Showing posts with label BSE 4a. Show all posts
Showing posts with label BSE 4a. Show all posts

Wednesday, March 19, 2014

Batch 2014 Graduates - Congratulations! Eieo is In!

March 2014 - This is considered to be the perfect time to reap the fruits of your labor and hard work, the best time to reward and express your gratitude to your loving parents. Another milestone, continuing life's journey to live it to the fullest and to become that 'someone' you've always wanted and prayed to be. 

March 25, 2014 @ 8 a.m. - Eieo's Baccalaureate Mass and Graduation Ceremony at the National Shrine of the Divine Mercy, Sta. Rosa, Marilao, Bulacan

Truly, graduating pre-elementary (a.k.a. preparatory, kindergarten, casa) is more of a milestone than an accomplishment. Seeing him happy and proud of what he has learned and achieved is far better than his being a top student. Seeing him with his friends at school and inviting them to come over our place to play and for him to share his toys have been some of the perks a mom and a dad could ever experience as their kiddo is having so much fun at the preparatory school. And most of all, the 'unsolicited' good feedback and remarks from his teachers, fellow students and even other parents are really music to our ears.


Eieo humbly takes pride of his achievements even at his very young age. Oh well, they say a journey of a thousand miles begins with a single step and in this case, we know that our little prince is on his way. Good job, son! Thank you for always making us feel blessed, happy and proud. Dad and I have always felt our worth and we both know that we're doing a great job - all because of you. 

Eieo is a gift from GOD... and so we continuously share our blessings to the world even in our own little ways. To GOD be the Glory! 

Hopefully, GOD will bless us with another kid, a daughter, Eiea ... and this will surely make the three of us very happy, the happiest family ever. 

Anyway, we would also like to greet my dearest BIG sons and daughters in the academe, BSE 4A and 4B, MQAPCians, congratulations on your graduation. You all made it! xoxo

You will all be in our prayers for we are with you in spirit and in faith. Remember what I always tell you - Be blessed and be a blessing, be inspired and be an inspiration, and most of all, always pass the good deeds on. 


Love lots,

Mommy Mai


Monday, July 16, 2012

Register in Stylistics : Language Registers





Register in linguistics refers to the patterns of communication used in particular settings and for specific purposes. It is often an indicator of the formality or official nature of an occasion, or a mark of authority.

Linguists make the distinction that register varies with use, rather than with the user. For example, most people's speech contains pointers, lexical, syntactical, and phonological, of their class or social status. Such speech changes register when it is altered to fit an occasion, such as appearing in court or speaking to a bureaucrat, writing a scientific paper, making a business presentation, or interacting with an older relative or small child.

Register is marked by changes in syntax, accent or phonology, vocabulary, morphology. The study of register is commonly thought of as sociolinguistics, though it is also studied by other disciplines such as pragmatic grammar and stylistics. 

Register is also identified by non-linguistic markers, such as body language and attire, The term has been used since the 1960s, when linguist Michael Halliday identified three variables or types of factors that affect register: Tenor, Field and Mode

Tenor: The relationship between the speakers matters, such as when a student is talking to a teacher, an offender to a police officer, an office worker to a superior, or a parent to an infant (baby talk). Here register is generally a marker of formality or intimacy, and commonly affects phonology, pragmatic rules, and accent.

Field: The subject of conversation or discourse matters, as particular situations call for particular kinds of vocabulary, mood etc. These variations are often called jargon, but are sometimes simply the form of a particular profession. For instance, priests use liturgical language, lawyers use 'legalese'. Philosophers use the language of subjectivity or rationality, while programmers have their own lexicon.

Mode: The medium of communication matters, such as whether it is spoken or written, and if either, on the level of formality or professionalism needed to be conveyed. Instant messaging, for example, is less formal than a handwritten letter, and a professional presentation is different from a coffee shop conversation. Here and in register determined by field, authority and expertise is being conveyed as much as formality.

There are five language registers or styles. Each level has an appropriate use that is determined by differing situations. It would certainly be inappropriate to use language and vocabulary reserve for a boyfriend or girlfriend when speaking in the classroom. Thus the appropriate language register depends upon the audience (who), the topic (what), purpose (why) and location (where).

You must control the use of language registers in order to enjoy success in every aspect and situation you encounter.

1.      Static Register
This style of communications RARELY or NEVER changes. It is “frozen” in time and content. e.g. the Pledge of Allegiance, the Lord’s Prayer, the Preamble to the US Constitution, the Alma Mater, a bibliographic reference, laws .

2.      Formal Register
This language is used in formal settings and is one-way in nature. This use of language usually follows a commonly accepted format. It is usually impersonal and formal. The common format/s for this register are speeches. e.g. sermons, rhetorical statements and questions, speeches, pronouncements made by judges,  announcements.

3.      Consultative Register
This is a standard form of communications. Users engage in a mutually accepted structure of communications. It is formal and societal expectations accompany the users of this speech. It is professional discourse. e.g. when strangers meet, communications between a superior and a subordinate, doctor & patient, lawyer & client, lawyer & judge, teacher & student, counselor & client.

 4.      Casual Register
This is informal language used by peers and friends. Slang, vulgarities and colloquialisms are normal. This is “group” language. One must be member to engage in this register. e.g. buddies, teammates, chats and emails, and blogs, and letters to friends.

5.      Intimate Register
This communications is private. It is reserved for close family members or intimate people. e.g. husband & wife, boyfriend & girlfriend, siblings, parent & children.

Rule of Language Use:
One can usually transition from one language register to an adjacent one without encountering repercussions. However, skipping one or more levels is usually considered inappropriate and even offensive.

In linguistics, a register is a variety of a language used for a particular purpose or in a particular social setting. For example, when speaking in a formal setting an English speaker may be more likely to adhere more closely to prescribed grammar, pronounce words ending in -ing with a velar nasal instead of an alveolar nasal (e.g. "walking", not "walkin'"), choose more formal words (e.g. father vs. dad, child vs. kid, etc.), and refrain from using the word ain't, than when speaking in an informal setting.

As with other types of language variation, there tends to be a spectrum of registers rather than a discrete set of obviously distinct varieties – there is a countless number of registers that could be identified, with no clear boundaries. Discourse categorization is a complex problem, and even in the general definition of "register" given above (language variation defined by use not user), there are cases where other kinds of language variation, such as regional or age dialect, overlap. As a result of this complexity, there is far from consensus about the meanings of terms like "register", "field" or "tenor"; different writers' definitions of these terms are often in direct contradiction of each other. Additional terms such as diatype, genre, text types, style, acrolect, mesolect and basilect among many others may be used to cover the same or similar ground. Some prefer to restrict the domain of the term "register" to a specific vocabulary (Wardhaugh, 1986) (which one might commonly call jargon), while others argue against the use of the term altogether. These various approaches with their own "register" or set of terms and meanings fall under disciplines such as sociolinguistics, stylistics, pragmatics or systemic functional grammar.

History and Use
The term register was first used by the linguist Thomas Bertram Reid in 1956, and brought into general currency in the 1960s by a group of linguists who wanted to distinguish between variations in language according to the user (defined by variables such as social background, geography, sex and age), and variations according to use, "in the sense that each speaker has a range of varieties and choices between them at different times" (Halliday et al., 1964). The focus is on the way language is used in particular situations, such as legalese or motherese, the language of a biology research lab, of a news report, or of the bedroom.

M.A.K Halliday and R. Hasan (1976) interpret 'register' as 'the linguistic features which are typically associated with a configuration of situational features – with particular values of the field, mode and tenor...'. Field for them is 'the total event, in which the text is functioning, together with the purposive activity of the speaker or writer; includes subject-matter as one of the elements'.

Mode is 'the function of the text in the event, including both the channel taken by language – spoken or written, extempore or prepared – and its genre, rhetorical mode, as narrative, didactic, persuasive, 'phatic communion', etc.'

The tenor refers to 'the type of role interaction, the set of relevant social relations, permanent and temporary, among the participants involved.' These three values – field, mode and tenor – are thus the determining factors for the linguistic features of the text. 'The register is the set of meanings, the configuration of semantic patterns, that are typically drawn upon under the specified conditions, along with the words and structures that are used in the realization of these meanings'.

Register, in the view of M.A.K. Halliday and R. Hasan, is one of the two defining concepts of text. 'A text is a passage of discourse which is coherent in these two regards: it is coherent with respect to the context of situation, and therefore consistent in register; and it is coherent with respect to itself, and therefore cohesive'.

Register as formality scale
One of the most analyzed areas where the use of language is determined by the situation is the formality scale. Writers (especially in language teaching) have often used the term "register" as shorthand for formal/informal style, although this is an aging definition. Linguistics textbooks may use the term "tenor" instead (Halliday 1978), but increasingly prefer the term "style" – "we characterize styles as varieties of language viewed from the point of view of formality" (Trudgill, 1992) – while defining "registers" more narrowly as specialist language use related to a particular activity, such as academic jargon. There is very little agreement as to how the spectrum of formality should be divided.

In one prominent model, Martin Joos (1961) describes five styles in spoken English:
Frozen: Printed unchanging language such as Biblical quotations; often contains archaisms. Examples are the Pledge of Allegiance, wedding vows, and other "static" vocalizations that are recited in a ritualistic monotone. The wording is exactly the same every time it is spoken.

Formal: One-way participation, no interruption. Technical vocabulary or exact definitions are important. Includes presentations or introductions between strangers.

Consultative: Two-way participation. Background information is provided – prior knowledge is not assumed. "Back-channel behavior" such as "uh huh", "I see", etc. is common. Interruptions are allowed. Examples include teacher/student, doctor/patient, expert/apprentice, etc.

Casual: In-group friends and acquaintances. No background information provided. Ellipsis and slang common. Interruptions common. This is common among friends in a social setting.

Intimate: Non-public. Intonation more important than wording or grammar. Private vocabulary. Also includes non-verbal messages. This is most common among family members and close friends.

Diatype
The term diatype is sometimes used to describe language variation which is determined by its social purpose (Gregory 1967). In this formulation, language variation can be divided into two categories: dialect, for variation according to user, and diatype for variation according to use (e.g. the specialised language of an academic journal). This definition of diatype is very similar to those of register.
The distinction between dialect and diatype is not always clear; in some cases a language variety may be understood as both a dialect and a diatype.

Diatype is usually analysed in terms of field, the subject matter or setting; tenor, the participants and their relationships; and mode, the channel of communication, such as spoken, written or signed.

Wednesday, June 20, 2012

Magnifico: The Most Inspiring Philippine Film Ever Made

Magnifico: A Film that Touches Lives

I had this in my Stylistics class (intended for media discourse) with my dear BSE Seniors of MQAPC. I was so happy to see, feel and know that they have all appreciated my efforts of bringing them quality, inspiring, life-learning, and heart-breaking films. 


I wasn't expecting that I could take them to where they were while seeing the movie, Magnifico. I was so surprised to see them coming up with such great realizations in life. I was so glad to see them inspired; they were so touched by the lines, scenes and all. It was a perfect moment for everyone.


I am so overwhelmed that I have been an inspiration and a blessing. Having all these makes me feel so blessed and fulfilled. Oh well, I firmly believe that I am serving my purpose as their mentor. I know I am loved. And that makes me so proud! I am a Teacher! Xoxo, Mommy Mai


Film Review: Magnifico

IMAGING GOD IN FILM
Magnifico as a Christ-Figure in Philippine Cinema

SYNOPSIS
Magnifico is a heartrending film about a Filipino boy whose love and sense of mission changed the lives of those around him. Produced in 2003, the film directed by Maryo de los Reyes won at least 25 awards not only in the Philippines but also in international film festivals.

The film opens with the birth of Magnifico (also called Ikoy in the film). It is clearly discernible at the outset that the boy was born in to a rural poor family. His father, Gerry, is a carpenter but does not have regular employment. It was Gerry who christened him Magnifico because he enjoyed watching a magician by that same name. Magnifico’s mother, Edna, augments the family income by stitching embroideries. 

Their house is a dilapidated hollow-blocks-and-wood structure typical in rural Philippines. They were so impoverished that they could only prepare soup and noodles for the town fiesta. At one point Edna had to pawn her wedding ring so they could have food on their table.

The story actually begins when Magnifico turned nine. His brother, Miong, has just lost his much-needed scholarship from a university in the capital city Manila. This was a heavy blow because Gerry pinned his hopes on Miong to save the family from poverty. His grandmother, Magda, who lives with Magnifico’s family, figured in a serious accident and had to be hospitalized. In the hospital it was discovered that Magda had pancreatic cancer. This was another backbreaking blow because part of Gerry’s meager income would now go to medical expenses. As if these problems were not exasperating enough, Magnifico’ sister Helen had cerebral palsy, which rendered her incapable of self-mobility and comprehensible speech. Burdened by such seemingly insurmountable difficulties, Edna lustily sighed, “life is a never-ending misery”.

But whole throughout the film life proved to be a series of small marvels. When Magnifico heard whispers that his grandmother Magda would soon die and that his family was incapable of shouldering the sky-high burial expenses, he innocently devised a secret plan. Employing the help of his school buddy Carlo, he covertly began constructing a wooden coffin. For materials he asked scrap wood from a local woodcarving shop and borrowed carpentry tools from his neighbors. And together with Carlo, he sold iced water and juice at the town carnival, hoping to collect money enough for his grandmother’s funeral dress, flowers, and tomb. When their two plastic jars emptied, they ended up with 306 pesos (about 4 euros) in their hands. However this was way too low, considering that he needed at least 30,000 pesos (roughly 400 euros).

Yet Magnifico never lost hope. Nor felt bad. He was determined to fulfill his mission even if he had to sell iced water and juice until kingdom come. For aside from toiling for her grandma’s wake, he was also saving for her sister Helen. He promised to bring her to the town carnival so she could have a colored balloon and enjoy the merry-go-round and other fun rides. Since Helen could not walk, Magnifico resolved to use his money to rent a wheelchair from Domeng. On the day Magnifico and Helen would go to the carnival, Magda’s illness worsened. And since his parents had virtually nothing, Magnifico had to part with his 300 pesos to buy the requisite medicines. Armed with very minimal amount of pesos in his pockets but with a lot of determination, Magnifico brought Helen to the carnival by carrying her on his back.

The neighbors who saw Magnifico and Helen at the carnival showed them compassion. A guy who used to bully Helen for laughs drove them there. Two feuding neighbors each gave them 100 pesos for tickets to the rides. One ticket controller admitted them without charge, another gave them a huge discount and a vendor gave Helen a free balloon. Magnifico brought Helen around. He showed her the cotton candies, the ice cream, the works. Helen had the time of her life. When Domeng saw Magnifico hauling Helen on his back, he understood why Magnifico wanted to rent his wheelchair. Moved by what he witnessed, Domeng decided to give his wheelchair to Magnifico for free. So he arranged for Magnifico to get the wheelchair from his house.

On his way to Domeng’s house, Magnifico was hit by a car and died instantly. The colorful coffin he built for his grandmother became the chest in which he was buried.

MAGNIFICO AS A CHRIST-FIGURE

Peter Malone defines the Christ-figure in films as “any purely fictional character who resembles Jesus, significantly and substantially”. This does mean that the character has to look like the conventional Jesus in church paintings or be named Jesus. The character does not even have to be Christian nor male nor sinless in order to be a Christ-figure. The Christ-figure is “neither Jesus nor the Christ, but rather a shadow, a faint glimmer or reflection of him”. Thus, for the Christ-figure to be authentic, the film character must mirror Jesus’ life in some way. When the film character’s life or at least some aspects of it make implicit, metaphorical representations of Jesus’ own life and values then he or she may be considered a Christ-figure. Hence, “the Christ-figure is a way of being led back to the Jesus of the Gospels”.

Aside from being the son of a carpenter, the central dynamic of Magnifico’s story runs parallel to a variety of Christ-story elements and situations in the Gospels. The film presents these elements and situations in both symbolic forms and in the day to day life and behavior of Magnifico. The following are some of the scenes wherein we can see Jesus peek through in Magnifico.

a.) Magnifico serves others with love

Magnifico is a film brimming with Christian themes, the most obvious of which is that of selfless love. Magnifico’s love for his grandma Magda, for his parents, for his brother Miong, for his buddy Carlo, and especially for his sister Helen is radically Christian and thus radically different from any experience of love these people have ever experienced from other members of their family and from their neighbors.

Magnifico’s attentiveness to the feelings and needs of his ailing grandmother contrasts against Edna’s bitterness towards Magda. Edna regarded Magda’s illness and impending death as an unnecessary encumbrance to the family. Magnifico, on the other had, wanted to make her grandma’s apparent passing away as dignified and unburdensome as possible. He spent much of his free time making this mission into reality.

Magnifico’s compassion towards Helen contrasts against Makoy’s bullying of the crippled girl. He never felt burdened by Helen even if he had to carry, entertain, protect and feed her often. He labored hard to secure a wheelchair for her and to give her the chance to have a “normal” life and enjoy the carnival.

While doing all these, Magnifico never complained nor had any selfish reasons. All he cared about was the joy he could give to those he loved and to those who needed him the most. Such compassion and selfless desire to be of service to others positively manifests Magnifico’s role as a Christ-figure who came to serve not to be served and to give his life as a ransom for many.

b.) Magnifico makes “miracles” happen

There is a minor character in the film named Ka Doring. She isolated herself from people and lived in the cemetery because she felt more at peace being away from the crowd. She was always begrudging and her face perpetually frowned. Children made fun of her hoarse voice. In turn she would scare them off with threats and curses. Magnifico brought her a bottle of herbal medicine for her soar throat. At first Ka Doring suspected that Magnifico was just one of the kids who wanted to make fun of her so she threw the bottle away. Upon learning this, Magnifico brought her another bottle and this time Ka Doring drank a few gulps. Later on Ka Doring’s sore throat would go away. During the town fiesta, Magnifico also brought Ka Doring noodles cooked by her mother. Magnifico brought about healing in Ka Doring, both in the physical and in the emotional sense. For when her soar throat healed she was not anymore antagonistic towards the children who made fun of her.

Another small miracle made possible by Magnifico concerned Helen’s speech impediment. Edna tried all she could to teach her daughter Helen to say even such simple words as Nanay (mother) but to no avail. There came a point when Edna’s patience was stretched too thin that she ended up hurting Helen physically. On the night when Helen would be brought by Magnifico to the carnival she miraculously began to talk. It was out of sheer joy that Helen began to utter words like “mother” and “carnival”.

The total healing experienced by Ka Doring and the unsurpassable joy experienced by Helen which gave her the impetus to speak implicitly establishes that dimension of Jesus as healer and miracle worker. These two narrative frames dramatically highlights Magnifico as a Christ-figure.

c.) Magnifico inspires forgiveness and reconciliation

Magnifico’s christological identity is exteriorized not only in the small miracles he effected in Ka Doring and Helen but also in bringing about reconciliation between Miong and his girlfriend, between Edna and Magda, and between Tessie and Cristy.

Miong broke his rich girlfriend’s heart when she learned that Miong only wanted to marry her in order to bail out his family from poverty. Magnifico encouraged his elder brother Miong to ask forgiveness from his girlfriend. Miong humbled himself and went to his girlfriend to reconcile with her.

As has been noted above, Edna was always bitter towards Magda. But in the end Edna’s attitude towards her mother-in-law changed radically. It seemed that Edna’s heart suddenly melted when she saw her son carrying Helen on his back without a hint of displeasure or exasperation. The camera focused on Edna’s face and we see tears streaming down her cheek. Then she looked at Magda, and in their eye-to-eye contact it is communicated that now Edna understood the meaning of unconditional love. If her son Magnifico could carry the crippled Helen with love, so must she bear Magda with patience and compassion. That night was the beginning for a new and better relationship between Edna and Magda.

Tessie and Cristy were both jealous of each other. While Tessie was a perennial gambler, Cristy was a helpless rumormonger. They were neighbors but they didn’t talk to each other. In the carnival they each gave Magnifico one hundred pesos. Not conscious of the presence of the other, each waved and smiled at Magnifico and Helen. After which they discovered that the other was just nearby and they soon had eye-to-eye contact. For a brief moment it seemed that their mutual hatred for each other had gone away for the better. It seemed that at last they were initiating a new way of being neighbors.

Except for his brother Miong, it was not a conscious effort on the part of Magnifico to bring warring people to reconcile. Yet it seemed that every contact with Magnifico was life-changing and inspiring. These people were moved to ask pardon, to forgive and reconcile not so much by what Magnifico did as by his manner, his way of being and loving, which formed a luminous evidence to his being a Christ-figure.

d.) Magnifico carries his own cross, dies and brings about redemption

To start building his grandma’s coffin Magnifico and his devoted friend Carlo went to a woodcarving shop and asked its owner for scrap wood. On their way home they carried a long wooden plank on their shoulders which paralleled to that part in the passion story when Simon of Cyrene helped Jesus carry his cross. Whole throughout the movie Magnifico would be seen carrying something – a bottle of herbal medicine and some noodles for Ka Doring, a basin of vegetable for his family’s lunch, plastic jars for iced juice and water, a pouch of money to buy medicines for his grandma Magda, a brush to paint her coffin, and Helen on her back. These were his little crosses. These bespoke of his immense determination to be a person for others. And such involving scenes were essentially Christlike in their execution, content and effect.

The life of Magnifico was cut short. He was on his way to meet Domeng to get the wheelchair for his paralyzed sister when a vehicle hit him. He died just like that. He must have been too excited to see Domeng on the other side of the road that he failed to notice the speedy cars. Up to his last breath Magnifico was always on the move to be of service to others. Symbolically his death poignantly conveys that, like Christ, he was willing to lay down his life for others. It was a kind of poetic justice – his death empowered others to new life.

This new life began for the family he left behind. Everyone who knew him attended his funeral. It was such a sad moment. The burial donations the family received totaled 31,105 pesos. When he was still alive Magnifico hoped to raise as much as 30,000 pesos. Ironically, this was to be accomplished in his death. Because of it Edna was able to redeem the wedding ring she pawned. And because of it they had something to restart on financially. Hence, the money became a metaphor of redemption for his family.

One recurring symbol used throughout the film was the Rubik’s cube which Gerry tried to solve for at least a year. His failure to solve it symbolized his family’s lack of accomplishment in delivering themselves out of poverty, despair and misery. After one problem piled after another Gerry could not bear it any longer and threw the Rubik’s cube out of his sight. After Magnifico’s death, Gerry discovered that Magnifico had solved the Rubik’s cube, putting everything in its proper place. This was so symbolic of what Magnifico did for the people around him – he united his family, reconciled feuding neighbors, brought about healing to the sick, gave joy to the handicapped -  in short putting their lives and their relationships in their proper place. Thus, in effect Magnifico became the Good Shepherd who died so that others may have the fullness of life.


Please see this LINK. Thanks, Rev. Fr. Stephen. You rock! 


To: Mr. Michiko S. Yamamoto and to Mr. Maryo J. de los Reyes - You are a gift to everyone. Thanks to your skills and talents. You've touched so many lives. Kudos!


Hope you like this! Be inspired and be a blessing to others. God bless us all.


Thanks!