This paper examines the representation of nonhuman animals in seven contemporary Philippine novels in English, exploring their roles in shaping cultural and national identity. Drawing from critical animal studies (CAS), postcolonial ecocriticism, and folklore studies, the research bridges the symbolic and material dimensions of nonhuman animals, analyzing their literal and allegorical significance. By juxtaposing the folkloric depictions cataloged in Damiana Eugenio’s Philippine Folk Literature series with their literary counterparts in works published over the past decade, this study investigates the enduring and evolving roles of nonhuman animals in Philippine storytelling.

Highlighting the agency and symbolic flexibility of nonhuman animals, the analysis contributes to global CAS discourse, which critiques speciesism and explores the intersections of ecological and cultural marginalization. Moreover, it situates Philippine literature within international conversations on zoocriticism and the human-animal relationship, while also addressing gaps in local literary scholarship. The findings reveal how nonhuman animals in Philippine novels function as more than narrative devices; they are integral to constructing hybrid identities, challenging anthropocentric frameworks, and addressing pressing ecological and social issues from a postcolonial context.

This study advances comparative literature by examining how nonhuman animals mediate relationships between postcolonial human experiences and the environment. It underscores the importance of Southeast Asian narratives in diversifying global ecocritical perspectives, advocating for an inclusive approach that considers the nonhuman in cultural and literary discourses.

Swiss linguist Fardinand De Saussure (1857-1913) is known as father of modern linguistics and semiotics. Saussure first time introduces the concept of Sign, Signifier and Signified and declares the relationship of signifier and signified arbitrary. Saussure calls this particular linguistic domain as Semiology. Being a linguist, Saussure only includes verbal signs in his analysis. Americian logician Charles Sanders Pierce (1839-1914) makes a remarkable contribution to semiotics by adding non-verbal signs to Fardinand`s Semiology based on verbal signs only and calls it Semiotics. Pierce does not deny Saussure`s basic concept of arbitrariness of the relationship of signifier and signified, but categorizes Sign into three categories as Icon, Index and Symbol. French semiotician Roland Barthes (1915-1980) further elaborates signifier and signified by introducing the concepts of denotation and connotation.

It is very surprising and important to look back at Indian knowledge and scholarship developed in 9th Century in Sanskrit language and in the same domain with the formulations of Acharya Anand Vardhan as Shabdshatis or three powers of word Abhidha, Lakshna and Vyanjana in his famous work Dhavanyaloka. In his interpretation of Lakshna, Anand Vardhan describes twelve types of Lakshna including Roorhi, Paryojnavati, Saropa and Sadhyavasana having almost very close and similar description of the intent or signification as defined by Pierce and Roland Barthes later in 20th Century. Moreover, the terms Upmana and Upmeya are almost similar to signifier and signified. Many other formulations of Indian scholars as Dharmakirti, Dingnag and Bharatrihari and concept as Apoha has similarities with Saussure`s view of oppositional differences between signs.

Present paper will focus on a comparative analysis of Indian and Western notions of various semiological and semantic concepts introduced by Acharya Anad Vardhan, Bhartarihari, Ferdinand De Saussure, Charles Sanders Pierce and Roland Barthes. Main objective of the study is to bring forth the certain relatable congenerous parameters or factors and convergent aspects obtained in the viewpoints of given scholars towards their formulations of semiotics and semiology.

歌集（Shijing）在中国传统学术中具有规范地位，在历史上被视为具有政治意义的文本，作为治理国家的宪法典范。各个王朝对*Shijing*的研究主要集中在语言学、语义学和文本批评上，强调其实际功能。然而，在共和时期，*Shijing*经历了一系列的重新解释，最终被纳入文学史，并被归类为现代文学学科。这种从正典文本向文学分类的转变反映了现代中国学术体系的转变。这种转变的具体过程在共和党学者对*诗经*的民间解释中，强调其抒情价值以及对文本作为诗歌在文学史起源的地位的重新定义中显而易见。这种变化与当时学者不断发展的人文主义观点和新思想的推广密切相关。

For a long period, red hair has been mentioned and endowed with special connotations and assumptions in literature. As one of the time turning points, the Medieval Age left a huge impact on British society appearing in several spheres, especially in literature. Being the trait of the wild nation that historians define, red hair presented two opposite connotations in two periods. In this essay, three questions are put forward. The first one is what are the different connotations of red hair between the Anglo-Saxon period and the Medieval period in British literature? The second one is how the religious connotation of red hair affected the public image of secular literature and what is the specific manifestation of it. The third one is that with the process of the shift of the public cognization of redheads, what is the change of social power? In the theory of Northrop Frye, the dark mythological forces should be identified with the heathen empires that can be connected with the strong political slant of the Bible. Therefore, in this essay, I will select typical literature genres as examples including The Canterbury Tales and illustrate the original image of red hair before the period influenced by Catholicism in the Anglo-Saxon period as well as the religious origin of the redhead connotation and try to explain how these changed images became popular and well-known connotations and the transformation of the social power.