and other local languages and native dialects, female writers from the Philippine archipelago utilized literature, in contrast with the oral tradition of the past, as the living voices of their personal experiences, thoughts, consciousness, concepts of themselves, society, politics, Philippine and world history. They employed the “power of the pen” and the printed word in order to shatter the so-called "Great Grand Silence of the Centuries" of Filipino female members, participants, and contributors to the progress and development of the Philippine Republic, and consequently the rest of the world. Filipino women authors have “put pen to paper” to present, express, and describe their own image and culture to the world, as they see themselves.〔Vartti, Riitta (editor). (Preface to the Finnish anthology Tulikärpänen - filippiiniläisiä novelleja (Firefly - Filipino Short Stories), Kääntöpiiri ): Helsinki, Finland 2001/2007〕〔(The History of Filipino Women's Writings ), an article from Firefly - Filipino Short Stories (Tulikärpänen - filippiiniläisiä novelleja), 2001 / 2007, retrieved on: April 14, 2008〕
==Image and influence==
Among the principal influences to the Filipina image of herself and to her writings we include four women in Philippine history, namely: Gabriela Silang, Leonor Rivera, Imelda Marcos and Corazon Aquino. Often mentioned in Philippine literature, these four represent the struggle, perception and character of how it is to be a woman in Philippine society. Gabriela Silang was a ''katipunera'' or a revolutionary – a representation of female bravery – who fought against Spanish colonialism in the 18th century. Silang was a contrast to the chaste and religiously devout image of the Filipino lady as portrayed by Jose Rizal through his Spanish-language novels, ''Noli Me Tangere'' and ''El Filibusterismo''. Within the pages of these 19th century novels, Rizal depicted Leonor Rivera - a girlfriend of his - through the fictional character of ''Maria Clara'' as the epitome of virtue, i.e., the ideal Filipina. Then there was the arrival of Imelda Marcos – the “beauty queen and dictator’s wife … a power-seeking type of woman…” – after that, the country saw the advent and rise of Corazon C. Aquino, the first woman president in Asia and the Philippines – the elected 1986 replacement of a male despot, Ferdinand Marcos. Gloria Macapagal-Arroyo, after two male presidents (Fidel V. Ramos and Joseph Estrada, respectively), followed in the footsteps of Corazon Aquino to become a leader and political figure of an Asian nation.〔〔
In the latter years of modern-day Philippine literature, from the 1960s to the 1980s, feminism became the focus of Philippine women writers – first in poetry and then prose – in order to break away from what was termed the “Great Grand Silence of the Centuries”. Creating an image unique to themselves – through their own individual efforts – became the norm. There was criticism against the ''Maria Clara'' image portrayed by the Philippine paladin, José Rizal, as well as critiques and femenine disapproval of how Filipino men writers wrote about women. Contemporary feminist female writers were also inclined to break away from the traditional, idealized and typecast image of the Filipina of the past as matriarchal mystics and figures who performed sacrifices, underwent suffrage and works of martyrdom which was to be expected, given their pious upbringing. Women writers also passed judgment against the typical portrayal of women as sex symbols. Among the first lady writers to break away from the old style and genre, exemplified in the works of past female writers, were Paz Latorena's traditional "teachings" about the ideal Filipina in the feminist poet, Marjorie Evasco. Other women writers like Kerima Polotan Tuvera, Rosario Cruz Lucero, Ligaya Victorio-Reyes and Jessica Zafra even stepped forward to boldly make it a “fashion” to discuss aspects of womanhood that were previously regarded as taboo in Philippine society, such as those dealing in female anatomy, erotica, divorce or separation from former husbands, abortion, premarital affairs, and childless marriages. An example is the 1992 publication of ''Forbidden Fruit'', a bilingual volume combining Filipino and English language works of women.〔〔
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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