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This book is titled after the world-renowned poem of Jose Maria Sison, "The Guerrilla Is Like a Poet," which celebrates with natural imagery and in a lyrical way the Filipino people's revolutionary struggle for national liberation and democracy against foreign and feudal oppression and exploitation. The book contains poems from Sison's Prison and Beyond, which won the Southeast Asia WRITE Award, as well as new poems that further develop the theme of struggle for national and social liberation as well as exile. It also carries articles of creative writers on the significance and relevance of his poetry. Sison is a Filipino revolutionary with extensive guerrilla experience and has been a recognized poet since his student days at the University of the Philippines. The publication of this book has been sparked by the effort of the Academy for Cultural Activism of the New World Summit to present the people's culture in the national democratic struggle in the Philippines.
This anthology of essays by a multidisciplinal group reveals perceptions of three Filipino concepts belonging to marginalized and often ignored ethnolinguistic groups.
The studies gathered and reported in this volume by Maria Lourdes S. Bautista represent the first sustained effort in this country going beyond one-time studies to fulfill the requirement of a masteral thesis or doctoral dissertation to study interaction in different classes of one institution and to look at the process for possible implications for language teaching. The pioneering set of studies uses both a qualitative description of the ethnography of speaking in a classroom setting and a quantitative counting of questions and answers summarized in percentage to yield proportions of teacher talk and student talk in different classrooms in literature, language, and English for Specific Purposes. What the studies yield is insight into the actual instructional procedures that take place, the teacher behaviors, and the learner behaviors in terms of verbal responses.
A collection of writing on the historical alliances, cultural connections, and shared political strategies linking African Americans and Asian Americans.
The Drama of Dictatorship uncovers the role played by rival Communist parties in the conflict that culminated in Ferdinand Marcos's declaration of martial law in 1972. Using the voluminous radical literature of the period, Joseph Scalice reveals how two parties, the PKP and the CPP, torn apart by the Sino-Soviet dispute, subordinated the explosive mass struggles of the time behind rival elite conspirators. The PKP backed Marcos and the CPP, his bourgeois opponents. The absence of an independent mass movement in defense of democracy made dictatorship possible. The Drama of Dictatorship argues that the martial law regime was not fundamentally the outcome of Marcos's personal quest to remain in power but rather a consensus of the country's ruling elite, confronted with mounting social unrest, that authoritarian forms of rule were necessary to preserve their property and privileges. The bourgeois opponents of Marcos did not defend democracy but, like Marcos, plotted against it.