The Father In Popoy's The Looban

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On the other hand, the father is the domineering figure of rational consciousness -- the genteel and couth character and the very force who affirms the prominent image of control and inhibition. Popoy does not know the art and literature of his father. The father lambasts his own son for such ignorance. Such a force becomes overwhelming on the part of Popoy as exemplified how he suffers mutedly -- a silence that screams in the domain of the king of all the children in the Looban. As the urbance force of control, it is imperative for the father to silence Popoy, and geer him towards his pragmatic way of seeing life devoid of undevelopment and other hindrances to self-actualization. Possessing the outsider perspective, it is not unforeseen that Popoy’s father, the writer, is the very instrument of the status quo disseminating the ruling class ideology as made manifest by his heartfelt condemnation of the Looban:
Dampalit and Looban: The Gaps and Binaries
In the end, the family is to reside in Dampalit. It is a place very much different from the Looban as it powerfully capture the very clash between the two opposing societies -- the instertice between the powerful (Popoy’s father) and oppressed (Popoy), and even the wealthy and the pauperized. To win is the very goal of the father, and profits are his only priorities. Truly, the father becomes the outsider, the citified subject completely estranged from the Looban. He becomes the echo and symbol of the oppressive way of life
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