Horror abounds in monstrous girls. Whatever form they may take, these figures are united in that their “scariness,” as the existing literature suggests, is rooted in the patriarchal fear of the unstructured, ungovernable, and “incomplete” feminine body. There is a need, then, to critically evaluate how re/presentations of monstrous girlhood in Filipino horror films re/produce discourses surrounding gender, girlhood, and patriarchal power relations. Using Fairclough’s (1989) critical discourse analysis model, the study integrates Turner’s (1981, 1991) concept of liminality, Butler’s (1988, 1999) theory of gender performativity, and Morison and Macleod’s (2013) performative-performance framework to analyze the narrative performances of five characters: Anghela (Seklusyon), Wena (The Debutantes), Erika (Eerie), Manuela (Kuwaresma), and Nerisa (Sunod).

The description stage uncovered a recurring pattern: the monstrous girls’ transformations were triggered by encounters with patriarchal subjugation. It also revealed that the girls’ monstrousness invariably ended in defeat. The interpretation stage revealed that the narrative performances of monstrous girlhood in the selected Filipino horror films drew heavily from genre conventions and existing discourses on femininity, adolescence, and monstrosity, reflecting anxieties about the volatile nature of feminine adolescence through themes of adolescent turmoil, punitive violence, deceit, and a general sense of strangeness. Finally, the explanation stage exposed the films’ complicity in upholding patriarchal-capitalist norms by equating aberrant girlhood with monstrosity and reinforcing women’s domestic and reproductive functions. Despite this, these narrative performances also hinted at their troubling potential to disrupt societal expectations and re/constitute girlhood and gender relations.

The quantitative-correlational study examines the relationship between attachment styles and online stalking behaviors among young Filipino heterosexual adults aged 18-25 after a romantic breakup. The study aimed (1) to determine the attachment style of young Filipino heterosexual adults while they were in their previous romantic relationship, (2) to determine their stalking behavior towards their former romantic partners after breakup, and (3) to investigate the correlation between their attachment style and the level of their stalking behavior. 100 participants were surveyed, with the data analyzed using Spearman’s rank-order correlation. Supplementary qualitative data was also collected through structured interviews with five participants. Results revealed that 43% of participants had a fearful attachment style, 37% were preoccupied, 13% were dismissive, and 7% were secure, indicating significant anxiety and avoidance within the sample. Fearful and preoccupied individuals demonstrated moderate levels, while secure and dismissive individuals exhibited low stalking behavior. Although statistical analysis revealed no significant correlations between attachment styles and stalking behaviors, qualitative findings highlighted themes such as the fluidity of attachment styles, lingering emotional bonds, curiosity-driven behaviors, the role of social media in triggering stalking, and the decline of online stalking behavior overtime.

This study explores the rhetorical strategies employed by Bongbong Marcos during his 2022 Presidential Campaign in the Philippines, framed within Kenneth Burke's Guilt-Redemption Cycle. Through a qualitative case study, semi-structured interviews with three national campaign managers—representing Luzon, Visayas, and Mindanao—were conducted to uncover how activations, information operations, and political narratives were crafted and executed to reshape public perception and influence voter behavior. Findings reveal a nuanced approach where Marcos leveraged historical revisionism, grassroots engagement, and digital platforms to rebrand his controversial legacy. The analysis demonstrates how the campaign navigated societal guilt and resistance through strategic mortification and scapegoating, ultimately achieving redemption in the form of electoral victory. This research contributes to understanding modern political communication, the dynamics of narrative construction, and their implications for democratic processes.

Sa unang dalawang taon pa lamang ng rehimeng Marcos Jr.-Duterte ay nakababahala ang paglobo ng bilang ng mga desaparecido o biktima ng sapilitang pagkawala. Sila ay nasa kakaibang posisyon dahil hindi katulad ng patay ay wala silang bangkay na maaaring paglamayan, pagluksaan, o ilibing ng kanilang mga naiwan. Sa layuning suriin ang tensyon sa pagitan ng presensiya at kawalan, ginabayan ang pag-aaral ng mga teorya nina Diana Taylor sa presensiya at traumatic memes, gayundin ang rekonseptwalisasyon ng mga konsepto ng Pilipinolohiya ni Dr. Prospero Covar na labas, loob, at lalim batay sa kritik ni Dr. Ramon Guillermo. Sa metodo ay humalaw ako mula sa dalumat ng anduyog ni Dr. Jazmin Llana na kaniyang pag-angkin sa ethnographic co-performance. Isinalin ko naman ito sa “pakikitanghal”. Ako ay nakitanghal sa anim na mga pagtatanghal at nakipag-kwentuhan sa kaanak ng mga desaparecido gamit ang limang talking points halaw mula sa kay Adsanatham (2010).
Natuklasan ang iba’t ibang mga konteksto kung saan naitatanghal ang presensiya ng mga desaparecido. Nakita ang labas ng mga pagtatanghal ng presensiya na ikinategorya sa a) materyal na labas at b) katawan bilang labas. Natukoy naman sa pagsusuri ng loob ang mga emosyonal na aspekto ng pagtatanghal na a) sakit at bigat; b) takot, ligalig, at kaba; c) tapang; at d) alaala. Ipinanukala rin ang terminong “labas-loob” bilang diin sa nakitang pagkalusaw sa distinksyon ng dalawang konsepto. Sa rekonseptwalisasyon ng lalim bilang generative na aspekto, lumabas na ang pagsasalimbayan ng mga labas-loob ay nagluluwal ng mga bagong katawan na nagtatanghal ng a) pangangailangan; b) pakikiisa; at c) pag-asa. Samantala, sa lente ng traumatic memes ni Taylor ay natukoy ang mga memeplex ng a) pangalan; b) mukha; at c) ilaw. Sa iterasyon at baryasyon ng mga memeplex ay naitutulak ang transmisyon ng mga bakas ng mga desaparecido. Ang kanilang mga bakas ay hindi lamang itinatanghal kundi nananatili sa mga nagtatanghal na katawan.

In the advent of the global health crisis caused by COVID-19, performance spaces are compromised. Virtual spaces are temporary alternatives for performances. Though the virtual stage has limitations, it has been considered the alternative and the new normal performance medium. However, immediacy and intimacy have become problematic in such as these compromise our common understanding of the relationship between performers and audiences in virtual performances. This undergraduate thesis interrogates this problem through the ritual performances of contemporary babaylans online. Generally, it asks the question: how babaylans preserve and continue their rituals in the virtual stage? Virtual ethnography is used in analyzing the aforementioned issues. Concerning the virtual method, two contemporary male babaylan practitioners are focused. The ethnography is intended to bring forth insights into the transition and preservation of performing rituals in an alternative space: the virtual stage. Using Philip Auslander’s argument on liveness or the mediatization of performance culture, it is argued that immediacy and intimacies between the performers (the babaylans) and the audiences (the clients) are still lingering in the ontological structure of the virtual performance despite the absence of the traditionally conceived live.