SENIOR HIGH SCHOOL

English for Academic

and Professional
Purposes
Quarter 1 - Module 2
Reaction Paper and Concept Paper

Department of Education ● Republic of the Philippines

 MODULE CONTENT

This is where you start to write reaction papers and concept papers which are needed in
your future careers. These will also allow you to become critical thinkers and creative
writers.
These are the competencies covered in the lessons:
• Uses appropriate critical writing a critique such as formalism, feminism, etc.
(CS_EN11/12A-EAPP-Id-f-16)
• Writes an objective/balanced review or critique of a work of art, an event or a program
(CS_EN11/12A-EAPP-Id-f-18)
• Determines the ways a writer can elucidate on a concept by definition, explication and
clarification (CS_EN11/12A-EAPP-Ig-j-20)
• Compare and contrast various kinds of concept papers: Home Economics; Agri.
Fishery; I.A; ICT (CS_EN11/12A-EAPP-Ig-j-23)
• Presents a novel concept or project with accompanying visuals/ graphic aids
(CS_EN11/12A-EAPP-Ig-j-24)
Week

5-6
LESSON 5
CRITICAL APPROACHES IN WRITING A CRITIQUE

Learning Objectives: At the end of this lesson, the learners are expected to:
1. define critique;
2. identify the various approaches writing a critique;
3. criticize the texts using the different approaches of criticism; and
4. apply the appropriate critical approaches in writing your critique.

What is critique?
A critique is a careful analysis of an argument to determine what is said, how well the
points are made, what assumptions underlie the argument, what issues are overlooked,
and what implications are drawn from such observations. It is a systematic, yet personal
response and evaluation of what you read.
It is a genre of academic writing that briefly summarizes and critically evaluates a work
or concept.
Critiques can be used to carefully analyze a variety of works such as:
 Creative works – novels, exhibits, film, images, poetry

 Research – monographs, journal articles, systematic reviews, theories

 Media – news reports, feature articles

Like an essay, a critique uses a formal, academic writing style and has a clear structure,
that is, an introduction, body and conclusion. However, the body of a critique includes a
summary of the work and a detailed evaluation. The purpose of an evaluation is to
gauge the usefulness or impact of a work in a particular field.

Why do we write critiques?

Writing a critique on a work helps us to develop:
 A knowledge of the work’s subject area or related works.

 An understanding of the work’s purpose, intended audience, development of

argument, structure of evidence or creative style.
  A recognition of the strengths and weaknesses of the work.

How to write a critique

Before you start writing, it is important to have a thorough understanding of the work that
will be critiqued.
• Study the work under discussion.
• Make notes on key parts of the work.
• Develop an understanding of the main argument or purpose being expressed in the
work.
• Consider how the work relates to a broader issue or context.

The following are the different approaches in writing a critique:

1. Formalist: This approach regards literature as “a unique form of human knowledge

that needs to be examined on its own terms.” All the elements necessary for
understanding the work are contained within the work itself. Of particular interest to the
formalist critic are the elements of form—style, structure, tone, imagery, etc.— that are
found within the text. A primary goal for formalist critics is to determine how such
elements work together with the text’s content to shape its effects upon readers.

Questions to be Asked for Formalistic Approach

A. How is the work’s structure unified?
B. How do various elements of the work reinforce its meaning?
C. What recurring patterns (repeated or related words, images, etc.) can you find?
D. What is the effect of these patterns or motifs?
E. How does repetition reinforce the theme(s)?
F. How does the writer’s diction reveal or reflect the work’s meaning?
G. What is the effect of the plot, and what parts specifically produce that effect?
H. What figures of speech are used? (metaphors, similes, etc.)
I. Note the writer’s use of paradox, irony, symbol, plot, characterization, and style of
narration.
J. What effects are produced? Do any of these relate to one another or to the theme?
K. Is there a relationship between the beginning and the end of the story?
L. What tone and mood are created at various parts of the work?
M. How does the author create tone and mood? What relationship is there between tone
and mood and the effect of the story?
N. How do the various elements interact to create a unified whole?

2. Gender Criticism: This approach “examines how sexual identity influences the
creation and reception of literary works.” Originally an offshoot of feminist movements,
gender criticism today includes a number of approaches, including the so-called
“masculinist” approach recently advocated by poet Robert Bly. The bulk of gender
criticism, however, is feminist and takes as a central precept that the patriarchal attitudes
that have dominated western thought have resulted, consciously or unconsciously, in
literature “full of unexamined ‘male-produced’ assumptions.”

3. Feminist criticism attempts to correct this imbalance by analyzing and combatting

such attitudes—by questioning, for example, why none of the characters in
Shakespeare’s play Othello ever challenge the right of a husband to murder a wife
accused of adultery. Other goals of feminist critics include “analyzing how sexual identity
influences the reader of a text” and “examining how the images of men and women in
imaginative literature reflect or reject the social forces that have historically kept the
sexes from achieving total equality.”
Feminist Criticism examines images of women and concepts of the feminine in myth
and literature; uses the psychological, archetypal, and sociological approaches; often
focuses on female characters who have been neglected in previous criticism. Feminist
critics attempt to correct or supplement what they regard as a predominantly male-
dominated critical perspective.
Questions to be asked for Feministic Approach
A. How are women’s lives portrayed in the work?
B. Is the form and content of the work influenced by the writer’s gender?
C. How do male and female characters relate to one another? Are these relationships
sources of conflict? Are these conflicts resolved?
D. Does the work challenge or affirm traditional views of women?
E. How do the images of women in the story reflect patriarchal social forces that have
impeded women’s efforts to achieve full equality with men?
F. What marital expectations are imposed on the characters? What effect do these
expectations have?
G. What behavioral expectations are imposed on the characters? What effect do these
expectations have?
H. If a female character were male, how would the story be different (and vice versa)?
I. How does the marital status of a character affect her decisions or happiness?
4. Historical: This approach “seeks to understand a literary work by investigating the
social, cultural, and intellectual context that produced it—a context that necessarily
includes the artist’s biography and milieu.” A key goal for historical critics is to
understand the effect of a literary work upon its original readers.
Questions to be asked for Historical Approach
A. How does it reflect the time in which it was written?
B. How accurately does the story depict the time in which it is set?
C. What literary or historical influences helped to shape the form and content of the
work?
D. How does the story reflect the attitudes and beliefs of the time in which it was written
or set? (Consider beliefs and attitudes related to race, religion, politics, gender, society,
philosophy, etc.)
E. What other literary works may have influenced the writer?
F. What historical events or movements might have influenced this writer?
G. How would characters and events in this story have been viewed by the writer’s
contemporaries?
H. Does the story reveal or contradict the prevailing values of the time in which it was
written? Does it provide an opposing view of the period’s prevailing values?
I. How important is it the historical context (the work’s and the reader’s) to interpreting
the work?

5. Reader-Response Criticism: This approach takes as a fundamental tenet that

“literature” exists not as an artifact upon a printed page but as a transaction between the
physical text and the mind of a reader. It attempts “to describe what happens in the
reader’s mind while interpreting a text” and reflects that reading, like writing, is a creative
process.

6. Structuralism focused on how human behavior is determined by social, cultural and

psychological structures. It tended to offer a single unified approach to human life that
would embrace all disciplines. The essence of structuralism is the belief that “things
cannot be understood in isolation, they have to be seen in the context of larger
structures which contain them. For example, the structuralist analysis of Donne’s poem,
Good Morrow, demands more focus on the relevant genre, the concept of courtly love,
rather than on the close reading of the formal elements of the text.
7. Sociological focuses on man’s relationship to others in society, politics, religion, and
business.
Questions to be asked for Sociological Approach
A. What is the relationship between the characters and their society?
B. Does the story address societal issues, such as race, gender, and class?
C. How do social forces shape the power relationships between groups or classes of
people in the story? Who has the power, and who doesn’t? Why?
D. How does the story reflect the Great American Dream?
E. How does the story reflect urban, rural, or suburban values?
F. What does the work say about economic or social power? Who has it and who
doesn’t? Any Marxist leanings evident?
G. Does the story address issues of economic exploitation? What role does money play?
H. How do economic conditions determine the direction of the characters’ lives?
I. Does the work challenge or affirm the social order it depicts?
J. Can the protagonist’s struggle be seen as symbolic of a larger class struggle?
K. How does the microcosm (small world) of the story reflect the macrocosm (large
world) of the society in which it was composed?
L. Do any of the characters correspond to types of government, such as a dictatorship,
democracy, communism, socialism, fascism, etc.? What attitudes toward these political
structures/systems are expressed in the work?

Now, you have learned the basic principles of writing criticisms. Let’s apply our skill by
doing these activities.
 LET’S PRACTICE

ACTIVITY I. READ CRITICALLY

Let us learn more about this skill by reading a text which is an excerpt of the homily of
the Catholic Archbishop of Manila, Jaime Cardinal Sin. But before you read it, let us
define these words first.
Directions: Get the meaning of these words from any dictionary so that you can
understand what you are reading better: Write your answer in a piece of paper.

WORDS MEANINGS FROM DICTIONARY

Cynic

Demoralize

Destabilize

Anarchic

Unrelentingly

Chronic disease

Callous

Predominant

Transcend

Authentic

Vigorously
Ang Bayan Muna Bago ang Sarili (Excerpts from the Homily of Jaime Cardinal Sin
at the mass celebrating the 5th death anniversary of Ninoy Aquino)

(1) Five years later, we might ask ourselves; has Ninoy’s dream been fulfilled? Have we
succeeded in building a new nation, by “transcending our petty selves,” by setting aside
our differences by working together in a spirit of true self-giving, loving our country first,
above our own interest? Bayan muna, bago and sarili. It is a question we must ask
ourselves, as we remember Ninoy’s gift.
(2) It has been said that the truest motto of our people is “K.K.K”. No, not Katipunan,
shaping unity out of our diversity. How we wish that were our authentic name! But rather:
Kanya-Kanya’ng Katwiran,
Kanya-Kanya’ng Kagustuhan, Kanya-Kanya’ng Kabig (or worse) Kanya-Kanya’ng
Kurakot...
or whatever else each one “specializes” in!
(3) Cynics among us say that K.K.K is the definition of our national character, the
predominant strain in our national culture. It’s what we are when we are “most natural”,
most ourselves. “Bayan muna, Bago and Sarili” is an abstract, non- operative ideal, good
for speeches, good for posters, goo for classroom rhetoric but not for real, not for real
life. For real is K.K.K.
(4) Kanya-Kanyang Katwiran, Kanya-Kanyang kagustuhan. We all remember the three
monkeys; See no Evil, hear no evil, speak no evil. Sometimes one wonders, if it has
become a national pastime, to see and hear and speak nothing, but evil against our
fellow-citizens. Talk can be a great service in a free nation: Talk is space for free
discussion, for intelligent debate, the exchange of information and perception, the clash
of views.
(5) Ninoy himself said: “We must criticize in order to be free, because we are free only
when we criticized.” We may not, at our own peril, forget that. But we must remind
ourselves that criticism is not an end in itself; it is not the absolute. It is meant to help us
to become free, but if it becomes the all-encompassing output of our days, a way of life...
so it takes up most of our energy, most of our time, when we begin to take delight in
tearing down, demoralizing, destabilizing; when we are at each other’s throats all day
long, then we really are engaged in self-destruction, and the destruction of hope, the
creation of despair, especially among the poor who continue to suffer in our midst.
(6) There is a Latin saying: “Unicuique suum, non praevalebunt.” “Every man for himself:
That’s the formula for disaster.” When Ninoy spoke of “the quest for that elusive national
unity which is imperative for the nation’s survival”-he said “survival”. He meant “survival”.
How can we survive, as a nation and as a people, if we have made the name of our
national game as anarchic free-for-all in a “basket of crabs?”
(7) K.K.K also means, we are told, Kanya Kanyang Kabig, Kanya- Kanyang Kurakot.
Surely I don’t need to dwell on this theme this morning. For weeks, the papers, radios,
TV, have shouted nothing else. It is the talk of the marketplace. I myself have spoken,
often enough, of the 40 big thieves left behind in our midst, and many many smaller
ones which might include . . . even ourselves? Who among us did not re- echo the
sentiments and the work of the beloved Chino Roces when he asked for a renewed
moral order in government and society? It is a problem which must be addressed, and
addressed vigorously and unrelentingly.
(8) I am sure this will be increasingly done by our president, by consistent personal
example she has set a pattern for others to follow. I know she is bent on pursuing the
battle against corruption with ever more forceful and energetic action. But we know, we
know that she and those around her cannot do this all by themselves. As citizens, we
must go “into an action mode ourselves.” The task cannot be done without us.
(9) We must begin, rather, where we can begin, with ourselves we must ask: What can
we do about it? What in our own heart, in our own attitudes, in our own practices, must
be changed? What sacrifices must we ourselves do to make a positive contribution of
deeds, to put under control this chronic illness in our society, and in our culture?
(10) If all we do is talk and talk, and throw dirt at each other-forgetting to mind the ship
and its engines, and steer it in mine-filled waters-why, we will still be taking and
quarrelling when our ship goes down into the sea!
(11) If everyone in this church this morning, in Ninoy’s memory, pledge before the Lord
that for one year, “Bayan Muna, Bago ang Sarili”, would really be made an operative
guideline, could it not mark at least a beginning? If for one year, just to get going, we
would make the principle govern our deeds, our conduct in society, would that not be
smart already? How can we “dream the impossible dream” and promise to follow the
stars” if we have become too calloused to do even this?

ACTIVITY II. Answer the questions given: Write your answers in a yellow paper or
bondpaper.

1. What critical approach did he use? Explain why you think that is the approach.

2. Do you agree with the author or not? Why or why not?

ACTIVITY III. Directions: Read the poem “Adam”, by Hugh Cook critically. Criticize it
using formalistic and feministic approaches. Write your answers on a piece of yellow
paper or bondpaper.

ADAM
by Hugh Cook

“Eden is boring. Nothing explodes.

There are no trains to fall off the tracks.
And Adam finds himself With something missing.
Comic books? Broadband? Balsamic vinegar?
Pachinko? Razor blades? Plasma TV?
He's aware of an itch And scratching
Has yet to be invented.
He eyes the fruit,
The One Forbidden Thing. "Not yet," says the serpent, Who's seen the script.
But Adam is engineered for impatience: Quests, missions, objectives, Grails unholy or
otherwise.
"Out!" says the angel. And Adam shrugs, Loses the core,
Strides to the open gate. Something on two legs Is running after him.”

Cook, Hugh - Adam. 2003

ACTIVITY IV. Directions: Read or silently sing this song entitled “Bahay” by Gary
Granada. Make your criticism by completing the graphic organizer in the next page.
Write your answers in your notebook.

Bahay
by: Gary Granada

Isang araw ako'y nadalaw sa bahay tambakan Labinglimang mag-anak ang duo'y
nagsiksikan Nagtitiis sa munting barung-barong na sira-sira Habang doon sa isang
mansyon halos walang nakatira
 Sa init ng tabla't karton sila doo'y nakakulong Sa lilim ng yerong kalawang at mga sirang
gulong Pinagtagpi-tagping basurang pinatungan ng bato Hindi ko maintindihan bakit ang
tawag sa ganito
Ay bahay
Sinulat ko ang nakita ng aking mga mata Ang kanilang kalagayan ginawan ko ng kanta
Iginuhit at isinalarawan ang naramdaman
At sinangguni ko sa mga taong marami ang alam
Isang bantog na senador ang unang nilapitan ko At dalubhasang propesor ng malaking
kolehiyo
Ang pinagpala sa mundo, ang dyaryo at ang pulpito Lahat sila'y nagkasundo na ang
tawag sa ganito
Ay bahay
Maghapo't magdamag silang kakayod, kakahig Pagdaka'y tutukang nakaupo lang sa
sahig Sa papag na gutay-gutay, pipiliting hihimlay
Di hamak na mainam pa ang pahingahan ng mga patay
Baka naman isang araw kayo doon ay maligaw Mahipo n'yo at marinig at maamoy at
matanaw Hindi ako nangungutya, kayo na rin ang magpasya Sa palagay ninyo kaya, ito
sa mata ng Maylikha Ay bahay

SOCIOLOGICAL

STRUCTURALISM

READER-RESPONSE
Week

7-8
LESSON 6
OBJECTIVE/BALANCED REVIEW OR
CRITIQUE OF A WORK OF ART,
AN EVENT OR A PROGRAM

Competency 6: Writes an objective/balanced review or critique of a work of art, an

event or a program.
Learning Objectives: At the end of the lesson, the learners shall be able to:
1. define balanced/objective assessment or criticism of artwork;
2. identify the forms and structures of writing art criticism;
3. identify techniques in reviewing different art forms;
4. interpret the broader context and different types of art; and,
5. write a balanced/objective review or critique of pieces of work.

A. What is balanced/objective review or criticism?

It is a system of interpreting, judging, and assessing a person, thing, or any work of art
not influenced by feelings or opinions in considering and presenting facts.
It is a systematic way of considering the truthfulness of a piece of work.

B. To have balanced/objective review of any piece of work, the following

are considered:
1. Description. Pure description of the object, piece of work, art, event, etc. It answers
the questions:
a. artwork - "What do you see?" (description constitutes form of art, medium, size
and scale, elements or general shapes, color, texture of surface, and context of
object).
b. piece of writing - "What do you see?" (form, structure, choice of words, length,
genre, etc)
2. Analysis. Determining what the features suggest and deciding why the artist or
writers used such features to convey specific ideas. It answers the questions:
a. artwork - "How did the artist do it?"
b. piece of writing-"How did the writer write it?"
The analysis constitutes the following: determination of subject matter, analysis of the
principles of design or composition, use of symbol and other elements, portrayal of
movement and how it is achieved, effect of particular medium, relationships of each part
of the composition to the whole and to each other part, and reaction to object.
3. Interpretation. Establishing the broader context for this type of art. It answers the
questions:
a. artwork - "Why did the artist create it and what does it mean?
b. piece of writing - "Why did the write create it and what does it mean?
Remember: you shouldn’t make your interpretation too arbitrary! Provide
evidence and point out what exactly influenced your understanding of the
artwork.
Here are the elements that you can include in your interpretation:
 How does this art object make you feel?
 What do you think of when you’re looking at the artwork?
 What did the artist want to tell you as a viewer?
 What do you think about the title of the work? Does it influence your
interpretation?
 If you can’t understand a painting or a sculpture, don’t hurry to give a negative
response to it. Think of other critics who have provided a positive evaluation of
the examined artwork. It doesn’t mean you shouldn’t have your opinion! All you
need is to find a good way to express it.
E.g., in this painting, the artist wanted to show us the king’s personality and
achievements.
The interpretation constitutes: (a) Main idea (overall meaning of the work), (b)
Interpretive Statement (Can I express what I think the artwork is about in one
sentence), and (c) Evidence (What evidence inside or outside the artwork
supports my interpretation?).
4. Judgment. Judging a piece of work means giving it rank in relation to other works and
of course considering a very important aspect of the visual arts; its originality. It answers
the questions “Is it a good artwork?” Is it a good composition?
Here are some points that can help you write your judgment:
• How do you think: is the work successful or not?
• Does this art object seem original or not?
• What do you feel when looking at this piece of artwork?
• Go back to your first impression. Has anything changed? What did you learn?
• If nothing changed, explain your first reaction to the work.
 • What have you learned from this work that you might apply to your own artwork
or your thinking?
In judging the piece of work, there must be:
(a) Criteria (What criteria do I think are most appropriate for judging the artwork
or writing?),
(b) Evidence (What evidence inside or outside the artwork or piece of writing
relate to each criterion?)’ and
(c) Judgment (Based on the criteria and evidence, what is my judgment about the
quality of the artwork or piece of writing?).
E.g., the artwork successfully conveys the atmosphere of a battle through its
composition and color scheme. Learning about its backstory helped me to
appreciate the painting even more.
C. How to Critique Different Art Forms
As you can imagine, all kinds of masterpieces are subject to art criticism. For example,
you can choose to write about paintings, drawings, sculptures, or even buildings. And,
naturally, all these forms of art have their specific features!
These tips will provide you with an art critique template for anything, be it an oil painting
or a cathedral.
1. Painting Critique. Paint is a medium that emphasizes light, colors, and space. for
example:
• What school of painting does it belong to? Is it typical or unusual for this
particular school?
E.g., Monet’s Water Lilies is a typical Impressionist painting.
• Describe the way the artist applies paint. Are there broad paint strokes, small
points of color, or just a smooth surface? What effect does it help to achieve?
E.g., Van Gogh’s broad brush strokes help to create a sense of motion.
• Describe how the light is depicted. Where does the light come from? Is there a
strong value contrast? In what way does the shadow function? What, in your
opinion, does it evoke?
E.g., strong contrast makes the central figures stand out.
• Speak about the handling of space in the picture. Does it look flat or three-
dimensional? What kind of perspective is used? (e.g., one-point perspective, or
bird’s eye view?)
E.g., in this painting, Picasso uses multi-dimensional geometrical shapes.
2. Sculpture Critique. Similarly, many specific factors influence the overall impression
of a sculpture.
Here are some things to pay attention to:
• Say if the material gives a particular texture to the statue. Is the surface smooth,
or is it uneven?
E.g., Rodin’s sculpture has an unusual earthy texture.
• The surrounding space is just as important as the sculpture itself. Describe the
place (in the museum, in a park, in front of a building) where it is situated. What
does it add to the sculpture?
E.g., the statue appears to walk along the road.
• Speak about the color of the sculpture. Is it painted? Does it rely on natural
lights and shadows?
E.g., the statue is white. A museum floodlight lights it from above, creating
expressive shadows.
• Describe the composition of the sculpture. What does it look like when you
approach it? Did the sculptor provide any instructions on how to position it?
E.g., the statue is enormous and can be viewed from all sides.
3. Architecture Critique. You can write art critiques on architecture, too!
Just bear in mind the following points:
• What architectural style does it belong to?
E.g., the cathedral is a typical Gothic building.
• Was it built with a purpose? Did a specific person request it?
E.g., the Palace of Versailles was requested by Louis IV as a symbol of his
monarchy.
• Did one architect complete the building, or were there any alterations? Why
were they made?
E.g., the spire was added to the cathedral much later. It became the integral part
of its image.
• What do the exterior and the interior look like? What effect do they produce? Is
there a contrast between them?
E.g., the building has a high ceiling painted like the sky. It also makes the organ
music sound louder.
• Are there statues or paintings on the walls? Discuss them as well!
E.g., statues on the cathedral’s facade illustrate scenes from the Bible.
4. Photography Critique. Analyzing a photograph is a lot like critiquing a painting.
Still, there are some unique features to consider:
• How does the photographer use focus? Is any part of the image blurry? What
effect does it produce?
E.g., the background is out-of-focus, which has a dreamy effect.
• Is the picture monochrome? If yes, describe its tone, contrast, and shadows. If
no, describe the use of color.
E.g., the picture is in black and white, with stark contrasts.
• If it’s a photo of a face, pay extra attention to the emotion it expresses. If it’s
dynamic, discuss the sense of motion.
E.g., the photograph conveys a sense of cheerfulness through the girl’s
expression and the use of light.
Example of review of artwork (painting) 1:
The Weeping Woman by Pablo Picasso in France, 1937

Describe:
The Weeping Woman is a painting finished by Pablo Picasso in France, 1937.
This type of artwork can be considered to be expressionism. There isn’t an actual
background scene in the painting. The background is completed with different
lines and colors. The woman is the focus point of this painting. She is wearing an
accessory on top of her head which demonstrates her elegance. My first
impression of the artwork is that the face of the woman is not proportionate and
is only painted with lines, no curves. The main colors that are used in this
painting are green, yellow, blue, purple, red and black. The painting is set mainly
of lined and little curves. The mood and visual effect that this painting portrays
can be considered to be suffering, and sadness.
Analyze:
The colors that the author uses can be considered to be quite different as each
color conveys a separate impression. The light purple that begins at the bottom
top of the woman’s eyes can convey sadness. The other half of the face is mainly
covered in green and yellow; these can be said to interpret other solid emotions
that the painter must have towards this woman as she was a vital character in
Picasso’s life. The painting is created with mainly lines which can mean that the
woman had strong physical features or that her different emotions were felt
passionately as lines are usually seen as strong technical elements. The only
curves that are being used are for her hair and eyes. The eyes look quite down
or depressive. This is because the woman is crying, which goes back to the main
mood which is suffering.
Interpretation:
I believe that Picasso wanted the audience to feel pain and provide a statement
that explains how all women feel and the agony that they are consistently in. The
audience can see that the woman has peeled away her flesh by corrosive tears
to reveal her white bones. The handkerchief she tries to stuff in her mouth seems
as a shard of glass. This vivid image can convey pain and hurting. Picasso has
expressed the behavior of this woman several times and often describes the
constant tears that fall off her eyes. So, the feeling conveyed by the artwork is
definitely suffering. Picasso wanted us to feel her and understand the pain that
she was going through. It was not easy to be a woman during that time since
females where often frowned upon. Picasso demonstrates the appreciation that
he has for her through this painting as he wants the audience to understand her.
Judge:
Finally, the artist’s value may be to evoke pain, as mentioned previously. This is
due to the colors that Picasso used and the shapes that he draws; not only these
technical elements but also the images that the painter uses within the actual
face of the woman. The painting relates to the entire female community. This
community can understand the painting and know what Picasso was trying to
portray. Every woman is able understand and comprehend the message behind
this painting as we all feel the same way at one point in our lives. I believe that
this is a strong value in the painting. The weak value lies in the different colors
that the painter chooses. I found it confusing to interpret other areas of the face
as the colors that were used didn’t seem to match other locations of the face.
Example of review of artwork 2: The Last Supper by Leonardo da Vinci
What Does the Last Supper by Leonardo da Vinci Depict?
‘The Last Supper’ of Leonardo da Vinci is
considered to be undoubtedly a
masterpiece. Debates have ensued,
though, concerning the interpretation of this
piece of art. Some even claim that
Leonardo da Vinci tried to transfer a secret
message to us through it. What is portrayed
in this painting that has attracted and
enchanted such a great amount of
viewers?
‘The Last Supper’ of Leonardo da Vinci is considered to be undoubtedly a masterpiece.
Debates have ensued, though, concerning the interpretation of this piece of art. Some
even claim that Leonardo da Vinci tried to transfer a secret message to us through it.
What is portrayed in this painting that has attracted and enchanted such a great
The painting depicts a supper of twelve disciples of Jesus Christ and Christ himself
before the prophet is betrayed (Essak, 2013). Jesus Christ gathers all together in order
to eat and drink at a table, which is not so big and where the food itself is plain. This
humble atmosphere allows the viewers to focus more on the disciples and Christ. In
addition to this, Christ tells the assembly that one person who is present in that supper
will betray him. The painting actually shows the first moment after this statement and the
reactions of the disciples to this speech (Saunders, 2011). Leonardo da Vinci artfully
depicts shock, surprise and other various human emotions in his painting. Although
every person in the painting possesses unique features, I believe ”The Last Supper’ can
be divided into four symmetrical groups full of life and motion (Essak, 2013).
The group from the left side of Christ reacts impulsively and is united by one and the
same will. One disciple has even stood up and another has his finger raised. The group
that is on right-hand side is characterized by greater reserve. There is a huge distance
between them and Jesus Christ. Judah who can be found among these disciples holding
a pouch, perhaps with silver.
His dark and harsh appearance contrasts magnificently with the innocent and light figure
of John. Some scientists claim that this is not actually John, but Mary Magdalene,
because his face is feminine and gentle (Welborn, 2013). In thinking critically, this
version is hardly believable, as Christ gathered twelve disciples, not eleven. Otherwise
the symbolism of ‘The Last Supper’ does not make any sense. Between Judah and
John, the head of Peter can be seen and moreover, he holds a knife in his arm as if he
would like to protect Jesus. From his right-hand side, another group of disciples is
portrayed. They are turned in profile and it looks like they are astonished by the news
that was introduced. From the opposite side, we may see Matthew who is asking the
same question to the other men trying to find the clear explanation of what is happening
at that particular moment.
Frankly speaking, while searching for a secret code of Leonardo da Vinci in his painting
‘the Last Supper’, one may lose the real visible goal of the picture. It brilliantly portrays
the discrepancy between the conciliation of Christ with his future, his reserve, calm and
absolutely different emotional states and unique reactions of his disciples to the piece of
news that he will be betrayed. The painting has vague aspects about it and perhaps
hidden symbols, but this is not the reason why this painting attracts millions of people
and involves them into the researches and deep investigation of every centimeter of this
masterpiece.
Based on the above discussions and examples, let us have some activities. The
activities you will do will help you go through the journey one step at a time so you have
to accomplish them with care. Have fun!

WHAT I CAN DO

Activity IV. One of the Filipino cultures that we continuously preserved and practiced is
“Bayanihan”. It is an expression of spirit of communal unity or effort to achieve a
particular objective.

Directions: Below is the painting of “Bayanihan”; take a look at this, study, analyze, and
write a balanced/objective review of the painting considering the elements discussed.
Write your review in paragraph form in a yellow sheet of paper or bondpaper.
 ACTIVITY V
This painting below is Tropical Sunset
Surfer by Amy Scholten. Surfer girl
walks along a tropical beach during a
brilliant red, pink and orange sunset.
This painting reflects our primal need
for beauty, warmth and nature.
Directions: With the use of four (4)
techniques in writing, take a look at
this painting and write a
balanced/objective critique or review.
Write your output in a yellow sheet of
paper or bondpaper.

ACTIVITY VI
This artwork is an example of sculpture.
This was created by a National Artist in
sculpture, Napoleon Abueva. This Blood
Compact Monument (Sandugo) was
performed in the island of Bohol in the
Philippines, between the Spanish
explorer Miguel López de Legazpi and
Datu Sikatuna the chieftain of Bohol on
March 16, 1565, to seal their friendship
as part of the tribal tradition.
Directions: With this, write a
balanced/objective review or critique
following tips discussed earlier. Write
you review in your notebook.

RUBRIC IN ART REVIEW

Excellent Good Fair Poor

Introduction
Introduction
Introduction mentions where the
Introduction does not
explains author’s author came
explains author’s present or
Introduction selection of the across the artwork but
selection of the does not explain
artwork and that does not put much
artwork in a how the author
caused him to effort into explaining
thoughtful manner selected the
consider it further. what attracted him to
artwork.
pursue it.
 Author thoughtfully Author answers Author somewhat Author does not
answers the the question What answers the answer the
question What do I do I see? question What do I question What do
see? Discusses Discusses most see? Discusses I see? Makes a
the size, medium, of the ff: size, some of the ff: weak attempt to
process used and medium, process size, medium, describe the
Description subject. Author used and subject. process used and artwork
shows strong Author discusses subject. A few describing very
understanding of most of the elements used in few elements in
the elements: line, elements: line, the work are the work.
shape, space, shape, space, discussed.
color, texture, and color, texture, and
value. value.
Author answers the Author answers Author somewhat Author does not
question: How is the question: How answers the answer the
the work is the work question: How is question: How is
organized? organized? the work the work
Thoroughly Discusses the organized? organized?
Analysis
discusses the major principles of Discusses a few of Makes a weak
major principles of art in the work. the principles of art effort to mention
art in the work. in the work. the major
principles of art in
the work.
Author thoroughly Author answers: Author somewhat Author does not
and thoughtfully What is the artist answers: What is answer: What is
answers: What is trying to the artist trying to the artist trying to
the artist trying to communicate? communicate? communicate?
communicate? The interpretation The interpretation The interpretation
Interpretation
The interpretation is based on some is based on a few is not supported
is based on visual facts and visual facts and by visual facts and
visual clues collected. clues collected. clues collected.
facts and clues
collected.
Author concludes Author concludes Author concludes Author concludes
with an engaging with an interesting with a somewhat with a shallow
and interesting point about his interesting point reaction to the art
Conclusion
point about his reaction to the art about his reaction work.
reaction to the art work. to the art work.
work.
No errors in A few minor errors A few minor errors Distracting and
punctuation, in punctuation, in punctuation, major errors in
spelling, grammar spelling, grammar spelling, grammar spelling, grammar
or capitalization. or capitalization or capitalization or capitalization.
Uses APA style, but they do not that while Header and footer
double-spacing distract the over- distracting, the are not correct.
and 12 point font. all meaning of the meaning can still There are
Mechanics Header and title essay. Uses APA be discerned. mistakes in
format are correct. style, double- Some APA style, spacing and font.
Paper is at least 3- spacing and 12 double-spacing Paper is less than
4 pages. point font. Header and 12 point font. 3 pages.
and title format are Header and title
correct. Paper is format may not be
at least 3-4 pages. correct. Paper is
not 3 pages.

Feedback :
 Art Critique Rubric

20 points – Description
Title of the piece, date and artist
What do you see in the picture – subject matter
Do not put opinion in this portion of the paper

______

20 points – Analysis
Include all of the elements and principles of art in this step
Support each of the above with evidence from the piece of art
What is the “secret” meaning of the art – mood idea – hidden message

______

20 points – Interpretation
Answer – what is the message I perceived from the art.
Meaning - a mood of the work
This must be based on the facts and clues you did in the first 2 sections
_____

10 points – Judgment
How do you “feel” about the picture?
Why do you like or dislike the piece? ______

TOTAL ______
Week

9
LESSON 7
WAYS TO EXPLAIN A CONCEPT

Learning Objectives: At the end of the lesson, the learners shall be able to:
1. determine the ways a writer can elucidate on a concept; and
2. define concept paper

A concept paper aims to clarify a concept which can be about any topic from any fields.
It can also be a short summary that tells the reader what the project is, why it is
important, and how it will be carried out. Its aim is to capture the thoughts and ideas
while the research proposal captures the ideas in a structured manner for approval to
research. It is not easy to write a concept paper but with careful study and research, you
can create one.
There are many ways a writer can expound a concept. You can use definition,
explication, and clarification.
Definition identifies a term and sets it apart from all other terms that may be related to it.
Often, definitions begin by mentioning the general class to which a term belongs. Then
they provide specifics to distinguish the term from other members of that class. You can
use these techniques:
1. Formal – follows a patter or equation; term+genus+differentia (differentiating
characteristics)
Example: Technology is the branch of knowledge dealing with engineering or applied
sciences.
2. By synonym – using a word or phrase that shares a meaning with the term being
defined.
Example: Technology – Knowledge, Computers
3. By origin or semantic history
Example: Technology comes from the Greek work tekhnologia.
4. By illustration
Example: Technology involves the use of machineries in every aspect of work.
 5. By function
Example: Technology uses hi-tech machines to get the work done.
6. By analysis – breaking down wholes into parts, aspects to levels and a process into
steps)
Example: Technology is defined as the application of scientific knowledge for practical
purposes, especially in industry.
7. By likeness of similarity
Example: Technology is likened to modern living where robots exist.
8. By analogy or metaphor
Example: Technology is like a robot that make life easier.
9. By contrast – use of opposites
Example: Unlike the manual work, technology makes work efficient.
10. By negation – stating what the term is not
Example: Technology is not harmful if used properly.

Explication is the process by which concepts are defined for scientific purposes. "To
explicate" something is, in the most general sense of the term, to spell out its
implications. Thus, it is the process of spelling out the implications of something and
derived from this, in turn, is the sense of "explication" that refers to the product of this
process: some account of what the implications of something are. Explication, in other
words, is a kind of explanation.
Clarification is an analysis of an abstract concept through investigation of examples
and the identification of critical and less critical attributes.
These are needed to make your concept paper clear and comprehensible.

A concept paper is a short summary that tells the reader what the project is, why it is
important, and how it will be carried out.
You can use definition, explication and clarification in making your concept paper.
ACTIVITY VII. DEFINE AND EXPLAIN

Directions: Define and explain each concept applying at least three (3) techniques in
definition. Write your answers in a piece of yellow paper or bondpaper.
A. Humanities

B. Tech-Voc

C. Science

D. Accountancy

E. Engineering
ACTIVITY VIII. CLARIFICATION
Directions: Clarify what concept paper is by creating a graphic organizer about it. Give
the necessary information. Write your answers in your notebook.

What it is

Concept
Paper

how to make one some examples

ACTIVITY VIII. Directions: Choose one of the concepts in Activity VII that you want to
work on for a concept paper. Apply definition, explication and clarification in expounding
what the concept is all about. This is only a preparatory stage for the next lesson where
you will write a concept paper. Write your answers in a piece of yellow paper or bond
paper.
Week

10
LESSON 8

KINDS OF CONCEPT PAPER

Learning Objectives: At the end of the lesson, the learners shall be able to:
1. compare and contrast various kinds of concept paper; and
2. present a novel concept or project

There are two kinds of concept paper namely implicit and explicit concept paper.

1. Implicit – implicit is, “implied or understood though not plainly or directly expressed.”
Something is, therefore, implicit when it is not directly stated but is either suggested in
the wording or necessary to effectuate the purpose.
Example: Technology caused horrors in some aspects.
2. Explicit – “to fully and clearly express something, leaving nothing implied.” Something
is explicit when it is cleared stated and spelled out and there is no room for confusion, as
in the writing of a contract or statute.
Example: Technology is harmful to us.

Whichever kind is used, as long as you delivered convincingly to the audience, it’s
enough. Let us read some examples of concept papers. A concept paper is written to
mainly to clarify the meaning of a concept whatever technique is used to do it.
The first one is a mini concept paper that uses definition to clarify the meaning of
boondocks.
Directions: Read to find out how the writer expounds the concept. There may be some
difficult words you will encounter. Refer to the dictionary for better understanding.
Boondocks from an Avalanche of Anoraks
(1) Reading material comes from Malay bamboo, “a large, hollow bamboo.” The
young shoots are eaten as a vegetable or are pickled and candied. Some species of
bamboo grow to a height of 120 feet.
(2) Boondocks (1944), a remote rural area, back country, an isolated or wild
region filled with dense brush, comes from Tagalog bundok, “mountain.” An “s” was
added, since English has the tendency to affix that letter to locations, as in the sticks (a
synonym for the boondocks), the damps, and the woods. While the word means
“mountain” to the people of the Philippines, American soldiers extended the meaning to
any kind of rough country or out-of-the-way locale. Used by servicemen during World
War II, the word boondocks first came to the attention of the American public during an
investigation into the brutal methods of training used by the Marines at Camp Lejeune in
North Carolina. According to the official records, young recruits were regularly subjected
to forced night marches “into the boondocks” (of places like Paris Island), which included
some low-lying swampy areas where at least one Marine recruit died. The investigation
ended, but the word remained. Its infamous history all but forgotten, the word boondocks
is now synonymous with any rural area distant from the excitement of big cities or large
towns. By the 1950s, shoes suitable for rough outdoor use were regularly called
boondockers, as can be seen from Leon Uris’s adventure packed novel of World War II
Marines, Battle Cry: “Andy Hookans was dumping a can of foot powder into his
boondockers.” About the same time, boonies had become the slang equivalent of the
boondocks.
(3) Caddy (1792), a small box, or chest used for keeping tea leaves, is borrowed
from Malay kati, a weight used in China and the East Indies equal to slightly more than a
pound avoirdupois. A tea caddy probably derived its name from the fact that the little box
or chest that held the measure (approximately one and one-third pounds of tea) was
confused with the measure itself. The caddy that carries tea leaves is in no way related
to the caddy (or caddie) who carries clubs and balls for a golfer. The latter caddy is
derived from French cadet, as in a military cadet.
(4) Camphor (1313), derived from Malay kapur, “chalk lime” via Arabic kāfūr, is a
whitish, translucent, tough, volatile, pleasant-smelling crystalline compound obtained
from the wood and bark of the camphor tree. Camphor is used primarily as a moth
repellent in the manufacture of celluloid; and in medicine as a liniment, a counterirritant
for infections, and a mild antiseptic. It used to be taken internally as a heart and
circulatory stimulant, and as an anti-diarrhetic; it is no longer taken internally, since it is
mildly toxic, and indigestion may produce harmful effects, especially in infants and
children. It is also no longer used as an anti-aphrodisiac – something to counteract
sexual desire.
(5) Cassowary (1611), a large flightless bird of Australia, New Guinea, and the
neighboring islands, related to the ostrich, is borrowed from Malay kasuari. Cassowaries
often weigh as much as 140 pounds and are dangerous. Capable of killing even full-
grown men, these sometimes-pugnacious birds usually leap feet first on their
adversaries and then attack with their claws. Their wings, completely useless for flight,
are covered with stiff, featherless quills, like spines, which also serve as weapons.
Females lay three to eight green eggs at a time, which the males incubate.
(6) Gingham (1615), a cotton or linen cloth, woven of dyed yarn, often striped or
checked, comes, via Dutch gingang, from Malay genggang, meaning “with space
between,” hence, “striped” or “checkered.” Because the colored lines of gingham are
always on the grain, gingham fabrics have no right and wrong side in terms of color.
Gingham was memorialized in “The Duel,” one of the most popular poems written by
Eugene Field (1850-1895) for children. It begins: “The gingham dog and the calico
cat/Side by side on the table sat.”

Reflection questions: Write your answers in a piece of yellow paper or bondpaper.

1. What is the concept paper about?
2. How did the writer expound on the concept?
3. What kind of concept paper is this? Why?
4. Do you think it is a good concept paper? Why?

Let us read another concept paper and answer the set of reflection questions that follow
it. It has something to do with what we eat.

Ketchup
(1) The sauce that is today called ketchup (or catsup) in Western cultures is a
tomato-based sauce that is quite distinct from the Eastern ancestors of this product. A
sauce called ke-tiap was in use in China at least as early as the seventeenth century,
but the Chinese version of the sauce was made of pickled fish, shellfish, and spices. The
popularity of this Chinese sauce spread to Singapore and Malaysia, where it was called
kechap. The Indonesian sauce ketjab derives its name from the same source as the
Malaysian sauce but is made from very different ingredients. The Indonesian ketjab is
made of cooking black soy beans, fermenting them, placing them in a salt brine for at
least a week, cooking the resulting solution further, and sweetening it heavily; this
process results in a dark, thick, and sweet variation of soy sauce.
(2) Early in the eighteenth century, sailors from the British navy came across this
exotic sauce on voyages to Malaysia and Singapore and brought samples of it back to
England on return voyages, English chefs tried to recreate the sauce but were unable to
do so exactly because key ingredients were unknown or unavailable in England; chefs
ended up substituting ingredients such as mushrooms and walnuts in an attempt to
recreate the special tastes of the original Asian sauce. Variations of this sauce become
quite the rage in eighteenth-century England, appearing in a number of recipe books and
featured as an exotic addition to menus from the period.
 (3) The English version did not contain tomatoes, and it was not until the end of the
eighteenth century that tomatoes became a main ingredient, in the ketchup of the newly
created United States. It is quite notable that tomatoes were added to the sauce in that
tomatoes had previously been considered quire dangerous to health. The tomato had
been cultivated by the Aztecs, who had called it tomatl; however, early botanists had
recognized that the tomato was a member of the Solanacaea family, which does include
a number of poisonous plants. The leaves of the tomato plant are poisonous, though of
course the fruit is not.
(4) Thomas Jefferson, who cultivated the tomato in his gardens at Monticello and
served dishes containing tomatoes at lavish feasts, often receives credit for changing the
reputation of the tomato. Soon after Jefferson had introduced the tomato to American
society, recipes combining the newly fashionable tomato with the equally fashionable
and exotic sauce known as ketchap began to appear. By the middle of the nineteenth
century, both the tomato and tomato ketchup were staples of the American kitchen.
(5) Tomato ketchup, popular though it was, was quite time-consuming to prepare. In
1876, the first mass-produced tomato ketchup, a product of German- American Henry
Heinz, went on sale and achieved immediate success. From tomato ketchup, Heinz
branched out into a number of other products, including various sauces, pickles, and
relishes. By 1890, his company had expanded to include sixty- five different products but
was in need of a marketing slogan. Heinz settled on the slogan “57 Varieties” because
he liked the way that the digits 5 and 7 looked in print, in spite of the fact that this slogan
understated the number of products that he had at the time.

Reflection questions: Write your answers in your notebook.

1. What is the concept paper about?
2. How did the writer expound on the concept?
3. What kind of concept paper is this? Why?
4. Do you think it is a good concept paper? Why?

*These two examples of concept papers are actually examples of explicit concept
papers since they both explained directly what each concept means. Most concept
papers for research are explicit so that they are more direct to the point. There are more
examples of concept papers in different areas.
Activity IX. Directions: Read the two samples of concept papers. Study how they
expound the concept and the content as well. Write your answer in a piece of paper or
bonpaper.

Sample 1: DAYS OF THE WEEK

MONDAY. In mythology, the moon was the wife of the sun, and so had to have her
day in the week, which in Old English was Mōnandæg, or “moon day,” a translation of
the Latin luane dies, “day of the moon.” In the superstitious England of those times
people believed that the phases of the moon affected crops and disturbed the potency of
medicine, and they were sure too that bacon killed on the old of the moon would shrivel
in the pan.
TUESDAY. In Norse mythology, there was a god named Tyr. A wolf spirit called
Fenrir was troubling the world and Tyr volunteered to bind him. He used a chain made of
strange substances, the footsteps of a cat, the beards of women, the roots of stones,
and the breath of fishes. Tyr put his hand in Fenrir’s mouth and bound him, but his hand,
in the process, was bitten off. In Old English the god’s name Tyr appears as Tiw. He was
really a Germanic deity, one very much like Mars, the Roman god of war, and his name
gave us the Old English word Tiwesdæg, “the day of Tiw,” our Tuesday, which is a
rendering of the Latin dies martis, “day of Mars.”
WEDNESDAY. In Old English Wednesday was spelled Wōdnesdæg, which was the
day of the great Germanic god Woden, who corresponded to the Roman divinity
Mercury. Both were swift in movement and noted for their eloquence. Woden was the
father of Tyr, who gave us the name Tuesday, and was the god of storms. He welcomed
brave warriors to the heaven of Valhalla and treated them to the pleasures that they
most loved on earth. He also slew Chaos and created earth from his body, his flesh
making the dry land, his bones the mountains, his blood the sea, his skull the vault of the
heavens. In Latin “Woden’s day” was Mercurii dies, the “day of Mercury,” and the French
took this over as Mercredi, their name for Wednesday.
THURSDAY. Thor was the strongest and bravest of the Norse deities, and
corresponded in the heavenly hierarchy to the Roman god Jupiter, who also handled the
lightning bolts. Thor, you see, was the god of thunder which he made with a chariot
drawn by he-goats across the sky. Thor owned a massive hammer which the giant
Thrym once stole from him and refused to give up unless Freya, the goddess of love,
world marry him. Thor dressed up in her clothes, wheedled the hammer from Thrym, and
then slugged his host. It was the name of this same Thor that formed the Old English
word thūresdæg, or Thursday, :the day of Thor,” which equals the Roman dies jovis, or
“day of Jupiter.”
FRIDAY. In Old English, Friday was frīgedæg, the day of the Norse goddess Frigg,
wife of Woden and the goddess of marriage. She was the Norse counterpart of the
Roman goddess Venus, and her day, Friday, was like the Latin dies Veneris, or “day of
Venus.” Wednesday and Thursday had been named for her husband Woden and her
son Thor, so Friday was assigned to her as appeasement. The Norsemen regarded
Friday as their lucky day, but not so the Christians since the Crucifixion took place on
Friday.
SATURDAY. In Old English sæternesdæg, merely “Saturn’s day,” is a halftranslation
and half-adoption of the Latin Saturni dies, or “day of Saturn,” the Roman god of sowing.
SUNDAY. Sunday replaced Saturday as the Sabbath because the Resurrection took
place on a Sunday. It was around the 4th century that the church made it a holiday and
forebade anyone to work. In Old English it was spelled sunnandæg, literally the “sun’s
day ,” a translation of the Latin dies solis, or “day of the sun.”

Sample 2: Mercury Pollution

(1) When most people think or talk about dangers to our environment, they focus on
general terms like “pollution,” “smog,” and “acidrain.” Also, they often focus on the
impact of supposedly man-made chemicals and compounds. But to truly understand the
risks to our environment, it’s helpful to focus on the danger of specific chemical, which
are often otherwise naturally-occurring elements that have been spread harmfully by
man. One of the largest threats to our environment is mercury: Hg on the periodic table
of elements.
(2) At room temperature, mercury, a metal, exists as a silvery-white liquid. However,
it vaporizes readily when heat is applied, and can stay suspended in the air for more
than a year. The largest sources of mercury pollution in the United States are coal-fired
power plants. Emissions from these plants account for 70 percent of the mercury that
enters our oceans, lakes, and streams. Air currents carry these particles far from the
source and are capable of polluting bodies of water thousands of miles away.
(3) Mercury particles released into the air fall into these waterways and quickly enter
aquatic food chains. First, mercury attaches to sediments (fragments of organic and
inorganic material that settle to the bottom of the body of water). Second, bacteria
change the mercury into methyl mercury, a highly toxic substance. Third, phytoplanktons
feed on the organic matter in sediments and absorb the methyl mercury. Fourth, fish
then eat the mercurycontaminated phytoplankton; the larger the fish and the longer it
lives, the more concentrated the methyl mercury in its system becomes. The mercury
can then move higher up the food chain when humans eat fish that have absorbed high
amounts of mercury.
(4) Studies indicate that mercury levels in U.S. waterways have increased anywhere
from 100 to 400 percent over the course of the last century, and no river, lake, or ocean
seems immune. It is important to note that, thanks to the U.S. Clean Air Act and efforts
by industry to curb unnecessary discharges as well as better sewage treatment
methods, the levels have been in slow decline since the 1970s. however, this minor
decline is relatively miniscule in comparison to the major increase in the years prior.
(5) If you’ve ever experienced that “rotten egg” smell during low tide at a coastal
area, you’ve seen (or smelled) methylation in action. Methylation is the conversion of
mercury in sediments to methyl mercury by sulphatereducing bacteria. While this
methylation is a natural process, the industrial discharge of mercury has greatly
accelerated the process beyond what the ecosystem is able to absorb safely. This
methylation not only impacts aquatic species, but also harms humans and other land-
based wildlife.
(6) Most of the fish and shellfish that humans eat live solely in coastal areas or
frequent coastal areas and feed on the fish that live there. At the same time, most
methylation takes place in coastal areas. Therefore, methyl mercury moves up the food
chain from plankton to lobster, bluefish, winter flounder, tuna, and many other species
eaten extensively by man. The methyl mercury binds to the protein in fish, residing in the
muscle of the fish. This muscle is exactly what we eat, the fillet.
(7) The short-term impact of digestion of toxic methyl mercury is obviously a
concern. More troubling, however, is its long-term impact on species up and down the
food chain. In Wisconsin, scientists have studied the decline of chick production in loons
(aquatic birds). They have made a positive link to mercury concentration in eggs which
exceeds the concentration found to be toxic in laboratory studies. Through that example,
the lasting impact of methyl mercury far from the source of the pollution can be seen.
(8) One of the great wonders of the Earth is the interconnectivity of all the world’s
ecosystems. This interconnectivity gives us the range and diversity of wildlife that we all
enjoy and it also allowed life on the planet to endure through cataclysmic events, such
as asteroid impacts and the ice ages. However, it is this very interconnectivity that
makes our ecosystems so vulnerable. Mercury pollution is unfortunately one of many
examples of an environmental impact far removed from the source of the pollution;
understanding the process by which the pollution spreads up the food chain is one of
many steps to ameliorate the impact of such pollution.
Complete the table with the needed information based on the two samples: Write your
answer in your notebook.

Ways the
Kinds of Concept
Concept Paper Content concept was
Paper
explained
Days of the Week

Mercury Pollution
Activity X. Directions: Present a novel concept or project with accompanying visuals/
graphic aids. You can choose the one you have started working in Lesson 7 or make a
new one. You can even do a concept paper for a future research if you like. Write your
answers in your notebook. You can visit this link to see a sample:

Criteria 4 3 2 1
Content and Content is Content is Content is less Content is not
Organization comprehensive, comprehensive, comprehensive, comprehensive,
accurate, and ideas accurate, and ideas and ideas are and ideas are not
are stated clearly are stated clearly stated not very clear and not well
and are well and are well clearly and are well supported.
supported. There supported. supported.
are also specific
ideas added.
Organization and Concepts of the Concepts of the Some concepts of Concepts of the
Structure paragraphs are paragraphs are the paragraphs are paragraphs are not
clear and easy to clear and easy to not clear and easy clear and not easy
follow. There is follow. to follow. to follow.
evidence of
outlining.
References References are References are References are References are not
cited correctly and cited correctly. cited correctly but cited correctly.
show evidence of there are only a
research. few.
Mechanics Rules of grammar, Rules of grammar, Rules of grammar, Rules of grammar,
usage, and usage, and usage, and usage, and
punctuation are punctuation are punctuation are not punctuation are not
followed; spelling followed; spelling all followed; followed; spelling is
is correct. There is correct. spelling is correct. incorrect.
are no typo-
graphical errors.
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