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Prisca D. Raymundo A Literary Criticism Using Sociological Approach On The Poem Entitled God Said, "I Made A Man" by Jose Garcia Villa

The document provides context for analyzing Jose Garcia Villa's poem "God Said, 'I Made a Man'" through a sociological lens. It discusses Villa's exile in the US from 1930 to 1997 and how his work was shaped by colonial relations between the US and Philippines. It also outlines the historical political events between the 1930s-1990s that further complicated Villa's position as a subaltern artist. The concluding paragraph establishes Villa's biography and how his poem reflects the love-hate emotions from his experiences living through the Filipino-American war as the son of a physician to Emilio Aguinaldo, the first president of the Philippine Republic.

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73 views2 pages

Prisca D. Raymundo A Literary Criticism Using Sociological Approach On The Poem Entitled God Said, "I Made A Man" by Jose Garcia Villa

The document provides context for analyzing Jose Garcia Villa's poem "God Said, 'I Made a Man'" through a sociological lens. It discusses Villa's exile in the US from 1930 to 1997 and how his work was shaped by colonial relations between the US and Philippines. It also outlines the historical political events between the 1930s-1990s that further complicated Villa's position as a subaltern artist. The concluding paragraph establishes Villa's biography and how his poem reflects the love-hate emotions from his experiences living through the Filipino-American war as the son of a physician to Emilio Aguinaldo, the first president of the Philippine Republic.

Uploaded by

Misskweenee Dequito
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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PRISCA D.

RAYMUNDO

A Literary Criticism using Sociological Approach on the poem entitled God Said, “I Made a Man” By
Jose Garcia Villa

The case of Jose Garcia Villa, an exiled Filipino poet who lived in the U.S. from 1930 to 1997,
illustrates the predicament of the subaltern, neocolonized artist embedded in what Pierre Bourdieu calls
“the literary field” (see The Rules of Art). The significance and ultimate value of Villa’s accomplishment,
as epitomized in Doveglion: Collected Poems (2008), can only be fully appraised by contextualizing the
genesis and structuring of his themes, styles, and artistic manifestoes in the fraught historical-political
relations between the imperial hegemon, the United States, and the dependent, peripheral
socioeconomic formation, the Philippines. Underlying this colonial subsumption is the global relations of
nations and peoples within the inter-state system of global capitalism between the 1930 Depression in
the US, World War II, and the Cold War period marked by the communist victory in China, the Korean
War, the IndoChina War, the collapse of the Soviet Union, and the Middle East conflicts. Complicating
this grid, further historical specifications concerning the function of artistic organizations, the language
question, and the arguments between groups advocating the individualist art-for-art’s sake ideology and
its antitheses (civic morality, religious metaphysics, revolutionary socialism), should be factored in to
arrive at a fully determinate, processual, and historicalmaterialist assessment of the Villa phenomenon
as an example of an ethnic, subaltern poetics articulated within the uneven, contradiction-filled
transition from modernity to postmodernity.

The above paragraph lays the sociological background based on the biography of the author
Jose Garcia Villa who was born on 5 August 1908 in Manila, Philippines. He was the son of Colonel
Simeon Villa, the physician to General Emilio Aguinaldo, the president of the first Philippine Republic
overthrown by US invading forces in the Filipino-American War (1899-1913). His poem entitled God
Said, “I Made a Man” is a product of his experiences during those times. The poem is a typical love-hate
conflict which may reflect the author’s love-hate emotions to the country whether it be relational
(family), political, cultural, or economical which molded him to become who he was.

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