Kent Leo Estaura, Maed: Instructor

KENT LEO ESTAURA,MAEd
Instructor
OPOL COMMUNITY COLLEGE Learning Activity Package
Education Department
COURSE OUTLINE
Subject Code:
Subject Title: Teaching and Assessment of Literature
No. of Hours/Meeting: 3 Hours
Total No. of Hours: 54 hours
Subject Description: This course allows pre-service English teachers to explore the nature
of literature and the theoretical bases, principles, and methods and
strategies in teaching and assessing literature. It aims to provide them
with various strategies for pre-lesson, during lesson, and post-lesson
which will develop their learners’ higher order thinking skills in the
use of the English language and will respond to their various
backgrounds. Also, they are expected to design developmentally-
sequenced lesson plans and provide a range of assessment strategies to
communicate learners’ needs, progress and achievement in literature.
Course Objectives: At the end of the course, the student should be able to:
1. adapt competency-based learning materials in teaching literature
which respond to the various linguistic, cultural, socio-economic, and
religious backgrounds of learners;
2. be familiar with a range of assessment strategies in teaching
literature that address learners’ needs, progress, and achievement
which are consistent with the selected competencies;
3. craft a learning plan according to the English curricula that
develops higher order thinking skills of learners through the use of
literary texts; and
4. conduct a teaching demonstration of a developmentally-sequenced
learning process using innovative teaching principles, skills, and
strategies for teaching literature.
Content Performance Learning Outcome/
Week Content Reference
Standard Standard Competencies
Week 1 Course Orientation The learners The students  Know the literary LAP 1
will be able to are able to periods in order,
Introduction to Literary familiarized draw-out the and the notable
Periods the literary literary authors in each
periods. timeline from period.
the beginning.
Week 2 1. Overview on the Nature of The learner The learner  At the end of LAP 2
Literature and its Genres understands visualizes a this lesson, the
1. Literature as Significant the nature of clearer pre-service
Human Experience literature and understanding teacher (PST)
2. Purposes of Literature the different of literature should be able
3. Prose vs. Poetry vs. genres. to:
Drama
4. Fiction vs. Non-Fiction a. explain the
purposes and
genres under the
literature
Umbrella.
Week 3 5. A Survey of Authors The learner The learner b. identify notable LAP 3
a. Filipino Authors identifies the recognizes the authors
b. International Well-Known varied authors importance of
Authors in the literary these authors appropriate for
6. Literature Competencies world in both contribution in literature
in English K to 12 national and the literary study in K to 12
Curriculum international . world
1
English
Literature.
Week 4 TEACHING LITERATURE – The learner The learner At the end of these LAP 4
AN OVERVIEW enumerates actualizes on weeks, the pre-
a. Value of Literature the value of how to service teacher
b. Choosing Books and Reading literature. correctly teach (PST) should be
Materials literature. able
c. Models of Teaching Literature to:
language model a. recognize
cultural model important
personal growth model concepts in
teaching
literature in
English;
b. identify
appropriate
methods
and approaches to
teach
literature; and
c. discuss the right
books,
reading materials,
and
comprehension
questions in
teaching literature.
Week 5 Language-based approach The learner The learner At the end of these LAP 5
Sylistic approach discusses the internalizes the weeks, the pre-
Level of comprehension different importance of service teacher
questions approaches in varied (PST) should be
paraphrastic approach teaching approaches in able to:
moral-philosophical approach literature. teaching a. recognize
literature. important
assessment strategies in teaching
concepts in
literature
teaching
d. Language Model 1987 literature in
Constitution of the Philippines English;
b. identify
appropriate
methods
and approaches to
teach
literature; and
books,
reading materials,
and
comprehension
questions in
Week 6 TEACHING POETRY AND The learner The learner At the end of these LAP 6
DRAMATIC POETRY were able to will be able to weeks, the pre-
Review on the genre of poetry review on the understand the service teacher
Literary devices genre of concept on how (PST) should be
Fun poetry poetry. to teach poetry able to:
Riddles a. adapt
Limericks competency-based
Haikus learning materials
Shape poems in teaching
Comprehending poetry poetry which
respond to the
2
Strategies in teaching poetry various linguistic,
Reading aloud cultural,
Choral reading socio-economic,
Silent reading and
Literary appreciations and religious
valuing in/of poetry backgrounds of
Lesson designing in teaching learners;
poetry b. identify a range
of
Assessment in teaching poetry assessment
strategies in
teaching poetry that
address
learners’ needs,
progress,
and achievement
which are
consistent with the
selected
competencies
Week 7 TEACHING PROSE AND The learner The learner At the end of these LAP 7
DRAMATIC PROSE demonstrates creates lesson weeks, the pre-
Review on the genre of prose knowledge on on teaching service teacher
Comprehending prose teaching prose (PST) should be
Strategies in teaching prose dramatic able
Silent reading prose to:
Prose performances a. adapt
Dramatic performances competency-based
Literary appreciation and valuing learning materials
in/of prose in teaching
prose which
Lesson design in teaching prose respond to the
Materials and resources in various linguistic,
teaching prose cultural,
socio-economic,
Assessment in teaching prose and
religious
backgrounds of
learners
b. familiarize a
range of
assessment
strategies in
teaching prose that
address
learners’ needs,
progress,
and achievement
which are
consistent with the
selected
competencies
Week 8 FORMS VS. GENRE The learner The learner  Identify literary LAP 8
identifies clarifies genre, and literary
LITERARY CRITICISMS different literary form forms
literary and literary
criticisms genre.
Week 9 Midterm Exam
Week LESSON PLAN CRAFTING The learner The learner a. craft a learning LAP 10
10 will be able to creates his/her plan
draft a lesson lesson plan according to the
plan English
3
curricula that
develops
higher order
thinking skills of
learners through the
use of
prose texts
Week ASSESSMENT/EVALUATION The learner The learner  LAP 11

11 OF LITERATURE describes how will evaluate 
On giving and answering test to assess using thinking
a. Significance of test literature skills.
b. Classification of test
c. Frequency and time
allotment of test
d. What to do with missed
test
e. Pointers on taking
objective test
Pointers on taking non-
objective test
EVALUATING LITERATURE
USING THINKING SKILLS
a. Significance of thinking
ability
b. Kinds of thinking
c. Remembering
d. Transaction
e. Interpretation
f. Analysis
g. Synthesis
h. Application
Valuation
Week MODERN DRAMA The learner The learner a. conduct a LAP 12
12 (Teaching and Assessment of understands acknowledges teaching
Drama) the concept of the different demonstration of a
-Twelve angry men teaching approaches in developmentally-
drama teaching sequenced
literature. learning process
using
The students innovative teaching
were able to principles, skills,
have a and strategies for
demonstration teaching prose
teaching in the
given topic.
Week POETRY (Teaching and The learner The learner a. craft a learning LAP 13
13 Assessment of Poetry) understands acknowledges plan
Narrative poetry the concept of the different according to the
-The fox and the wood cutter teaching approaches in English
-A poison tree drama teaching curricula that
Lyric poetry literature. develops
-I wondered lonely as a cloud higher order
The students thinking skills of
were able to learners through the
have a use of poetic texts
demonstration
teaching in the
given topic.
Week FICTION (Teaching and The learner The learner a. conduct a LAP 14
14 Assessment of Fiction) understands acknowledges teaching
-The conjurers revenge the concept of the different demonstration of a
teaching approaches in developmentally-
4
drama teaching sequenced
using
teaching in the
given topic.
Week NON-FICTION (Teaching and The learner The learner a. conduct a LAP 15
15 Assessment of Non-Fiction) understands learns ways to teaching
-Essays – Of studies, Of Love the concept of overcome demonstration of a
(Bacon) teaching barriers in developmentally-
drama. his/her career sequenced
decisions. learning process
using
innovative teaching
principles, skills,
and strategies for
teaching prose
Week NOVEL (Teaching and The learner The learner a. conduct a LAP 16
16 Assessment of Novel) understands acknowledges teaching
-The pearl the concept of the different demonstration of a
teaching approaches in developmentally-
drama. teaching sequenced
using
teaching in the
given topic.
Week Me, Myself and My Career The learner The learner  Enumerate places LAP 17
17 identifies creates a for locating job
his/her career representation prospects
path. of his/her  Identify qualities
career path. and parts of a
cover letter,
application form
and resume
 Enumerate the
do’s and don’ts of
job interviews
Week Final Exam 
18
5
RUBRICS
Visual Arts
INDICATO (LOWEST) 2 3 4 (HIGHEST) TOTA
RS 1 5 L
Artwork Artwork is Artwork is Artist Artist Artist
Presentation unframed/mount poorly attempted to framed/mount framed/mount
(15) ed. Artworks are framed/mount frame/mount ed the ed the
in general ed. Artworks artwork. artwork. artwork.
poorly are Works are Works are Works are
presented. freestanding in based based based
an ineffective appropriatel appropriatel appropriately.
presentation. y but the y. Good Good effort
effort seems effort and and
out of place presentation. presentation.
with the The
context of the presentation
artwork. adds to the
overall
display of the
artwork and
is
exceptional.
Materials Evidence of Finished Average The artwork is The artwork is
&Technique poor project but it craftsmanshi finished with outstanding
(30) craftsmanship lacks p and a high level and finished
or lack of finishing technical of skill but with a great
technical touches or skills with lacks a few deal of care
understanding. could have choice of finishing and attention
Poor been improved materials. The details or to detail.
application or upon with artwork is touches. With
use of materials. more effort. adequate but a little more
Below could still be effort, the
average improved work would
craftsmanshi upon with be
p. more care. outstanding.
Concept & Artwork lacks Artwork lacks Artwork Above Superior
Originality creativity and creativity and shows average degree of
(40) original original evidence that degree of originality
thought. Theme thought. an idea was originality exhibited
is very weak, Theme is not tried but it throughout. throughout.
trite, fully lacks Theme is Very unique
stereotypical or developed. originality. present with solution; theme
copied. Average some has been
degree of elaboration. explored and
originality; elaborated on
theme is to a high
present with degree.
little Complex
elaboration. solution.
Oral Presenter Presenter Displayed Engaged Very
Presentation unsettled, unenthused, interest and audience. engaging.
& Written uninterested, monotonous enthusiasm. Displayed Expressed
Discussion and unenthused. and relied Limited interest and ideas fluently
(15) Inappropriate extensively on engagement enthusiasm. in own words.
voice notes. Voice with audience. Good voice Genuinely
mannerisms mannerisms, Occasionally mannerisms, interested
and body body struggled to body and
language. Poor language, and find words. language, and enthusiastic.
communication communicatio Generally communicatio Exceptional
skills. n skills appropriate n skills. voice
6
Presentation sometimes voice Presentation mannerisms,
poor quality and inappropriate. mannerisms, good quality body
didn't enhance Presentation body and enhanced language, and
exhibit. below average language, and exhibit. communicatio
quality and communicati n skills.
slightly on skills. Presentation
enhanced Presentation exceptional
exhibit. fair quality quality and
and somewhat greatly
enhanced enhanced
exhibit. exhibit.
7
Essay Writing
CRITERIA / EXCEEDS MEETS NEEDS INADEQUATE
SCALE EXPECTATIONS EXPECTATIONS IMPROVEMENT 2 points
5 points 4 points 3 points
Focus  Purpose is clear  Shows awareness  Shows limited  No awareness
 Purpose of purpose awareness of purpose
Main Idea  Clearly presents a  There is a main  Vague sense of a  No main idea
main idea and idea supported main idea, weakly
supports it throughout most supported throughout
throughout the of the paper the paper
paper
Structure  Paper is logically  Paper has a clear  There is some level of  There is no
 Organization organized organizational organization though apparent
 Flow of  Easily followed structure with digressions, organization to
Thought  Effective, some digressions, ambiguities, the paper.
 Transitions smooth, and ambiguities, or irrelevances are too  Difficult to
 Format logical transitions irrelevances many follow
 Professional  Easily followed  Difficult to follow  No or poor
format  Basic transitions  Ineffective transitions transitions
 Structured format  Rambling format  No forma
Grammar/  Manipulates  Uses complex  Uses compound  Uses simple
mechanics complex sentences sentences sentences
 Sentence sentences for  Few punctuations  Too many
Structure effect/impact or mechanical punctuations and/or
 Punctuation/  No punctuation errors mechanical errors
Mechanics or mechanical
errors
Language  Vocabulary is  Vocabulary is  Vocabulary is used  Vocabulary is
 Vocabulary; sophisticated and varied, specific properly though unsophisticated,
use of correct as are and appropriate sentences may be not used
vocabulary sentences which  Frequently uses simple properly in very
 Tone vary in structure subj specific  Infrequently uses simple
and length vocabulary subject specific sentences.
 Uses and correctly vocabulary correctly  Uses subject
manipulates  Writer’s tone  Writer’s tone exhibits specific
subject specific emerges and is some level of vocabulary too
vocabulary for generally audience sensitivity sparingly
effect appropriate to
 Writer’s tone is audience
clear, consistent
and appropriate
for intended
audience
Content/  Central idea is  Central idea and  The central idea is  Central idea and
Information well developed, clarity purpose expressed though it clarity purpose
 Clarity of and clarity of are generally may be vague or too are absent or
Purpose purpose is evident broad; Some sense of incompletely
 Critical and exhibited throughout the purpose is maintained expressed and
Origin Thought throughout the essay throughout the essay maintained
 Use of paper  Evidence of  Some evidence of  Little or no
Examples  Abundance of critical, careful critical, careful evidence of
evidence of thought and thought and analysis critical, careful
critical, careful analysis and/or and/or insight thought analysis
thought and insight  There are some and/or insight
analysis and/or  There are good, examples and  There are too
insight relevant evidence, though few, no example
 Evidence and supporting general and evidence or
examples are examples and they are mostly
vivid and evidence irrelevant
specific, while
8
focus remains
tight
9
Reporting
INDICATORS (LOWES 2 3 4 (HIGHES TOTA
T) T) L
1 5
ORGANIZATI Audience Audience Student Students
ON cannot difficulty presents present
( 20 % ) understan following information information
d presentation in logical in logical
presentati because sequence interesting
on student which sequence
because jumps audience can which
there is no around the follow audience
sequence topic can follow
of
informatio
n
Subject Student Student is Student is at Student .
knowledge does not uncomforta ease with demonstrat
( 35%) have ble with the expected e full
grasp of information answers to knowledge
informatio and is able all questions ( more than
n; student to answer but fails to required)by
can not only basic elaborate. answering
answer simple all class
question question. questions
about the with
subject explanation
and
elaboration
Visual Aids StudentStudent Students Student’s .
( 10 %) uses occasionall visual aids visual aids
unnecessa
y uses relate to text explain and
ry visuals
visual aids and reinforce
or no
that rarely presentation text and
visual aid
support text presentatio
and n.
presentation
MECHANICS Student’s Presentation Presentation Presentatio
( 10 %) presentati has three has no more n has no
on has ( 3) than two misspelling
four or misspelling ( 2 ) or
more and /or misspelling grammatica
spelling grammatica and /or l errors
errors and l errors grammatical
/ or errors
grammati
cal errors
EYE Student Student Student Student
CONTACT reads all occasionall maintains maintains
( 10%) of report y uses eye eye contact eye contact
with no contact , but most of the with his
eye still reads time but audience
contact most of his frequently seldom
report returns to returning to
notes notes
ELOCATION Student Student’ s Student’s Student
( 15 % ) mumbles voice is voice is uses a clear
incorrectl low. clear .Stude voice with
y Student nt correct
pronounce incorrectly pronounces pronunciati
s terms, pronounces most words on of
and terms. correctly .M terms. All
10
speaks too Audience ost audience audience
quietly for members members members
the have can hear the can hear
students difficulty presentation the present
in the hearing the
back of presentation
class to
hear
Rubric for Infographics

3 POINTS: 2 POINTS:
1 POINT: NEEDS
EXCEEDS MEETS
WORK
EXPECTATIONS EXPECTATIONS
The topic/purpose of The topic/purpose was The topic/purpose of
the infographic was somewhat broad and the infographic was not
Topic/Purpose clear and concise. did not allow viewer to clear and concise.
understand the
purpose.
Data of the infographic Data of the infographic Data of the infographic
was accurate and was somewhat accurate was not accurate and
Data
relevant to topic and relevant to topic. was not relevant to
topic.
The infographic had a The graphics were The graphics had
great layout, with somewhat applicable to nothing to do with the
Layout applicable graphics. the infographic, topic and had a poor
creating an average layout. There was an
layout. overload of text.
The font was legible The font was The font was not
and the color scheme somewhat legible and legible and the color
Color/Font
enhanced the the color scheme didn't scheme detracted from
infographic. effect the infographic. the infographic.
Citations for the Citations for some of No citations of the
Sourcing infographic's sources the sources used were infrographic's sources
were included. included. were included.
REFERENCES:
(2012). The children’s hour: Stories on childhood. Diliman, Q.C.: University of the Philippines
Press.
Abelardo, V. (2013). Literature for today’s children. Manila: Philippine Graphic Arts.
Coody, B. (2002). Using literature with young children. Dubuque, IA: W.C. Brown Publishers.
Glazer, J. I. (2011). Literature for today’s children. New York: Macmillan.
Lynch-Brown, C. (2012). Essentials of children’s literature. Boston: Allyn and Bacon.
Profeta, L. M. (2008). Literature for Filipino children. Quezon City: Ken.
Tomlinson, C. (2012). Essentials of children’s literature. Boston: Allyn and Bacon.
11
LAP Code: No. of Hours: 3 hrs/meeting
LAP Subject Title: Teaching and Assessment of Literature
LAP- WEEK 01
ORIENTATION
LITERARY PERIODS
A. Topic Outline
Content
Unit Objectives Activities Assignment
Standard
ORIENTATIO The learners Know the literary periods in order, 1. Students Draw-out a
N will be able and the notable authors in each introduction timeline of
to period. in class. literary
LITERARY familiarized 2. Class periods in
PERIODS the literary discussion correct
periods. 3. Giving of order.
assignment
B. Introductory Activity
Students are task to introduce themselves in class.
C. Salient Concepts
World Literature Periods
Later Periods of Literature
These periods are spans of time in which literature shared intellectual, linguistic, religious, and
artistic influences. In the Western tradition, the later periods of literary history are roughly as
follows below:
THE ENLIGHTENMENT (NEOCLASSICAL) PERIOD (C. 1660-1790)
"Neoclassical" refers to the increased influence of Classical literature upon these centuries. The
Neoclassical Period is also called the "Enlightenment" due to the increased reverence for logic
and disdain for superstition. The period is marked by the rise of Deism, intellectual backlash
against earlier Puritanism, and America's revolution against England.
RESTORATION PERIOD (c. 1660-‐1700): This period marks the British king's
restoration to the throne after a long period of Puritan domination in England. Its symptoms
include the dominance of French and Classical influences on poetry and drama. Sample writers
include John Dryden, John Lock, Sir William Temple, and Samuel Pepys, and Aphra Behn in
England. Abroad, representative authors include Jean Racine and Molière.
THE AUGUSTAN AGE (c. 1700-‐1750): This period is marked by the imitation of
Virgil and Horace's literature in English letters. The principal English writers include Addison,
Steele, Swift, and Alexander Pope. Abroad, Voltaire is the dominant French writer.
THE AGE OF JOHNSON (c. 1750-‐1790): This period marks the transition toward the
upcoming Romanticism though the period is still largely Neoclassical. Major writers include Dr.
Samuel Johnson, Boswell, and Edward Gibbon who represent the Neoclassical tendencies, while
writers like Robert Burns, Thomas Gray, Cowper, and Crabbe show movement away from the
Neoclassical ideal. In America, this period is called the Colonial Period. It includes colonial and
revolutionary writers like Ben Franklin, Thomas Jefferson, and Thomas Paine.
12
ROMANTIC PERIOD (c. 1790-1830)
Romantic poets write about nature, imagination, and individuality in England. Some Romantics
include Coleridge, Blake, Keats, and Shelley in Britain and Johann von Goethe in Germany. In
America, this period is called the Transcendental Period. Transcendentalists include Emerson
and Thoreau. Gothic writings, (c. 1790-‐1890) overlap with the Romantic and Victorian periods.
Writers of Gothic novels (the precursor to horror novels) include Mary Shelley, Radcliffe, Monk
Lewis, and Victorians like Bram Stoker in Britain. In America, Gothic writers include Poe and
Hawthorne.
VICTORIAN PERIOD And The 19th Century (c. 1832-1901)
Writing during the period of Queen Victoria's reign includes sentimental novels. British writers
include Elizabeth Browning, Alfred Lord Tennyson, Matthew Arnold, Robert Browning, Charles
Dickens, the Brontë sisters, and Jane Austen. Pre-‐ Raphaelites, like the Rossettis and William
Morris, idealize and long for the morality of the medieval world.
The end of the Victorian Period is marked by intellectual movements of Asceticism and "the
Decadence" in the writings of Walter Pater and Oscar Wilde. In America, Naturalist writers like
Stephen Crane flourish, as do early free verse poets like Walt Whitman and Emily Dickinson.
MODERN PERIOD (c. 1914-1945)
In Britain, modernist writers include W. B. Yeats, Seamus Heaney, Dylan Thomas, W. H.

Auden, Virginia Woolf, and Wilfred Owen. In America, the modernist period includes Robert
Frost and Flannery O'Connor as well as the famous writers of The Lost Generation (also called
the writers of The Jazz Age, 1914- ‐1929) such as Hemingway, Steinbeck, Fitzgerald, and
Faulkner. "The Harlem Renaissance" marks the rise of black writers such as Baldwin and
Ellison. Realism is the dominant fashion, but the disillusionment with the World Wars lead to
new experimentation.
POSTMODERN PERIOD (c. 1945 onward)
T. S. Eliot, Morrison, Shaw, Beckett, Stoppard, Fowles, Calvino, Ginsberg, Pynchon, and other
modern writers, poets, and playwrights experiment with metafiction and fragmented poetry.
Multiculturalism leads to increasing canonization of non-‐Caucasian writers such as Langston
Hughes, Sandra Cisneros, and Zora Neal Hurston. Magic Realists such as Gabriel García
Márquez, Luis Borges, Alejo Carpentier, Günter Grass, and Salman Rushdie flourish with
surrealistic writings embroidered in the conventions of realism.
American Literature Periods
ENLIGHTENMENT/REVOLUTIONARY (1750-1800)
Called the Enlightenment period due to the influence of science and logic, this period is marked
in US literature by political writings and diverged from the religious focus of the Puritain era.
Genres included political documents, speeches, and letters. There is a lack of emphasis and
dependence on the Bible and more use of common sense (logic) and science. Writings expanded
the truths found in the Bible and did not necessarily divorce from the idea of God and
spirituality. The writings were often meant to explore the ideas of liberty, patriotism,
government, nationalism, and American character. Benjamin Franklin, Thomas Jefferson, Patrick
Henry, and Thomas Paine are all examples of authors of this period. The notions of liberty,
freedom, independence, and rights that were discussed and debated at this time are still part of
the American culture and political system.
13
ROMANTICISM (1800-1840)
Romanticism is a literary and artistic movement of the nineteenth century that arose in reaction
against eighteenth-‐century Neoclassicism and the political focus of the Enlightenment. Placing a
premium on fancy, imagination, emotion, nature, individuality, human intuition, and exotica, it
moved from personal and political documents to entertaining ones, which gave rise to short
stories, poetry, and novels. Purely American topics were introduced such as frontier life,
manifest destiny, and individualism. Romantic elements can be found in the works of American
writers as diverse as Cooper, Poe, Thoreau, Emerson, Dickinson, Hawthorne, and Melville.
Romanticism is particularly evident in the works of the New England Transcendentalists.
TRANSCENDENTALISM (1840-‐1855): Transcendentalism is an American literary

and philosophical movement of the nineteenth century. The Transcendentalists, who were based
in New England, believed that intuition and the individual conscience “transcend” experience
and thus are better guides to truth than are the senses and logical reason. Influenced by
Romanticism, the Transcendentalists respect the individual spirit and the natural world, believing
that divinity is present everywhere, in nature and in each person. The Transcendentalists include
Ralph Waldo Emerson, Henry David Thoreau, Bronson Alcott, W.H. Channing, Margaret Fuller,
and Elizabeth Peabody. The anti-‐Transcendentalist (Hawthorne and Melville) rebelled against
the philosophy that man is basically good. A third group, the Fireside poets, wrote about more
practical aspects of life such as dying and patriotism.
GOTHIC: Writers like Poe and Hawthorne responded to the optimistic vision of the
romantics with a darker vision. The industrial revolution brought ideas that the "old ways" of
doing things are now irrelevant and out of this came the exploration of the supernatural, being at
the mercy of forces beyond human control, and the nature of good and evil. It is out of the gothic
writers that the contemporary genre of horror springs.
REALISM (1865-1915)
Realism is the presentation in art of the details of actual life. Realism began during the
nineteenth century and stressed the actual as opposed to the imagined or the fanciful. The
Realists tried to write truthfully and objectively about ordinary characters in ordinary situations.
They reacted against Romanticism, rejecting heroic, adventurous, unusual, or unfamiliar
subjects. American realism grew from the work of local-‐color writers such as Bret Harte and
Sarah Orne Jewett and is evident in the writings of major figures such as Mark Twain and Henry
James.
NATURALISM: An outgrowth of Realism, Naturalism is a literary movement among

novelists at the end of the nineteenth century and during the early decades of the twentieth
century. The Naturalists tended to view people as hapless victims of immutable natural laws and
the effects of heredity and environment on people helpless to change their situations. Early
exponents of Naturalism include Stephen Crane, Jack London, and Theodore Dreiser.
REGIONALISM: Another outgrowth of Realism, Regionalism in literature is the

tendency among certain authors to write about specific geographical areas. Regional writers like
Willa Cather and William Faulkner, present the distinct culture of an area, including its speech,
customs, beliefs, and history. Local-‐color writing may be considered a type of Regionalism, but
Regionalists, like the southern writers of the 1920’s, usually go beyond mere presentation of
cultural idiosyncrasies and attempt, instead, a sophisticated sociological or anthropological
treatment of the culture of a region.
D. Reinforcement
Students are task to watch a short clip pertaining to literary period timeline posted in the google
classroom.
E. Evaluation Activity
Have a students quiz from
https://quizizz.com/admin/quiz/5d6408f8764050001bd09c0f/literary-time-periods
14
F. Exploration Activity
Allow the students to watch a clip pertaining to literary timeline. And do have an advance
reading on the next topic.
15
LAP Code: No. of Hours: 3 hours/meeting
LAP- WEEK 02
OVERVIEW ON THE NATURE OF LITERATURE AND ITS GENRE

A. Topic Outline
Content
Unit Learning Objectives Activities Assignment
Standard
OVERVIEW The learner At the end of the unit, the 1. Submission Craft an
ON THE understands English majors should be able of essay
NATURE OF the nature of to: assignment pertaining to
LITERATURE literature and 1. discover literature as 2. Class literature’s
AND ITS the different significant human experience; dicussion significance
GENRE genres. 2. identify the purposes of 3. Quiz to humans
4. Giving of life.
literature;
assignment
3. explain the genres under the
literature umbrella;
4. identify notable authors
appropriate for literature study
in K to 12 English Literature;
5. recognize important
concepts in teaching literature
in English;
6. discuss the right books,
reading materials, and
comprehension questions in
teaching literature; and
7. identify appropriate models
in teaching literature.
Present the assignment in the class.
C. Salient Concept
Overview
Literature plays a vital role to students in the classroom. It provides multiple
opportunities and experiences for them to grow. Literature pertains to the ideas, feelings,
expressions, emotions, and thoughts in black and white. It really helps develop the language
skills of students in speaking, writing, reading, critical reasoning, appreciating of texts, valuing
education and other abilities and qualities that contribute to the substantial enhancement and
development of students. In every successful lesson and application of literature is always taught
by the teachers who have the goals to achieve and that is learning. Teachers apply different
methods, strategies, approaches and procedures or choose effective and appropriate pathways in
their teaching and assessment. It is very useful to use certain of these in any form of literature in
enabling students to improve their language and literary skills inside and outside the classroom.
Let’s get started to study the teaching and assessment of literature studies!
LITERATURE AS SIGNIFICANT HUMAN EXPERIENCE
“That is part of the beauty of all literature. You discover that your longings are universal
longings, that you’re not only and isolated from anyone. You belong.”
-F. Scott Fitzgerald
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What is Literature?
Definitions of Literature
 Literature is any form of writing which deals with the significant human experience – his
society and his experiences – which is artistically conceived for an effect (Malonzo,
2014).
 Literature is the enactment of human possibilities, or a vehicle that will help us discover
more about ourselves and the meaning we can make of life (Malonzo, 2014)
 Literature broadly refers to any collection of written or oral work, but it more commonly
and narrowly refers to writings specifically considered to be an art form, especially prose
fiction, drama, and poetry, in contrast to academic writing and newspapers (Wikipedia).
Literature as Significant Human Experiences

What defines a piece of writing as great literature? One of the elements that sets literature
apart from writing purely for the purpose of entertainment and escapism is its commentary on the
human condition. The human experience in literature contains themes about life and society that
are relatable to readers. There are endless themes related to the human experience. Here are the
following themes:
 parent-child
 relationship
 death
 loneliness
 conformity
 growing up
 aging
 human rights
 charity
 equality
 materialism
Purposes of Literature
o To improve your command of language
o To teach you about life, culture, experience of people in other parts of the world
o To give you information about other parts of the world which you may never be
able to visit in your lifetime
o To entertain you and provide useful occupation in your free time
o To make you a wiser and more experienced person by forcing you to judge,
sympathize with, or criticize the characters you read about
o To help you compare your own experience with experiences of other people
o To give you information which may be useful in other subjects, for example, in
Geography, Science, History, Social Studies, and so on.
What is PROSE?
DEFINITIONS OF PROSE
 Prose is ordinary language.
 Prose is written in sentences and paragraphs that may include dialogue.
 Most of the literature we read is written in prose.
 It is a form or technique of language that exhibits a natural flow of speech and
grammatical structure.
 It is derived from the Latin word prosa which means straightforward.
DIVISIONS AND TYPES OF PROSE

 Fiction- this pertains to a narrative form, in any medium, consisting of people,
events, or places that are imaginary. In other words, it is not based strictly on
history or fact.
 Examples: short stories, legend, fairy tale letters, folk tale memoirs, novels, short stories,
fables, myths etc.
17
 Non-Fiction- It is any document or content that purports in good faith to
represent truth and accuracy regarding information, events, or people.
 Examples: essay, report, personal narrative, memoirs, letter, article, journal, biographies
etc.
STRUCTURAL ELEMENTS OF PROSE

 Sentence – group of words that express a complete thought.
 Paragraph - sentences that are grouped together.
 Dialogue – words or sentences that quote what a person has said.
What is POETRY?
DEFINITIONS OF POETRY
 It refers to those expressions in verse, with measures, rhymes, lines, stanzas, and
melodious tone.
 Poetry is an expressive form of writing. It allows the author to share an idea or
insight with others in a meaningful way.
 Poetry is not written in sentences and paragraphs like prose. Instead, it uses
different structures that make it interesting to read.
 It came from the Greek word poiesis which means making.
DIVISIONS AND TYPES OF POETRY

 Lyric Poetry- in earlier days, it was meant to be sung to the accompaniment of musical
known as lyre.
a. simple lyric- embraces a wide variety of poems and is characterized by subjectivity,
imagination, melody, and emotion.
b. song- short lyric poem which has a specific melodious quality and is
intended to be sung.
c. sonnet- a poem expressing of 14 lines with a formal rhyme.
d. elegy- a poem expressing lament or grief for dead.
e. ode- most splendid type of lyric poetry.
 Narrative Poetry- it tells a story following an order of events. It includes

a. ballad- short simple narrative poem composed to be sung and is orally told from one
generation to another.
b. metrical romance- a long rambling love story in verse which is centered around the
adventures of knights and lords, and their royal ladies during the age of chivalry.
c. epic- a long majestic narrative poem which tells the adventures of a traditional hero and the
development of a nation.
 Dramatic Poetry- it has the elements that are closely related to drama because it is written in
dramatic form or make use of a dramatic technique. It includes:
a. dramatic monologue- a combination of drama and poetry which represents the speech of a
character in a particular situation at a critical moment.
b. soliloquy- passage spoken by the speaker in a poem of a character in the play except that there
is no one present to hear him except the audience or the reader.
c. character sketch- poem which the writer is concerned less with complete or implied matters
of a story, but rather with arousing sympathy or antagonism for, or some interest in an
individual.
STRUCTURAL ELEMENTS OF POETRY

 Verse – one line of poetry.
 Stanza – group of verses.
 Rhythm – beats or accented syllables.
 Meter – pattern of beats or accented syllables.
 Rhyme – syllables that sound similar.
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What is DRAMA?
DEFINITION OF DRAMA
 Drama can also be called a play.
 In its written form, a play includes a cast of characters, dialogue, and stage directions.
 Drama may be organized in scenes and acts.
 It is the specific mode of fiction represented in performance like play, opera, mime, ballet,
etc., performed in a theatre, or on radio or television.
STRUCTURAL ELEMENTS OF DRAMA

 Cast- list of characters in play.
 Dialogue – words that tell the actors what to say.
 Stage Directions – words that tell how the stage should look or what the actors
should do.
 Setting - words that tell where and when a play takes place.
 Scenes - sections of the play with similar setting.
 Acts - major sections of a long play.
D. Developmental Activity
Have an oral quiz for the students if they can recall class discussion.
E. Reinforcement
Students will be given an additional learning materials to be posted in the google classroom
F. Assessment
Reporters are task to give a 15 items multiple choice test
G. Exploration Activity
Have the students read in advance the next topic.
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LAP-WEEK 03
A SURVEY OF AUTHORS : Filipino and International
LITERATURE COMPETENCIES IN K-12 CURRICULUM
A. Topic Outline
Content
Unit Objectives Activities Assignment
Standard
A SURVEY OF The learner Identify notable 1. Reporting Write down/list
AUTHORS : identifies the authors 2. Quiz down
Filipino and varied 3. assignment 1famous/notable
authors in appropriate for author from
International literature
the literary each of the
LITERATURE world in study in K to 12 regions in the
both national English Philippines.
COMPETENCIE
and
S IN K-12 Literature.
international
CURRICULUM
The students will be task to recall the previous discussion, and submit the assignment in
class.
C. Salient Concept
FILIPINO AUTHORS
List of the most popular authors from Philippines, listed alphabetically with photos when
available. For centuries authors have been among the world's most important people, helping
chronicle history and keep us entertained with one of the earliest forms of storytelling. Whether
they're known for fiction, non-fiction, poetry or even technical writing, the famous Filipino
authors on this list have kept that tradition alive by writing renowned works that have been
praised around the world. You can find useful information below about these notable Filipino
writers, such as when they were born and where their place of birth was.
1. Edith L. Tiempo is a poet, fictionist, teacher and literary critic. She is one of the finest
Filipino writers in English whose works are characterized by a remarkable fusion of style and
substance, of craftsmanship and insight. She was born on April 22, 1919 in Bayombong, Nueva
Vizcaya, her poems are intricate verbal transfigurations of significant experiences as revealed, in
two of her much-anthologized pieces, "The Little Marmoset" and "Bonsai". As fictionist, Tiempo
is as morally profound. Her language has been marked as "descriptive but unburdened by
scrupulous detailing. " She is an influential tradition in Philippine literature in English.
Together with her late husband, Edilberto K. Tiempo, she founded and directed the
Silliman National Writers Workshop in Dumaguete City, which has produced some. Of the
country's best writers. Tiempo's published works include the novel A Blade of Fern (1978), The
Native Coast (1979), and The Alien Corn (1992); the poetry collections, The Tracks ofBabylon
and Other Poems (1 966), and The Charmer's Box and Other Poems (1993); and the short story
collection Abide, Joshua, and Other Stories (1964).
2. Bienvenido Lumbera, is a poet, librettist, and scholar. As a poet, he introduced to Tagalog

literature what is now known as Bagay poetry, a landmark aesthetic tendency that has helped to
change the vernacular poetic tradition. He is the author of the following works: Likhan Dila,
Likhang Diwa (poems in Filipino and English), 1993; Balaybay, Mga Tulang Lunot at
Manibalang, 2002; Sa Sariling Bayan, Apat na Dulang May Musika, 2004; "Agunyas sa
Hacienda Luisita," Pakikiramay, 2004.
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As a librettist for the Tales of the Manuvu and Rama Hari, he pioneered the creative
fusion of fine arts and popular imagination. As a scholar, his major books include the following:
Tagalog Poetry, 1570-1898: Tradition and Influences in its Development; Philippine Literature:
A History and Anthology, Revaluation: Essays on Philippine Literature, Writing the Nation/Pag-
akda ng Bansa.
3. Nestor Vicente Madali Gonzalez, better known as N.V.M. Gonzalez, fictionist, essayist,
poet, and teacher, articulated the Filipino spirit in rural, urban landscapes. Among the many
recognitions, he won the First Commonwealth Literary Contest in 1940, received the Republic
Cultural Heritage Award in 1960 and the Gawad CCP Para sa Sining in 1990. The awards attest
to his triumph in appropriating the English language to express, reflect and shape Philippine
culture and Philippine sensibility. He became U.P.’s |nternational-Writer-In-Residence and a
member of the Board of Advisers of the U.P. Creative Writing Center. In 1987, U.P. conferred
on him the Doctor of Humane Letters, honoris causa, its highest academic recognition.
Major works of N.V.M Gonzalez include the following: The Winds of April, Seven Hills
Away, Children of the Ash-Covered Loam and Other Stories, The Bamboo Dancers, Look
Stranger, on this Island Now, Mindoro and Beyond: Twenty -One Stories, The Bread of Salt and
Other Stories, Work on the Mountain, The Novel of Justice: Selected Essays 1968-1994, A
Grammar of Dreams and Other Stories.
4. Virgilio S. Almario, also known as Rio Alma, is a poet, literary historian and critic, who has
revived and reinvented traditional Filipino poetic forms, even as he championed modernist
poetics. In 34 years, he has published 12 books of poetry, which include the seminal Makinasyon
and Peregrinasyon, and the landmark trilogy Doktrinang Anakpawis, Mga Retrato at Rekwerdo
and Muli, Sa Kandungan ng Lupa. In these works, his poetic voice soared from the lyrical to the
satirical to the epic, from the dramatic to the incantatory, in his often severe
examination of the self, and the society.
He has also redefined how the Filipino poetry is viewed and paved the way for the
discussion of the same in his 10 books of criticisms and anthologies, among which are Ang
Makata sa Panahon ng Makina, Balagtasismo versus Modernismo,Walong Dekada ng
Makabagong Tula Pilipino, Mutyang Dilim and Barlaan at Josaphat.
Many Filipino writers have come under his wing in the literary workshops he founded —
the Galian sa Arte at Tula (GAT) and the Linangan sa Imahen, Retorika at Anyo (LIRA). He has
also long been involved with children's literature through the Aklat Adarna series, published by
his Children‘s Communication Center. He has been a constant presence aswell in national
writing workshops and galvanizes member writers as chairman emeritus of the Unyon ng mga
Manunulat sa Pilipinas (UMPIL).
He headed the National Commission for Culture and the Arts as Executive Director,
(from 1998 to 2001) ably steering the Commission towards its goals. But more than anything
else, what Almario accomplished was that he put a face to the Filipino writer in the country, one
strong face determinedly wielding a pen into untruths, hypocrisy, injustice, among others.
5. Cirilo F. Bautista is a poet, fictionist and essayist with exceptional achievements and
significant contributions to the development of the country's literary arts. He is acknowledged by
peers and critics, and the nation at large as
the foremost writer of his generation. Throughout his career that spans more
than four decades, he has established a reputation for fine and profound artistry; his books,
lectures, poetry readings and creative writing workshops continue to influence his peers and
generations of young writers.
As a way of bringing poetry and fiction closer to the people who otherwise would not
have the opportunity to develop their creative talent, Bautista has been holding regular funded
and unfunded workshops throughout the country. In his campus lecture circuits, Bautista has
updated students and student—writers on literary developments and techniques.
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As a teacher of literature, Bautista has realized that the classroom is an important training
ground for Filipino writers. In De La Salle University, he was instrumental in the formation of
the Bienvenido Santos Creative Writing Center. He was also the moving spirit behind the
founding of the Philippine Literary Arts Council in 1981, the Iligan National Writers Workshop
in 1993, and the Baguio Writers Group. Thus, Bautista continues to contribute to the
development of Philippine literature: as a writer, through his significant body of works; as a
teacher, through his discovery and encouragement of young writers in workshops and lectures;
and as a critic, through his essays that provide insights into the craft of writing and correctives
To misconceptions about art.
Major works: Summer Suns (1963), Words and Battlefields (1998), The Trilogy of Saint
Lazarus (2001), Galaw ng Asoge (2003).
6. Nick Joaquin, is regarded by many as the most distinguished Filipino writer in English
writing so variedly and so we l about so many aspects of the Filipino. Nick Joaquin has also
enriched the English language with critics coining “Joaquinesque" to describe his baroque
Spanish- flavored English or his reinventions of English based on Filipinisms. Aside from his
handling of language, Bienvenido Lumbera writes that Nick Joaquin’s significance in Philippine
literature involves his exploration of the Philippine colonial past under Spain and his probing
into the psychology of socia changes as seen by the young, as exemplified in stories such as
Dona Jeronima, Candido's Apocalypse and The Order of Melchizedek. Nick Joaquin has written
plays, novels, poems, short stories and essays including reportage and journalism.
As a journalist, Nick Joaquin uses the nome de guerre Quijano de Manila but whether he
is writing literature or journalism, fellow National Artist Francisco Arcellana opines that “it is
always of the highest skill and quality.’’ Among his voluminous works are The Woman Who
Had Two Navels, A Portrait
of the Artist as Filipino, Manila, My Manila: A History for the Young, The Ballad
of the Five Battles, Rizal in Saga, Almanac for Manilefios, Cave and Shadows. Nick Joaquin
died on April 29, 2004.
7. F. Sionil Jose's writings since the late 60s, when taken collectively can best be described as
epic. Its sheer volume puts him on the forefront of Philippine writing in English. But ultimately,
it is the consistent espousal of the aspirations of the Filipino—for national sovereignty and social
justice—that guarantees the value of his oeuvre. In the five—novel masterpiece, the Rosales
saga, consisting of The Pretenders, Tree, My Brother, My Executioner, Mass, and Po-on, he
captures the sweep of Philippine history while simultaneously narrating the lives of generations
of the Samsons whose personal lives intertwine with the social struggles of the nation. Because
of their international appeal, his works, including his many short stories, have been published
and translated into various languages. F. Sionil Jose is also a publisher, lecturer on cultural
issues, and the founder of the Philippine chapter of the international organization PEN. He was
bestowed the CCP Centennial Honors for the Arts in 1999; the Outstanding Fulbrighters Award
for Literature in 1988; and the Ramon Magsaysay Award for Journalism, Literature, and
Creative Communication Arts in 1980.
8. Amado V. Hernandez, poet, playwright, and novelist, is among the Filipino writers who
practiced “committed art”. In his view, the function of the writer is to act as the conscience of
society and to affirm the greatness of the human spirit in the face of inequity and oppression.
Hernandez’s contribution to the development of Tagalog prose is considerable — he stripped
Tagalog of its ornate character and wrote in prose closer to the colloquial than the “official” style
permitted.
His novel Mga lbong Mandaragit, first written by Hernandez while in prison, is the first
Filipino socio-political novel that exposes the ills of the society as evident in the agrarian
problems of the 50s. Hernandez's other works include Bayang Malaya, Isang Dipang Langit,
Luha ng Buwaya, Amado V. Hernandez: Tudla at Tudling: Katipunan ng mga Nalathalang Tula
1921-1970, Langaw sa Isang Basong Gatas at Iba Pang Kuwento ni Amado V. Hernandez,
Magkabilang Mukha ng Isang Bagol at Iba Pang Akda ni Amado V. Hernandez.
22
9. Lazaro A. Francisco, prize-winning writer developed the social realist tradition in Philippine
fiction. His eleven novels, now acknowledged classics of Philippine literature, embodies the
author's commitment to nationalism. Amadis Ma. Guerrero wrote, “Francisco championed the
cause of the common man, specifically the oppressed peasants. His novels exposed the evils of
the tenancy system, the exploitation of farmers by unscrupulous landlords, and foreign
domination." Teodoro Valencia also observed His pen dignifies the Filipino and accents all the
positives about the Filipino way of life. His writings have contributed much to the formation of a
Filipino nationalism." Literary historian and critic Bienvenido Lumbera also wrote, “When the
history of the Filipino novel is written, Francisco is likely to occupy an eminent place in it.
Already in Tagalog literature, he ranks among the finest novelists since the beginning of the 20th
century. In addition to a deft hand at characterization, Francisco has a supple prose style
responsive to the subtlest nuances of ideas and the sternest stuff of
passions."
Francisco gained prominence as a writer not only for his social conscience but also for
his “masterful handling of the Tagalog language" and “supple prose style”. With his literary
output in Tagalog, he contributed to the enrichment of the Filipino language and literature for
which he is a staunch advocate. He put up an arm to his advocacy of Tagalog as a national
language by establishing the Kapatiran ng mga Alagad ng Wikang Pilipino (KAWIKA) in 1958.
His reputation as the “Master of the Tagalog Novel” is backed up by numerous awards he
received for his meritorious novels in particular, and for his contribution to Philippine literature
and culture in general. His masterpiece novels—Ama, Bayang Nagpatiwakal, Maganda Pa Ang
Daigdig and Daluyong—affirm his eminent place in Philippine literature. In 1997, he was
honored by the University of the Philippines with a special convocation, where he was cited as
the “foremost Filipino novelist of his generation” and “champion of the Filipino writer’s struggle
for national identity.”
10. Alejandro Roces, is a short story writer and essayist, and considered as the country's best
writer of comic short stories. He is known for his widely anthologized “My Brother's Peculiar
Chicken." In his innumerable newspaper columns, he has always focused on the neglected
aspects of the Filipino cultural heritage. His works have been published in various international
magazines and has received national and international awards.
Ever the champion of Filipino culture, Roces brought to public attention the aesthetics of
the country's fiestas. He was instrumental in popularizing several local fiestas, notably, Moriones
and Ati-atihan. He personally led the campaign to change the country's Independence Day from
July 4 to June 12, and caused the change of language from English to Filipino in the country's
stamps, currency and passports, and recovered Jose Rizal’s manuscripts when they were stolen
from the National Archives.
His unflinching love of country led him to become a guerilla during the Second World
War, to defy martial law and to found the major opposition party under the dictatorship. His
works have been published in various international magazines and received numerous national
and international awards, including several decorations from various governments. He once said
“You cannot be a great writer; first, you have to be a good person"
11. Carlos P. Romulo‘s multifaceted career spanned 50 years of public service as educator,
soldier, university president, journalist and diplomat. It is common knowledge that he was the
first Asian President of the United Nations General Assembly, then Philippine Ambassador to
Washington, D.C., and later minister of foreign affairs. Essentially though, Romulo was very
much into writing: he was a reporter at 16, a newspaper editor by the age of 20, and a publisher
at 32. He was the only Asian to win America's coveted Pulitzer Prize in Journalism for a series of
articles predicting the outbreak of World War II. Romulo, in all, wrote and published 18 books, a
range of literary works which included The United (novel), I Walked with Heroes
(autobiography), I Saw the Fall of the Philippines, Mother America, I See the Philippines Rise
(war—time memoirs).
23
His other books include his memoirs of his many years’ affiliations with United Nations
(UN), Forty Years: A Third World Soldier at the UN, and The Philippine Presidents, his oral
history of his experiences sewing all the Philippine presidents.
12. Jose Garcia Villa is considered as one of the finest contemporary poets regardless of race or
language. Villa, who lived in Singalong, Manila, introduced the reversed consonance rime
scheme, including the comma poems that made full use of the punctuation mark in an innovative,
poetic way. The first of his poems "Have Come, Am Here" received critical recognition when it
appeared in New York in 1942 that, soon enough, honors and fellowships were heaped on him:
Guggenheim, Bollingen, the American Academy of Arts and Letters Awards. He used Doveglion
(Dove, Eagle, Lion) as penname, the very characters he attributed to himself, and the same ones
explored by e.e. cummings in the poem he wrote for Villa (Doveglion, Adventures in Value).
Villa is also known for the tartness of his tongue.
Villa's works have been collected into the following books: Footnote to Youth,Many
Voices, Poems by Doveglion, Poems 55, Poems in Praise of Love: The Best Love Poems of Jose
Garcia Villa as Chosen By Himself, Selected Stories,The Portable Villa, The Essential Villa,
Mir-i-nisa, Storymasters 3: Selected Stories from Footnote to Youth, 55 Poems: Selected and
Translated into Tagalog by Hilario S. Francia.
13. Rolando S. Tinio, playwright, thespian, poet, teacher, critic and translator, marked his career
with prolific artistic productions. Tinio‘s chief distinction is as a stage director whose original
insights into the scripts he handled brought forth productions notable for their visual impact and
intellectual cogency. Subsequently, after staging productions for the Ateneo Experimental
Theater (its organizer and administrator as well), he took on Teatro Pilipino.
It was to Teatro Pilipino which he left a considerable amount of work reviving traditional
Filipino drama by re—staging old theater forms like the sarswela and opening a treasure— house
of contemporary Western drama. It was the excellence and beauty of his practice that claimed for
theater a place among the arts in the Philippines in the 1960s.
Aside from his collections of poetry (Sitsit sa Kuliglig, Dunung - Dunungan, Kristal na
Uniberso, A Trick of Mirrors) among his works were the following: film scripts for Now and
Forever, Gamitin Mo Ako, Bayad Puri and Milagros; sarswelas Ang Mestisa, Ako, Ang Kiri,
Ana Maria; the komedya Orosman at Zafira; and Larawan, the musical.
14. Francisco Arcellana, writer, poet, essayist, critic, journalist and teacher, is one of the most
important progenitors of the modern Filipino short story in English. He pioneered the
development of the short story as a lyrical prose —poetic form. For Arcellana, the pride of
fiction is "that it is able to render truth, that is able to present reality". Arcellana kept alive the
experimental tradition in fiction, and had been most daring in exploring new literary forms to
express the sensibility of the Filipino people. A brilliant craftsman, his works are now an
indispensable part of a tertiary—level—syllabi all over the COUFICIZ. Arcellana‘s published
books are Selected Stories (19 2), Poetry and Politics: The State of Original Writing in English in
the Philippines Today (1977), The Francisco Arcellana Sampler (1990).
Some of his short stories are Frankie, The Man Who Would Be Poe, Death in a Factory,
Lina, A Clown Remembers, Divided by Two, The Mats, and his poems being The Other
Woman, This Being the Third Poem This Poem is for Mathilda, To Touch You and I Touched
Her, and among others.
15. Levi Celerio is a prolific lyricist and composer for decades. He effortlessly
translated/wrote anew the lyrics to traditional melodies: “O Maliwanag Na Buwan" (lloko), “Ako
ay May Singsing" (Pampango), “Alibangbang" (Visaya) among others. E Born in Tondo, Celerio
received his scholarship at the Academy of Music in Manila that made it possible for him to join
the Manila Symphony Orchestra, becoming its youngest member. He made it to the Guinness
Book of World Records as the only person able to make music using just a leaf.
24
A great number of his songs have been written for the local movies, which earned for him
the Lifetime Achievement Award from the Film Academy of the Philippines. Levi Celerio, more
importantly, has enriched the Philippine music for no less than two generations with a treasury of
more than 4,000 songs in an idiom that has proven to appeal to all social classes.
16. Carlos Quirino, biographer, has the distinction of having written one of the earliest
biographies of Jose Rizal titled The Great Malayan. Quirino’s books and articles span the whole
gamut of Philippine history and culture-from Bonifacio’s trial to Aguinaldo’s biography, from
Philippine cartography to culinary arts, from cash crops to tycoons and presidents lives, among
so many subjects. In 1997, Pres. Fidel Ramos created historical literature as a new category in
the National Artist Awards and Quirino was its first recipient. He made a record earlier on when
he became the very first Filipino correspondent for the United Press Institute.
His book Maps and Views of Old Manila is considered as the best book on the subject.
His other books include Quezon, Man of Destiny, Magsaysay of the Philippines, Lives of the
Philippine Presidents, Philippine Cartography, The History of Philippine Sugar Industry, Filipino
Heritage: The Making of a Nation, Filipinos at War: The Fight for Freedom from Mactan to
EDSA.
A SURVEY OF AUTHORS
INTERNATIONAL WELL-KNOWN AUTHORS
1. WILLIAM SHAKESPEARE (1564 – 1616) English poet and playwright. Famous plays
include Macbeth, Romeo and Juliet, Merchant of Venice and Hamlet. Shakespeare is
widely considered the seminal writerof the English language.
2. JONATHAN SWIFT (1667 – 1745) Anglo-Irish writer born in Dublin. Swift was a
prominent satirist, essayist and author. Notable works include Gulliver’s Travels (1726),
A Modest Proposal and A Tale of a Tub.
3. SAMUEL JOHNSON (1709 – 1784) British author best-known for his compilation of
the English dictionary. Although not the first attempt at a dictionary, it was widely
considered to be the most comprehensive – setting the standard for later dictionaries.
4. JOHANN WOLFGANG VON GOETHE (1749 – 1832) German poet, playwright, and
author. Notable works of Goethe include Faust, Wilhelm Meister’s Apprenticeship and
Elective Affinities.
5. JANE AUSTEN (1775 – 1817) English author who wrote romantic fiction combined
with social realism. Her novels include Sense and Sensibility (1811), Pride and Prejudice
(1813) and Emma (1816).
6. HONORE DE BALZAC (1799 – 1850) French novelist and short storynwriter. Balzac
was an influential realist writer who created characters of moral ambiguity – often based
on his own real-life examples. His greatest work was the collection of short stories La
Comédie Humaine.
7. ALEXANDRE DUMAS (1802 – 1870) French author of historical dramas, including –
The Count of Monte Cristo (1844), and The Three Musketeers (1844). Also prolific
author of magazine articles, pamphlets and travel books.
8. VICTOR HUGO (1802 – 1885) French author and poet. Hugo’s novels include Les
Misérables, (1862) and Notre-Dame de Paris (1831).
9. CHARLES DICKENS (1812 – 1870) – English writer and social critic. His best-known
works include novels such as Oliver Twist, David Copperfield and A Christmas Carol.
10.CHARLOTTE BRONTE (1816 – 1855) English novelist and poet, from
Haworth. Her best-known novel is ‘Jane Eyre’ (1847).
11. HENRY DAVID THOREAU (1817 – 1862) – American poet, writer and leading
member of the Transcendentalist movement. Thoreau’s “Walden” (1854) was a unique
account of living close to nature.
12. EMILY BRONTE (1818 – 1848) English novelist. Emily Bronte is best known for her
novel Wuthering Heights (1847), and her poetry.
13. GEORGE ELIOT (1819 – 1880) Pen name of Mary Ann Evans. Wrote novels, The Mill
on the Floss (1860), Silas Marner (1861), Middlemarch (1871–72), and Daniel Deronda
(1876).
25
14. Leo Tolstoy (1828 – 1910) Russian novelist and moral philosopher. Famous works
include the epic novels – War and Peace (1869) and Anna Karenina (1877). Tolstoy also
became an influential philosopher with his brand of Christian pacificism.
15. FYODOR DOSTOEVSKY (1821-1881) Russian novelist, journalist and philosopher.
Notable works include Notes from Underground, Crime and Punishment and The Idiot.
16. LEWIS CARROLL (1832-1898) Oxford mathematician and author. Famous for Alice
in Wonderland, Through the Looking Glass, and poems like The Snark.
17. MARK TWAIN (1835 – 1910) American writer and humorist, considered the ‘father of
American literature’. Famous works include The Adventures of Tom Sawyer (1876) and
Adventures of Huckleberry Finn (1885).
18. THOMAS HARDY (1840-1928) English novelist and poet. Hardy was a Victorian
realist who was influenced by Romanticism. He wrote about problems of Victorian
society – in particular, declining rural life. Notable works include: Far from the Madding
Crowd (1874), Tess of the d’Urbervilles (1891), and Jude the Obscure (1895).
19. OSCAR WILDE (1854 – 1900) – Irish writer and poet. Wilde wrote humorous, satirical
plays, such as ‘The Importance of Being Earnest‘ and ‘The Picture of Dorian Grey’.
20. KENNETH GRAHAM (1859 – 1932) Author of the Wind in the Willows (1908), a
classic of children’s literature.
21. GEORGE BERNARD SHAW (1856 – 1950) Irish playwright and wit. Famous works
include: Pygmalion (1912), Man and Superman (1903) and Back to Methuselah (1921)
22. SIR ARTHUR CONAN DOYLE (1859 – 1930) British author of historical novels and
plays. Most famous for his short stories about the detective – Sherlock Holmes, such as
The Hound of the Baskervilles (1902) and Sign of Four (1890).
23. BEATRIX POTTER (1866 – 1943) English conservationist and author of imaginative
children’s books, such as the Tales of Peter Rabbit (1902).
24. MARCEL PROUST (1871 – 1922) French author. Best known for epic novel l À la
recherche du temps perdu (In Search of Lost Time) published in seven parts between
1913 and 1927.
25. WILLIAM SOMERSET MAUGHAM 1874 – 1965) British novelist and writer. One
of the most popular authors of 1930s. Notable works included The Moon and Sixpence
(1916), The Razor’s Edge (1944), and Of Human Bondage (1915)
26. P.G.WODEHOUSE (1881 – 1975) English comic writer. Best known for his humorous
and satirical stories about the English upper classes, such as Jeeves and Wooster and
Blandings Castle.
27. VIRGINIA WOOLF (1882 – 1941) English modernist writer, a member of the
Bloomsbury group. Famous novels include Mrs Dalloway (1925), To the Lighthouse
(1927) and Orlando (1928).
28. JAMES JOYCE (1882 – 1941) Irish writer from Dublin. Joyce was one of most
influential modernist avant-garde writers of the Twentieth Century. His novel Ulysses
(1922), was ground-breaking for its stream of consciousness style. Other works include
Dubliners (1914) and Finnegans Wake (1939).
29. D H LAWRENCE (1885 – 1930) English poet, novelist and writer. Best known works
include Sons and Lovers, The Rainbow, Women in Love and Lady Chatterley’s Lover
(1928) – which was banned for many years.
30. AGATHA CHRISTIE (1890 – 1976) British fictional crime writer. Many of her books
focused on series featuring her detectives ‘Poirot’ and Mrs Marple.
31. J.R.R. TOLKIEN (1892 – 1973) – Professor of Anglo-Saxon and English at Oxford
University. Tolkien wrote the best-selling mythical trilogy The Lord of the Rings. Other
works include The Hobbit and The Silmarillion, and a translation of Beowulf.
32. VERA BRITTAIN (1893 – 1970) British writer best known for her autobiography –
Testament of Youth (1933) – sharing her traumatic experiences of the First World War.
33. F. SCOTT FITZGERALD (1896 – 1940) American author. An iconic writer of the
‘jazz age’. Notable works include The Great Gatsby (1925), and Tender Is the Night
(1934) – cautionary tales about the ‘Jazz decade’ and the American Dream based on
pleasure and materialism.
34. ENID BLYTON (1897 – 1968) British children’s writer, known for her series of
children’s books – The Famous Five and The Secret Seven. Blyton wrote an estimated
800 books over 40 years.
26
35. C.S. LEWIS (1898 – 1963) Irish / English author and professor at Oxford University.
Lewis is best known for The Chronicles of Narnia, a children’s fantasy series. Also well
known as a Christian apologist.
36. ERNEST HEMINGWAY (1899 – 1961) Groundbreaking modernist American writer.
Famous works included For Whom The Bell Tolls (1940) and A Farewell to Arms
(1929).
37. VLADIMIR NABOKOV (1899 – 1977) Russian author of Lolita (1955) and Pale Fire
(1962)
38. BARBARA CARTLAND (1901 – 2000) One of most prolific and best selling authors of
the romantic fiction genre. Some suggest she has sold over 2 billion copies worldwide.
39. JOHN STEINBECK (1902 – 1968) American writer who captured the social change
experienced in the US around the time of the Great Depression. Famous works include –
Of Mice and Men (1937), The Grapes of Wrath (1939) and East of Eden (1952).
40. GEORGE ORWELL (1903 – 1950) – English author. Famous works include Animal
Farm, and 1984. – Both stark warnings about the dangers of totalitarian states, Orwell
was also a democratic socialist who fought in the Spanish Civil War, documenting his
experiences in “Homage to Catalonia” (1938).
41. SAMUEL BECKETT (1906-1989) Irish avant garde, modernist writer. Beckett wrote
minimalist and thought provoking plays, such as ‘Waiting for Godot’ (1953) and
‘Endgame‘ (1957). He was awarded the Nobel Prize in Literature in 1969.
42. ALBERT CAMUS (1913 – 1960) – French author, journalist, and philosopher.
Associated with existentialism and absurdism. Famous works included The Myth of
Sisyphus, The Stranger and The Plague.
43. ROALD DAHL (1916 – 1990) English author, best known for his children’s books, such
as Willy Wonka and the Chocolate Factory, James and The Giant Peach and The BFG.
44. ALEKSANDR SOLZHENITSYN (1918 – 2008) Russian author, historian and political
critic. Solzhenitsyn was awarded the Nobel Prize for Literature in 1970 for his work in
exposing the nature of Soviet totalitarianism. e.g, The Gulag Archipelago (1965-67).
45. J.D. SALINGER (1919 – 2010) American author. Most influential novel The Catcher in
the Rye (1951). Wrote many short stories for New Yorker magazine, such as “A Perfect
Day for Bananafish.”
46. JOSEPH HELLER (1923 – 1999) American novelist, who wrote satirical and black
comedy. His most famous work is ‘Catch 22’ (1961) – a satire on the futility of war.
47. GABRIEL GARCIA MARQUEZ (1927 – 2014) Colombian author. Wrote: One
Hundred Years of Solitude (1967), The Autumn of the Patriarch (1975) and Love in the
Time of Cholera (1985). Nobel Prize in Literature (1982).
48. ANNE FRANK (1929 – 1945) Dutch-Jewish diarist. Known for her diary ‘Anne Frank‘
Published posthumously by her father – recalling her life hiding from Gestapo in
occupied Holland.
49. SALMAN RUSHDIE (1947 – ) Anglo-Indian author. His works combine elements of
magic realism, satire and historical fiction – often based on Indian sub-continent. Notable
works include Midnight’s Children (1981), Shame (1983) and Satanic Verses (1988).
50. STEPHEN KING (1947 – ) American author of contemporary horror, supernatural
fiction, suspense, science fiction, and fantasy. One of the best selling authors of modern
times.
51. GEORGE R.R MARTIN (1948 – ) American author of epic fantasy series – A Song of
Ice and Fire, – his international best-selling series of fantasy has been adapted for the
screen as “The Game of Thrones.”
52. DOUGLAS ADAMS (1952 – 2001) British writer of humorous and obscure science
fiction. Adams wrote a best selling trilogy (of five books) The Hitchhiker’s Guide to the
Galaxy – which began as a BBC play.
53. J.K.ROWLING (1965 – ) British author of the Harry Potter Series – which has become
the best selling book series of all time. Her first book was Harry Potter and the
Philosopher’s Stone (1997). Rowling has also published adult fiction, such as The Casual
Vacancy (2012) and The Cuckoo’s Calling (2013).
54. KHALED HOSSEINI (1965 – ) Afghan born American writer. Notable works include:
The Kite Runner (2003) A Thousand Splendid Suns (2007) And the Mountains Echoed
(2013).
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LITERATURE COMPETENCIES IN ENGLISH K TO 12 CURRICULUM
What is LITERARY COMPETENCE?

DEFINITION OF COMPETENCY
It is the capability to apply or use a set of related knowledge, skills, and abilities required
to successfully perform "critical work functions" or tasks in a defined work setting.
DEFINITION OF LITERARY COMPETENCY

referring to Thaler (259): literary consists three parts that are connected:
 knowledge (about the history of literature and literary theory)
 attitude (the joy of reading, having a sense of quality and intercultural consciousness)
 skills (reading, understanding ,analyzing, and creating)
GRADE LITERARY SUBJECT LEARNING COMPETENCIES

7 Philippine Literature First Quarter
 Describe the different literary genres during the pre-
colonial period
 Identify the distinguishing features of proverbs,
myths, and legends
 Express appreciation for sensory images used
 Explain the literary devices used
 Determine the tone, mood, technique, and purpose
of the author
 Determine the tone, mood, technique, and purpose
of the author
Second Quarter
 Identify the distinguishing features of poems and
short stories
 Determine tone, mood, technique, and purpose of
the author
Third Quarter
 Explain literary devices used
the author
Fourth Quarter
the author
8 Afro-Asian Literature First Quarter

 Explain the literary devices used.
the author
the author
 Explain how a selection may be influenced by
culture, history, environment, or other factors
Second Quarter
 Express appreciation for sensory image used
the author
the author
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 Explain how a selection may be influenced by
culture, history, environment, or other factors
Third Quarter
 Identify the distinguishing features of notable
poems, short stories, dramas, and novels contributed
by Southeast Asian writers
 Explain figurative language used
 Determine key ideas, tone, and purposes of the
author
 Determine key ideas, tone, and purposes of the
author
Fourth Quarter
 Explain figurative language used
 Determine key ideas, tone, and
 purposes of the author
9 Anglo-American First Quarter
Literature  Analyze literature as a means of discovering the self
the author
Second Quarter
 Analyze literature as a means of valuing other
people and their various circumstances in life.
 Identify the distinguishing features of notable
Anglo- American sonnets, dramatic poetry,
vignettes, and short stories.
 Express appreciation for sensory images used.
the author.
Third Quarter
 Analyze literature as a means of connecting to the
world.
Fourth Quarter
 Analyze literature as a means of understanding
unchanging values in a changing world
the author
10 World Literature First Quarter

the author
Second Quarter
the author
Third Quarter
the author
Fourth Quarter
the author
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11 21st Century Literature First Semester
from the Philippines and  Identify the geographic, linguistic, and ethnic
the World dimensions of Philippine literary history from pre-
colonial to the contemporary
 Identify representative texts and authors from each
region (e.g. engage in oral history research with
focus on key personalities from the students’
region/province/ town)
 Value the contributions of local writers to the
development of regional literary traditions
Appreciate the contributions of the canonical
Filipino writers to the development of national
literature
 Differentiate/compare and contrast the various 21st
century literary genres and the ones from the earlier
genres/periods citing their elements, structures and
traditions
 Infer literary meaning from literal language based
on usage
 Analyze the figures of speech and other literary
techniques and devices in the text
 Explain the literary, biographical, linguistic, and
sociocultural contexts and discuss how they enhance
the text’s meaning and enrich the reader’s
understanding
 Situate the text in the context of the region and the
nation
 Explain the relationship of context with the text’s
meaning
 Produce a creative representation of a literary text
by applying multimedia skills
 Choose an appropriate multimedia format in
interpreting a literary text
 Apply ICT skills in crafting an adaptation of a
literary text
 Do self- and/or peer- assessment of the creative
adaptation of a literary text, based on rationalized
criteria, prior to presentation
Second Semester
 Identify representative texts and authors from Asia,
North America, Europe, Latin America, and Africa
 Explain the texts in terms of literary elements,
genres, and traditions
 Situate the texts in the context of the region, nation,
and the world
 Appreciate the cultural and aesthetic diversity of
literature of the world
 Compare and contrast the various 21st century
literary genres and their elements, structures, and
traditions from across the globe
 Distinguish the literary uses of language from the
non- literary and understand their use as well as the
formal features and conventions of literature
 Identify the figures of speech and other literary
techniques and devices in the text
 Explain the biographical, linguistic, and
sociocultural contexts and discuss how they enhance
the text’s meaning and the reader’s understanding
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 Examine the relationship between text and context
 Understand literary meanings in context and the use
of critical reading strategies
 Produce a creative representation of a literary text
by applying multimedia skills
 Choose appropriate multimedia form of interpreting
a literary text
 Apply ICT skills in crafting an adaptation of a
literary text
 Do self- and/or peer- assessment of the creative
adaptation of a literary text, based on rationalized
criteria, prior to presentation
The students will be task to choose one author and present it in class, by identifying
his/her work, era or period of work, and discuss a brief background of the author which includes
the education and life experiences.
E. Output Presentation
The students will be graded according to the following criteria:
Relativity of answers to the theme/questions 25%
Cohesiveness/structure of content 25%
Visual Presentation 20%
Confidence/Clarity of Voice 20%
Over-all Impact 10%
TOTAL 100%
F. Assessment
The class reporter of the topic will give a 15 items test.
G.Exploration Activity
Create an infographic poster promoting physical appearance, good grooming and healthy
lifestyle.
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LAP-WEEK 04
TEACHING LITERATURE – AN OVERVIEW

a. Value of Literature
b. Choosing Books and Reading Materials
c. Models of Teaching Literature
Language model
Cultural model
Personal growth model
A. Topic Outline
Content Learning
Unit Activities Assignment
Standard Objectives
TEACHING The learner At the end of these 1. Reporting Make a
LITERATURE – AN enumerates weeks, the pre- 2. Quiz summary
OVERVIEW the value of service teacher 3. assignmen and
a. Value of literature. (PST) should be t response
Literature able regarding
b. Choosing to: the topic
a. recognize discussed in
Books and Reading
important class.
Materials
concepts in
c. Models of teaching
Teaching Literature literature in
Language English;
model b. identify
Cultural appropriate
model methods
Personal and approaches to
growth model teach
literature; and
books,
reading materials,
and
comprehension
questions in
The students are obliged to submit the assignment. And do a recapitulation of the
previous class discussion.
C. Salient Concept
DEFINITION OF VALUES OF LITERATURE
The phrase "values of literature" refers to those qualities of poems, stories, novels, etc.
that make them worthwhile to read. If we feel our time reading is well spent, we can say that a
work has value for us. If reading the work was a complete waste, then we might say it has no
value for us. And there is a spectrum between the two extremes.
Literature has… if reading it...

Entertainment Is an enjoyable way to pass the time
value
Political value Can change the way people live with and influence each other.
Artistic value Helps us contemplate to the beauty and human creativity.
Cultural value Sheds light on the place and time of the author of the work.
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Historical value Helps one understand the past and how the world has evolved.
Philosophical value Explore human knowledge, how we know and what we know.
Moral value Teaches a lesson that will inspire the readers to live a better life.
Ethical value Helps us asks questions related to the standards of a “good” life.
Entertainment Value
Literature has entertainment value if reading it gives occasion to enjoy yourself. This type
of value is inherently subjective because not everyone will enjoy the same kinds of stories,
styles, or themes. Being entertained is important, but being bored does not give anyone license to
reject a work outright. I can put the book down and not read it anymore, but I should be careful
not to assume that my boredom is somehow a characteristic of the work I tried to read. Rather, I
was bored, plain and simple. Someone else might not be. At the same time, if a work is awesome
to me, exciting, intriguing, etc., I should not assume that my interest is somehow a characteristic
of the work I enjoyed reading. Rather, I was interested, plain and simple. Someone else might
not be.
Political Value
Literature has political value if reading it gives occasion to change how a person thinks or
acts. Politics is about the management and flow of power. And power, like electricity, flows
from one end of a circuit to another to make things happen. Reading a work can jolt someone
into action. It can reveal an injustice, outrage its readers, give voice to the oppressed, ridicule
those who are corrupt, etc. The main idea here is to think about what the work of literature is
trying to do. It has political value if it attempts to persuade people or the world to start acting and
thinking in "this" way. We can see the political leanings of a work without necessarily being
persuaded ourselves. But most of the time, we will like a work for its political leanings if we are
in fact persuaded to align ourselves with the author.
Artistic Value
Literature has artistic value if reading it gives occasion to contemplate the nature of
beauty and human creativity. There are many works of literature that experiment with the limits
of language and its expressive power. If I like how words can be manipulated to create beautiful
works of art, then a work that tries to use words that way in a new and unique way will have
artistic value for me. I would say that every work of literature that we read in this course has
artistic value because they are all works that have remained important over the years for the way
they extended the power of language in a new direction. If you don't like words, it will be
difficult to see the artistic value of any poem or story. The value will still be there even if you
don't see it, however.
Cultural Value
Literature has cultural value if reading it gives occasion to think about the place and time
of the author at the time the work was written. Authors might seem like supernatural beings or at
least people who are way above us, transcending the world down here to live among the heavens
with their artistic visions, but they are actually regular people like the rest of us. They care about
what is happening in the world around them, and they have experiences in life that shape their
attitudes toward various issues. If their work addresses the attitudes, customs, and values of their
time (or another time), then the work has cultural value. The work becomes a window into a
world that is unfamiliar, and we are encouraged to compare cultural differences.
Historical Value
Literature has historical value if reading it gives occasion to think about the past, how
things changes overtime, and how the world has evolved into what it is today. Historical value
sometimes overlaps with cultural value; if a work is really old, then it can give us insight into a
33
culture so far back that we can also think about how that culture might be a foundation for our
own. The cliché about history is true--the less we now about how things were, the more likely we
are to relive them. Of course, some things might be worth reliving, and we might regret some of
the history we have left behind, but other things we want to avoid repeating. Works of literature
can help us learn about the past, process the past, and use the past to our advantage. Sometimes
the historical value of a work is that it shows us what we have gained and what we have lost.
Philosophical Value
Literature has philosophical value if reading it gives occasion to explore the nature of
human knowledge, how we know and what we can know. These questions are central to the
production of art because any artist must interact with the world in order to represent it, whether
lyrically in a poem or through storytelling in fiction; he must, to some extent, know the world.
But it is hard to be certain about what we know or even whether we can know anything at all.
Some writers explore philosophical issues pretty deeply because they are often a source of crisis
that can create great drama and raise intriguing questions. If a work invites us to think about
perception, making sense of our place in the world, or self-awareness, then we can say that it has
philosophical value. In
response to such works, we tend to look inward and wonder, "who am I?"
Moral Value
Literature has moral value if reading it gives occasion to learn a lesson. If a story or poem
teaches us how to live, or attempts to teach us, then it has a moral dimension. Is the work still
valuable if we do not like the lesson it teaches? Perhaps so. The best readers will see the moral
value of a work even if the morals it endorses are somehow distasteful to them. Moral value is a
dangerous value to measure. The history of censorship, for instance, is based on the idea that if a
work teaches the "wrong" thing, it should not be read at all. This idea goes all the way back to
Plato, one of the earliest philosophers to explore the moral dimension of stories and poetry. We
have to be careful, I think, not to hold moral value as the most important one. If we reduce a
story or poem to a moral lesson, or require that a story or poem BE a moral lesson that we can
endorse, then we are USING literature to back up our own beliefs. To avoid this mistake, we
must learn to appreciate works of literature for its various kinds of value. "To appreciate" means
"to measure the value of something," and we need to try to find value in a work if we are inclined
to reject it simply because we think it teaches the wrong lesson. Here is where ethical value
comes into play.
Ethical Value
Literature has ethical value if reading it gives occasion to think about ethical questions. If
a story dramatizes conflicts and dilemmas, it is not necessarily teaching us how to live, but it
encourages us to contemplate the codes that the characters live by. If a poem has a speaker who
promotes a particular world view or seems conflicted about the world he lives in, the reader can
try to look through the eyes of that speaker and see what he or she sees. We may not agree with a
speaker's or character's morality, but seeing that morality in action can shed light on what it
means or how it changes the world.
If we reflect on a moral code, instead of simply rejecting it or embracing it, then we are thinking
ethically, and literature that promotes such thinking is ethically valuable. Here are some
important ethical questions: What is the good life? What is the excellent life? Where do the
definitions of good and excellent come from? Why do different definitions come into conflict?
On what basis do they conflict? Remember: works that raise questions do not always answer
them. To measure the ethical value of a work of literature, we need to ask the following
questions:
 Do the characters make choices in the work? What are those choices?
 Do the characters or speakers defend particular beliefs or points of view? What are
they?
 What motivates those choices or beliefs or points of view in the work?
 Where does the confidence in that motivation come from in the work?
 Is there a crisis in that confidence in the work? Why?
 To what place do those choices or beliefs or points of view lead in the work?
34
Note: Yes, we can appreciate literature in the negative: we can decide that it holds little to no
value for us, ethically speaking. But we must be able to explain why it holds no value, the same
way we have to explain why it does. Your goal this semester is to learn how to explain your
evaluation one way or the other. Before you accept or reject a work of literature based on its
ethical value for you, you must first actually measure that value.
CHOOSING BOOKS AND READING MATERIALS IN TEACHING LITERATURE
Factors Related Directly to Students

 Students’ level- the instructor needs to be aware of the students' level and acknowledge that
fact when selecting the materials for the reading class.
 Students’ interest- material that the students are likely to be interested in.
 Students’ needs- teacher should be aware of the students' needs to be able to help them fulfill
these needs by providing appropriate materials.
 Students’ background knowledge- the instructor must be familiar with the students'
background knowledge.
Aspects Related to the Teachers
 Teachers should use activities that encourage students’ communication and relate to their
life’
 use pre-reading, while reading, and after-reading activities.
 use prediction making, jigsaw reading, matching or gap-filling, reading
 comprehension, debates, and creative writing
 lessons should be student centre.
 a resource which contributes to the students’ personal growth
 a resource for literary and linguistic development and they should not be regarded as
assessment material.
THE MODELS OF TEACHING LITERATURE

The Cultural Model
 this model represents the traditional approach to teaching literature.
 learners to explore and interpret the social, political, literary and historical context of a
specific text.
 by using such a model to teach literature we do not only reveal the universality of such
thoughts and ideas but encourage learners to understand different cultures and ideologies in
relation to their own.
 views a literary text as a product.
 treated as a source of information about target culture.
 largely rejected by those in TEFL.
 little opportunity for extended language work.
 views as a source of facts or opinions.
 considered as the information-based approach.
 as a way of teaching knowledge about literature.
 literature is seen to offer a source of information to the students.
 focuses on content.
 teaching methodologies tend to be teacher-centered.
Suggested Activities: lectures, explanation, reading of notes and criticism
The Language Model

 it relies on the development of students’ knowledge by working with familiar grammar,
lexical, discourse categories.
 it focuses on the way language is used in literary texts.
 it does not encourage creative thinking but the acquisition of information related to text.
 most common approach to literature in the EFL classroom.
 refers to as the language-based approach Carter and Long (1991).
 students can improve their language proficiency.
 by using literature as a resource in language learning.
35
 for linguistic practice.
 aims to be more learner-centered
Suggested Activities: cloze procedure, prediction exercises, jumbled sentences, summary

writing, creative writing and role play, part of repertoire of EFL activities.
The Personal Growth Model

 it is an attempt to create link between the language model and the cultural model.
 the focus is placed on the use of language but used in a specific cultural context.
 students have to be intellectually and emotionally engaged in the lesson and especially in the
reading activity.
 students are encouraged to express their opinions and beliefs to make connections between
their own experiences and the text and use of critical thinking
 helps learners develop knowledge of ideas and language – content and formal schemata,
through different themes and topics.
 needs of the students’ personal engagement with the reading of literary texts.
Suggested Activities: reflection paper, debate, open-forum, brainstorming
The reporter will be task to give a 15 items test for the class.
36
LAP-WEEK 05
APPROACHES IN TEACHING LITERATURE
Language-based approach
Sylistic approach
Paraphrastic approach
Personal-response approach
Moral-philosophical approach
Information-based approach
Assessment strategies in teaching literature
A. Topic Outline
Content Learning
Standard Objectives
APPROACHES IN The learner At the end of 1. Reporting Choose one
TEACHING discusses these weeks, the 2. Quiz of the
LITERATURE the pre- 3. Assignment following
Language- different service teacher approaches
based approach approaches (PST) should be in teaching
Sylistic in teaching able to: literature
literature. a. recognize and discuss
approach
important in only 1
Paraphrastic
concepts in paragraph.
approach teaching
Personal- literature in
response approach English;
Moral- b. identify
philosophical appropriate
approach methods
Information- and approaches to
based approach teach
Assessment literature; and
strategies in teaching c. discuss the right
books,
literature
reading materials,
and
comprehension
questions in
The students will be given an oral impromptu examination regarding the previous
topic as part of checking the student lesson retention.
C. Salient Concept
Language-based approach
This approach is closely related to the Language Model presented by Carter and Long
(1991) where literary texts are seen as means to helping students’ improve language proficiency.
This is done by providing them exposure to the target language and connecting them to specific
vocabulary and other aspects of the language. A. Maley and Duff (1990) insist that the primary
aim of this approach is “quite simply to use literary texts as a resource for stimulating language
activities”. With the use of language-based approaches, the focus shifted to the learner, the
reading process and creating language awareness in the learners (Too Wei Keong 2007). In line
with this approach, a language-based framework for reading literary texts is proposed by McRae
(1991) and McRae and Vethamani (1999) which moves from lexis (vocabulary), syntax
(sentences) to coherence (discourse). It also focuses on phonology (sounds), graphology (visual
effect of the text), semantics (meaning), dialect (variations of standard English), register (tone),
period (archaisms) and function (message in the text).
37
Language-based approach helps students pay attention to the way the language is used
when studying literature. It is student-centred and activity-based for productive use of language.
It improves students’ language proficiency, and incorporates literature and language skills among
the students (Dhillon & Mogan, 2014). It engages students more on experiences and responses
(Aydin, 2013). Role play, cloze, poetry recital, discussions, forum and debate, dramatic
activities, making prediction, brainstorming, rewriting stories ending and summarizing are
practised in this approach (Divsar, 2014)
Paraphrastic approach
This approach deals with the surface meaning of the text (Diana Hwang & Amin Embi
2007). Rosli (1995) asserts that it allows teachers to use simpler words and sentence structures
compared to the more complicated ones in the texts and sometimes the teacher can translate it
into other languages. He argued further that this approach is suitable for beginners of the target
language as it acts as a stepping stone in formulating original assumptions of the author’s work.
Paraphrastic approach is primarily paraphrasing and rewording the text to simpler

language or use other languages to translate it. Teachers use simple words or less complex
sentence structure to make the original text easy to understand (Divsar, 2014).It is teacher-
centred and does not contribute much
interesting activities towards students (Hwang & Embi, 2007).
Stylistic Approach
Stylistic approach implies literary critics and linguistic analysis. It is for students to
appreciate and understand in a deeper manner of the literary text. It helps students to interpret the
text meaningfully and develops language awareness and knowledge (Thunnithet, 2011). It
analyzes the language prior to the elements of literary text (Aydin, 2013).
Personal-Response Approach
Personal-response approach encourages students to make sense of their experiences and
personal lives with text themes. It also promotes students to associate the subject matters of the
reading texts with personal life experiences (Rashid, Vethamani & Rahman, 2010). It engages
individual in literary text reading as personal fulfilment and pleasure can be met while
developing the language and literary competency (Divsar, 2014). Brainstorming, small group
discussions, journal writing, interpreting opinions, and generating views from a text are practised
in this approach (Hwang & Embi, 2007).
Moral-Philosophical Approach
Learners seek moral values from a particular literary text while reading it. It helps
students to be aware of values of moral and philosophical and identify them that lies in their
reading (Rashid, Vethamani & Rahman, 2010). Students need to go beyond the text for moral
and philosophical inference (Divsar, 2014). With this approach, teachers are able to direct
students to achieve self-realization as well as selfunderstanding while interpreting literary works
(Lim & Omar, 2007).
This is an approach which incorporates moral values across curriculum. The focus of this
approach is to discover moral values while reading a particular literary text (Diana Hwang &
Amin Embi 2007). It seeks to find the worthiness of moral and philosophical considerations
behind one’s reading (Rosli 1995).
Information-based approach
Information-based approach gives knowledge and information to students (Thunnithet,
2011). It is teacher-centred and demands a lot of teacher’s input in giving students various
contents of literary text like on historical, political, cultural and social background. Knowledge
of literature is delivered as a source of information to students (Rashid, Vethamani, & Rahman,
2010). It includes reading from the criticism or notes, explanations and lectures given by teacher
for examinations sake (Hwang & Embi, 2007).
38
ASSESSMENT STRATEGIES IN TEACHING LITERATURE
Assessment
It is the act of gathering information in order to understand the individual learning.
Testing
The procedures that are based on the tests administered to the learners.
Measurement
Measures broadly includes testing and other types of measurement.
Evaluation
Refers to the culminating act of interpreting the gathered information or the purpose of
making judgement about student’s learning and needs.
Diagnostic Assessment
are sets of written questions (multiple choice or short answer) that assess a learner's
current knowledge base or current views on a topic/issue to be studied in the course.
Formative Assessment
is to monitor student learning to provide ongoing feedback that can be used by instructors
to improve their teaching and by students to improve their learning. More specifically, formative
assessments: help students identify their strengths and weaknesses and target areas that need
work.
Peer Assessment
provides a structured learning process for students to critique and provide feedback to
each other on their work. It helps students develop lifelong skills in assessing and providing
feedback to others, and also equips them with skills to self-assess and improve their own work.
Summative Assessment
is an assessment administered at the end of an instructional unit in a course. These
assessments are intended to evaluate student learning by comparing performance to a
standard or benchmark. They are often high-stakes, meaning they have a high point value.
The students will be task to watch some video presentation about the topic to be posted in
the google classroom for reinforcement.
E. Assessment
The reporter will give a 15 items test. And assignment will be given before the end of
class.
39

LAP-WEEK 06
TEACHING POETRY AND DRAMATIC POETRY
Review on the genre of poetry
Literary devices (Poetic devices)
Comprehending poetry
Strategies in teaching poetry
Reading aloud
Choral reading
Silent reading
Literary appreciations and valuing in/of poetry
Lesson designing in teaching poetry
A. Topic Outline
Content
Standard
TEACHING The learner At the end of these 1. Reporting Craft a poem of 5-8
POETRY were able weeks, the pre- 2. Quiz stanzas form the
AND to review service teacher (PST) 3. assignmen following topic
DRAMATIC on the should be able to: t 1. Education
POETRY genre of a. adapt competency- 2. Love
Review on the poetry. based 3. Nature
learning materials in 4. Job
genre of poetry
teaching 5. Pain/grief
Literary
poetry which respond 6. Dreams/ambitions
devices (Poetic to the and
devices) various linguistic, Make a video
Comprehendin cultural, recording of not less
g poetry socio-economic, and than 2 minutes and
Strategies in religious backgrounds not more than 5
teaching poetry of minutes from the
Reading aloud learners; poem created.
Choral reading b. identify a range of (sample will be
Silent reading assessment strategies posted in the google
Literary in classroom or will be
teaching poetry that shown in class.)
appreciations
address
and valuing
learners’ needs,
in/of poetry progress,
Lesson and achievement
designing in which are
teaching poetry consistent with the
selected competencies
The students will present the previous assignment in class for checking.
C. Salient Concept
POETRY GENRE
Narrative poetry
Narrative poetry is a genre of poetry that tells a story. Broadly it subsumes epic poetry,
but the term “narrative poetry” is often reserved for smaller works, generally with more appeal to
human interest. Narrative poetry may be the oldest type of poetry.
40
Epic poetry
Epic poetry is a genre of poetry, and a major form of narrative literature. This genre is
often defined as lengthy poems concerning events of a heroic or important nature to the culture
of the time. It recounts, in a continuous narrative, the life and works of a heroic or mythological
person or group of persons.
Dramatic poetry
Dramatic poetry is drama written in verse to be spoken or sung, and appears in varying,
sometimes related forms in many cultures.
Satirical poetry
Poetry can be a powerful vehicle for satire. The Romans had a strong tradition of satirical
poetry, often written for political purposes.
Light poetry
Light poetry, or light verse, is poetry that attempts to be humorous. Poems considered
“light” are usually brief, and can be on a frivolous or serious subject, and often feature word
play, including puns, adventurous rhyme and heavy alliteration.
Lyric poetry
Lyric poetry is a genre that, unlike epic and dramatic poetry, does not attempt to tell a
story but instead is of a more personal nature. Poems in this genre tend to be shorter, melodic,
and contemplative. Rather than depicting characters and actions, it portrays the poet’s own
feelings, states of mind, and perceptions. Refer to my analysis of lyric poetry and its association
with lyrics, here.
Elegy
An elegy is a mournful, melancholy or plaintive poem, especially a lament for the dead or
a funeral song. The term “elegy,” which originally denoted a type of poetic metre (elegiac
metre), commonly describes a poem of mourning.
Verse fable
The fable is an ancient literary genre, often (though not invariably) set in verse. It is a
succinct story that features anthropomorphized animals, plants, inanimate objects, or forces of
nature that illustrate a moral lesson (a “moral”).
Prose poetry
Prose poetry is a hybrid genre that shows attributes of both prose and poetry. It may be
indistinguishable from the micro-story (a.k.a. the “short short story”, “flash fiction”). While
some examples of earlier prose strike modern readers as poetic, prose poetry is commonly
regarded as having originated in 19th-century France, where its practitioners included Aloysius
Bertrand, Charles Baudelaire, Arthur Rimbaud and Stéphane Mallarmé.
Prose poetry is poetry written in prose instead of using verse but preserving poetic
qualities such as heightened imagery, parataxis and emotional effects. A famous example of
prose poetry is Dylan Thomas’s Under Milk Wood, though the “play for voices” also contains
actual poetry, written by the characters, like the hymn by the “Reverend Eli Jenkins” and the
traditional songs sung or recited by other characters.
While Under Milk Wood is largely a pleasure to listen to and has pathos, a prose poem
which is as famous but not half as easy to take in is By Grand Central Station I Sat Down and
Wept, a novel of prose poetry written by the Canadian author Elizabeth Smart published in 1945.
It is widely considered to be a classic of the genre. It uses metre (it is largely anapaestic),
contains words denoting exalted or intensified states (grandeur, centrality, weeping). The
sentences are long, complicated and dense and it goes on and on for many painful pages. I tried
once or twice to read it all, and failed.
Speculative poetry
41
Speculative poetry, also known as fantastic poetry, (of which weird or macabre poetry is
a major subclassification), is a poetic genre which deals thematically with subjects which are
‘beyond reality’, whether via extrapolation as in science fiction or via weird and horrific themes
as in horror fiction. Such poetry appears regularly in modern science fiction and horror fiction
magazines. Edgar Allan Poe is sometimes seen as the “father of speculative poetry
Free Verse
Poetic form is more flexible in modernist and post-modernist poetry, and continues to be
less structured than in previous literary eras. Many modern poets eschew recognisable structures
or forms, and write in free verse. But poetry remains distinguished from prose by its form; some
regard for basic formal structures of poetry will be found in even the best free verse, however
much such structures may appear to have been ignored.[73] Similarly, in the best poetry written
in classic styles there will be departures from strict form for emphasis or effect.
Among major structural elements used in poetry are the line, the stanza or verse
paragraph, and larger combinations of stanzas or lines such as cantos. Also sometimes used are
broader visual presentations of words and calligraphy. These basic units of poetic form are often
combined into larger structures, called poetic forms or poetic modes, as in the sonnet or haiku.
Haiku poetry
It has long been a tradition for poets to write the traditional Japanese Haiku and Tanka
poetry in English, mainly because of the challenge of the limited syllables and lines, and
requirement for one definitive image. Of course, the format was designed for Japanese, not
English, and to a certain extent, writers of haiku in languages other than Japanese or Chinese will
always be playing catch-up with the leaders in the genre. On the other hand, the discipline and, at
the same time, simplicity of the haiku format, makes it one that I, for one, cannot resist.
Haiku is a Japanese verse in three lines. Written in English, line one has 5 syllables, line
2 has 7 syllables and line three has 5 syllables, 17 in all. Haiku is a mood poem and it doesn’t
typically use any metaphors or similes. This is often represented by the juxtaposition of two
images or ideas and a kireji (“cutting word”) between them, a kind of verbal punctuation mark
which signals the moment of separation and colours the manner in which the juxtaposed
elements are related. Also, it often refers to a nature, a season, time or period by subtle means.
Poet David Cobb explains that between the cutting words and the reference to nature and
the seasons, the reader makes his own associations and connections in the poem, which means
“the haiku has been styled to the ‘half-said thing’…The appreciation of haiku is a matter of
collaboration between poet and reader [refer to my introduction to poetry analysis and the
“hieros gamos”], the one (to use a metaphor from photography) exposing something to the light,
and the other developing it. As well as being half-stated, it is also under-stated,with sparing
resort to the eye-catching metaphor of the subjective attribute, which might be said to be typical
of much Western poetry. Haiku claims to be plan and simple, but at the same time subtle.” (The
British Museum Haiku, Edited by David Cobb, The British Museum Press, 2002, p. 5, 6, 7)
Cobb further explains that the reason the haiku in the book has been presented with the
best of the collection of Japanese art in the British Museum, is because of the qualities they have
in common with haiku: elimination of the inessential, spontaneity, positive use of vacant space,
and an asymmetrical balance: “The calligraphy aims to please the eye, the transliteration to show
how the haiku might be phrased when read aloud.”
Those are practical reasons, to make the haiku more accessible to English readers.
However, considering the intentional half-said nature of haiku, perhaps illustrations actually gild
the lily and are superfluous.
Tanka poetry
Tanka (meaning “short poem”) is a modern Japanese poem (or “waka”) form, consisting
of five units (often treated as separate lines when romanized or translated) usually with the
42
following pattern of syllables 5-7-5-7-7. It offers the struggling haiku writer a bit more
flexibility.
Literary Devices (poetic devices)

Alliteration
Alliteration comes from the Latin phrase littera, meaning “letter of the alphabet”. It‘s the
repeated sound at the beginning of a string of words. Think of Dunkin’ Donuts and Krispy
Kreme. You’re more likely to remember them, which only recalls your fantasised image of those
delicious jam doughnuts. In the same way, poetry can become more musical and memorable as
the repeating sound is often pleasurable to hear out loud.
Example:
“Once upon a midnight dreary, while I pondered, weak and weary.” —Edgar Allen Poe, “The
Raven”
Caesura and enjambment

Caesura is the Latin word, literally meaning “a cutting”. This is as if someone were to
say, “Stop!” in the middle of their sentence. By disrupting the rhythm of the poem, you pay the
line more attention due to the dramatic, staccato effect.
Example:
“Nuts, bolts, nails, car-keys. A fount of broken type.” —Ciaran Carson, “Belfast Confetti”
Enjambment is of French origin and means “to stride over”. It means to continue
sentences beyond the end of one line. Think of the way we text. If the sender breaks up their
complete sentences, the receiver might sit there, eyes glued to the phone, and wait in anticipation
for the coming texts.
It causes your eyes to follow onto the next line to get closure while still holding onto the idea
expressed.
Example:
“April is the cruellest month, breeding
Lilacs out of the dead land, mixing
Memory and desire, stirring
Dull roots with spring rain.” —T.S. Elliot, “The Waste Land”
Imagery
Imagery literally means language that produces images. I could tell you that it’s raining
outside, or instead, describe heavy rain hitting the metal rooftop and the smell of damp earth. Not
only does this create a more striking image of the scene, but it also evokes certain emotions
attached to what your senses imagine.
Example:
“Blue! ‘Tis the life of waters–ocean
And all its vassal streams: pools numberless
May rage, and foam, and fret, but never can
Subside if not to dark-blue nativeness.” —John Keats, “Blue! ‘Tis the Light of Heaven”
Juxtaposition and oxymoron

Juxtaposition comes from the Latin “iuxta” which means to be beside or very near. Like
its namesake, it’s when two contrasting ideas are placed closely together, such as light and
darkness, life and death, or savoury ketchup and sweet vanilla ice cream.
It creates tension and contrast, and can also be a powerful way to express an idea as you can
compare it to something else.
Example:
43
“Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.” —Dylan Thomas, “Good Night”
Oxymoron is a type of juxtaposition, and it’s really more of a direct, paradoxical

comparison. This makes sense when you consider its Greek origin, “oxumōron”, which means
“pointedly foolish”. Some oxymorons include the living dead and deafening silence.
It’s provocative and engaging in that we seek to understand what the oxymoron could possibly
mean.
Example:
“Why, then, O brawling love! O loving hate!
O anything, of nothing first create!
O heavy lightness! Serious vanity!” —William Shakespeare, “Romeo and Juliet”
Personification and pathetic fallacy

Personification is what it sounds like: a figurative language tool that gives ideas, objects
or animals human characteristics. Death is often personified as a malevolent and destructive
force, especially with the Grim Reaper. It adds a human element, communicates ideas more
vividly, and connects us to things we can’t normally relate to.
Example:
“Because I could not stop for Death –
He kindly stopped for me –
The Carriage held but just Ourselves –
And Immortality.” —Emily Dickinson, “Because I could not stop for Death”
Pathetic fallacy was coined to originally mean “emotional falseness”. In fact, it is a type
of personification where nature is given human attributes, such as leaves “dancing” in the wind.
It’s usually done to evoke emotions from the audience or project the emotions of the speaker.
Imagine stormy clouds on a bad day—you might describe them as “sullen” to reflect your mood.
Example:
“The sullen wind was soon awake,
It tore the elm-tops down for spite,
and did its worst to vex the lake.” —Robert Browning, “Porphyria’s Lover”
Teaching Poetry
Major Strategies in delivering poetry to Teach
Reading Aloud
Choral Reading
Silent Reading
Key Strategies (Understanding Poetry to Teach)

1. Pay attention to form. The form of a poem is the physical arrangement of the words on a
page. This includes the way lines are placed, their grouping, and their length.
a. Look at the poem before you read it.
b. Examine whether the lines and stanzas form a regular pattern. If not, determine why.
c. Listen for rhythm as you read the poem aloud.
d. Pause where punctuation marks appear, not where the line ends. Stopping at appropriate spots
helps clarify meaning.
44
2. Pay attention to sound devices. Skilled poets use sound devices for a reason, usually to draw
attention to major points.
a. Read the poem aloud several times.
b. Identify the sound devices and determine why the poet chose them.
c. Determine the rhyme scheme.
d. Look for near rhyme. Poets often use near rhyme to make the reader focus on an important
word.
e. Determine the purpose of the sound.
3. Look for figurative language. Because poets have fewer words with which to work, they
must use them sparingly. Figurative language allows them to cover much with little.
a. Visualize figurative language.
b. Analyze the meaning of each metaphor or simile.
4. Look at the title. Determine if the title contributes any special meaning to the poem.
5. Make connections. Personalizing poetry makes it meaningful.
7. Summarize the poem’s meaning.
D. Assessment
The reporter will give a 15 items test in class. And an assignment will be given
afterwards.
45

LAP-WEEK 07
TEACHING PROSE AND DRAMATIC PROSE
Review on the genre of prose
Comprehending prose
Strategies in teaching prose
Silent reading
Prose performances
Dramatic performances
Literary appreciation and valuing in/of prose
Lesson design in teaching prose

Materials and resources in teaching prose
Assessment in teaching prose
A. Topic Outline
Content
Standard
TEACHING The learner At the end of these weeks, 1. Submission Create a
PROSE AND demonstrates the pre- of summary
DRAMATIC knowledge service teacher (PST) assignment and
PROSE on teaching should be able 2. Reporting response
Review on the dramatic to: 3. Quiz pertaining
genre of prose prose a. adapt competency-based 4. Assignment to the topic
learning materials in discussed in
Comprehendin
teaching class.
g prose
prose which respond to the
Strategies in various linguistic, cultural,
teaching prose socio-economic, and
Silent reading religious backgrounds of
Prose learners
performances b. familiarize a range of
Dramatic assessment strategies in
performances teaching prose that address
Literary learners’ needs, progress,
appreciation and achievement which are
and valuing consistent with the selected
competencies
in/of prose
Lesson design
in teaching
prose
Materials and
resources in
teaching prose
Assessment in
teaching prose
46
The students will present the previous assignment in class, and will be followed by a
recapitulation of the previous class discussion.
C. Salient Concept
The class be given a short video to be posted in the google classroom for a sort of
reinforcement and give better understanding of the discussion.
E. Assessment
The reporter will give a 15 items test.
47

LAP-WEEK 08
Form Vs. Genre
Literary Criticisms
A. Topic Outline
Content
Standard
Form Vs. The learner  Identify literary 1. Reporting Write a
Genre identifies genre, and literary 2. Quiz literary
Literary different forms 3. Assignment piece in
Criticisms literary each genre
criticisms being
presented in
class.
The students will be asked to submit the previous assignment.
C. Salient Concept
DIFFERENCE BETWEEN GENRE AND FORM
In the world of literature, one of the most confusing concepts is genre. What is genre?
The word genre is often applied to such literary concepts as fiction, fantasy, poetry, horror, short
story, science fiction, flash fiction, and romance. But this list is actually made up of two literary
concepts or tools. One is genre, the other is form.
Genre and form are separate but related tools that are utilized by writers. A firm
understanding of each will give the writer and the reader a better understanding of the writing
process and of the end product of writing.
Form is the blueprint for the literary structure which includes length and whether it is fiction or
nonfiction. Form is the cake pan.
Genre is the story, content, style, theme, and the intended emotional or intellectual effect of
a piece of writing. Genre is the cake.
The 14 Main Literary Genres

1.Literary Fiction. Literary fiction novels are considered works with artistic value and literary
merit. They often include political criticism, social commentary, and reflections on humanity.
Literary fiction novels are typically character-driven, as opposed to being plot-driven, and follow
a character’s inner story. Learn more about writing fiction in James Patterson’s MasterClass.
2.Mystery. Mystery novels, also called detective fiction, follow a detective solving a case from
start to finish. They drop clues and slowly reveal information, turning the reader into a detective
trying to solve the case, too. Mystery novels start with an exciting hook, keep readers interested
with suspenseful pacing, and end with a satisfying conclusion that answers all of the reader’s
outstanding questions.
3.Thriller. Thriller novels are dark, mysterious, and suspenseful plot-driven stories. They very
seldom include comedic elements, but what they lack in humor, they make up for in suspense.
Thrillers keep readers on their toes and use plot twists, red herrings, and cliffhangers to keep
them guessing until the end. Learn how to write your own thriller in Dan Brown’s MasterClass.
48
4. Horror. Horror novels are meant to scare, startle, shock, and even repulse readers. Generally
focusing on themes of death, demons, evil spirits, and the afterlife, they prey on fears with scary
beings like ghosts, vampires, werewolves, witches, and monsters. In horror fiction, plot and
characters are tools used to elicit a terrifying sense of dread. R.L. Stine’s MasterClass teaches
tips and tricks for horror writing.
5. Historical. Historical fiction novels take place in the past. Written with a careful balance of
research and creativity, they transport readers to another time and place—which can be real,
imagined, or a combination of both. Many historical novels tell stories that involve actual
historical figures or historical events within historical settings.
6. Romance. Romantic fiction centers around love stories between two people. They’re
lighthearted, optimistic, and have an emotionally satisfying ending. Romance novels do contain
conflict, but it doesn’t overshadow the romantic relationship, which always prevails in the end.
7. Western. Western novels tell the stories of cowboys, settlers, and outlaws exploring the
western frontier and taming the American Old West. They’re shaped specifically by their genre-
specific elements and rely on them in ways that novels in other fiction genres don’t. Westerns
aren’t as popular as they once were; the golden age of the genre coincided with the popularity of
western films in the 1940s, ‘50s, and ‘60s.
8. Bildungsroman. Bildungsroman is a literary genre of stories about a character growing

psychologically and morally from their youth into adulthood. Generally, they experience a
profound emotional loss, set out on a journey, encounter conflict, and grow into a mature person
by the end of the story. Literally translated, a bildungsroman is “a novel of education” or “a
novel of formation.” Judy Blume’s MasterClass teaches more about
9. Speculative Fiction. Speculative fiction is a supergenre that encompasses a number of

different types of fiction, from science fiction to fantasy to dystopian. The stories take place in a
world different from our own. Speculative fiction knows no boundaries; there are no limits to
what exists beyond the real world. Learn more about speculative fiction in Margaret Atwood’s
MasterClass.
10. Science Fiction. Sci-fi novels are speculative stories with imagined elements that don’t exist
in the real world. Some are inspired by “hard” natural sciences like physics, chemistry, and
astronomy; others are inspired by “soft” social sciences like psychology, anthropology, and
sociology. Common elements of sci-fi novels include time travel, space exploration, and
futuristic societies.
11. Fantasy. Fantasy novels are speculative fiction stories with imaginary characters set in
imaginary universes. They’re inspired by mythology and folklore and often include elements of
magic. The genre attracts both children and adults; well-known titles include Alice’s Adventures
in Wonderland by Lewis Carroll and the Harry Potter series by J.K. Rowling. Learn more about
character and worldbuilding in Neil Gaiman’s MasterClass.
12. Dystopian. Dystopian novels are a genre of science fiction. They’re set in societies viewed
as worse than the one in which we live. Dystopian fiction exists in contrast to utopian fiction,
which is set in societies viewed as better than the one in which we live. Maragaret Atwood’s
MasterClass teaches elements of dystopian fiction.
13. Magical Realism. Magical realism novels depict the world truthfully, plus add magical
elements. The fantastical elements aren’t viewed as odd or unique; they’re considered normal in
the world in which the story takes place. The genre was born out of the realist art movement and
is closely associated with Latin American authors.
14. Realist Literature. Realist fiction novels are set in a time and place that could actually
happen in the real world. They depict real people, places, and stories in order to be as truthful as
49
possible. Realist works of fiction remain true to everyday life and abide by the laws of nature as
we currently understand them.
LITERARY CRITICISMS
Literary criticism is the comparison, analysis, interpretation, and/or evaluation of works
of literature. Literary criticism is essentially an opinion, supported by evidence, relating to
theme, style, setting or historical or political context. It usually includes discussion of the work’s
content and integrates your ideas with other insights gained from research. Literary criticism may
have a positive or a negative bias and may be a study of an individual piece of literature or an
author’s body of work.
Although criticism may include some of the following elements in order to support an
idea, literary criticism is NOT a plot summary, a biography of the author, or simply finding fault
with the literature.
Researching, reading, and writing works of literary criticism will help you to make better sense
of the work, form judgments about literature, study ideas from different points of view, and
determine on an individual level whether a literary work is worth reading.
Examples of some types of literary criticism are:

 Biographical
 Comparative
 Ethical
 Expressive
 Feminist
 Historical
 Mimetic
 Pragmatic
 Psychological
 Social
 Textual
 Theoretical
15 Types of Literary Criticism

There are many different schools of theory that give readers a special vocabulary to
dissect any given literary text. Here are some of the most significant theories:
1.Practical criticism: This study of literature encourages readers to examine the text without
regarding any of the outside context—like the author, the date and place of writing, or any other
contextual information that may enlighten the reader.
2.Cultural studies: In direct opposition to practical criticism, cultural theory examines a text
within the context of its socio-cultural environment. Cultural critics believe a text should be read
entirely through the lens of the text's cultural context.
3.Formalism: Formalism compels readers to judge the artistic merit of literature by examining
its formal elements, like language and technical skill. Formalism favors a literary canon of works
that exemplify the highest standards of literature, as determined by formalist critics.
4.Reader-response: Reader-response criticism is rooted in the belief that a reader's reaction to or

interpretation of a text is as valuable a source of critical study as the text itself.
5.The new criticism: New critics focused on examining the formal and structural elements of
literature, as opposed to the emotional or moral elements. Poet T.S. Eliot and critics Cleanth
Brooks and John Crowe Ransom pioneered the school of the new criticism.
6.Psychoanalytic criticism: Using Sigmund Freud’s principles of psychoanalysis—like dream

interpretation—psychoanalytic criticism looks to the neuroses and psychological states of
50
characters in literature to interpret a text's meaning. Other notable psychoanalytic critics include
Jacques Lacan and Julia Kristeva.
7.Marxist theory: Socialist thinker Karl Marx established this branch of literary theory alongside
Marxism, his political and sociological ideology. Marxist theory examines literature along the
lines of class relations and socialist ideals.
8.Post-modernism: Post-modernist literary criticism emerged in the middle of the twentieth

century to reflect the fractured and dissonant experience of twentieth-century life. While there
are many competing definitions of postmodernism, it is most commonly understood as rejecting
modernist ideas of unified narrative.
9.Post-structuralism: Post-structuralist literary theory abandoned ideas of formal and structural

cohesion, questioning any assumed “universal truths” as reliant on the social structure that
influenced them. One of the writers who shaped post-structuralist theory is, Roland Barthes—the
father of semiotics, or the study of signs and symbols in art.
10.Deconstruction: Proposed by Jacques Derrida, deconstructionists pick apart a text’s ideas or

arguments, looking for contradictions that render any singular reading of a text impossible.
11.Postcolonial theory: Postcolonial theory challenges the dominance of Western thought in

literature, examining the impacts of colonialism in critical theory. Edward Said's book
Orientalism is a foundational text of postcolonial theory.
12.Feminist criticism: As the feminist movement gained steam in the mid-twentieth century,
literary critics began looking to gender studies for new modes of literary criticism. One of the
earliest proponents of feminist criticism was Virginia Woolf in her seminal essay “A Room of
One's Own.” Other notable feminist critics include Elaine Showalter and Hélène Cixous.
13.Queer theory: Queer theory followed feminist theory by further interrogating gender roles in
literary studies, particularly through the lens of sexual orientation and gender identity.
14.Critical race theory: Critical race theory emerged during the civil rights movement in the
United States. It is primarily concerned with examining the law, criminal justice, and cultural
texts through the lens of race. Some leading critics of CRT include Kimberlé Crenshaw and
Derrick Bell.
15. Critical disability theory: Critical disability theory is one of a growing number of
intersectional fields of critical study. Critical disability theorists believe racist and ableist views
go hand-in-hand and seek to examine ableist societal structures.
The students will be given additional learning materials to enhance the understanding
pertaining to the topic discussed.
F.Assessment
The reporter will be given a 15 items test.
51

LAP-WEEK 10
LESSON PLANNING IN TEACHING LITERATURE
A. Topic Outline
Content
Standard
LESSON The learner a. craft a learning plan 1. Reporting Students
PLANNING will be able according to the English 2. Quiz will be task
IN to draft a curricula that develops 3. Assignment to create a
TEACHING lesson plan higher order thinking skills detailed and
LITERATURE of semi-
learners through the use of detailed
prose texts lesson plan.
B. INTRODUCTORY ACTIVITY
The students will have time to check the test examination, and afterwards have a
recapitulation of all the topics in the midterm before proceeding to the topics for finals, to better
retain the concepts and students will deeply understand the lesson.
C. SALIENT CONCEPT
What Is a Lesson Plan and How Do You Make One?
A lesson plan is a teacher’s daily guide for what students need to learn, how it will be
taught, and how learning will be measured.
Lesson plans help teachers be more effective in the classroom by providing a detailed outline to
follow each class period.
This ensures every bit of class time is spent teaching new concepts and having meaningful
discussions — not figuring it out on the fly!
The most effective lesson plans have six key parts:

1.Lesson Objectives
2.Related Requirements
3.Lesson Materials
4.Lesson Procedure
5.Assessment Method
6.Lesson Reflection
Because each part of a lesson plan plays a role in the learning experience of your students, it’s
important to approach them with a clear plan in mind.
Example of a Lesson Plan
52
D. DEVELOPMENTAL ACTIVITY:
Students will be provided with a template for crafting the lesson plan for uniformity of
the activity.
53

LAP-WEEK 11
ASSESSMENT/EVALUATION OF LITERATURE
On giving and answering test
a.Significance of test
b.Classification of test
c.Frequency and time allotment of test
d.What to do with missed test
e.Pointers on taking objective test
Pointers on taking non-objective test
EVALUATING LITERATURE USING THINKING SKILLS
a.Significance of thinking ability
b.Kinds of thinking
c.Remembering
d.Transaction
e.Interpretation
f.Analysis
g.Synthesis
h.Application
Valuation
A. Topic Outline
Content Learning
Standard Objectives
ASSESSMENT/EVALUATION The learner 
OF LITERATURE describes
On giving and answering test how to
a.Significance of test assess
b.Classification of test literature
c.Frequency and time allotment
of test
d.What to do with missed test
e.Pointers on taking objective test
Pointers on taking non-objective
test
EVALUATING
LITERATURE USING
THINKING SKILLS
a.Significance of thinking ability
b.Kinds of thinking
c.Remembering
d.Transaction
e.Interpretation
f.Analysis
g.Synthesis
h.Application
Valuation
A. INTRODUCTORY ACTIVITY
54
B. SALIENT CONCEPT
c. DEVELOPMENTAL ACTIVITY
55

LAP-WEEK 12
MODERN DRAMA (Teaching and Assessment of Drama)
-Twelve angry men
A. Topic Outline
Content
Standard
MODERN The learner a. conduct a teaching
DRAMA understands demonstration of a
(Teaching the concept developmentally-sequenced
and of teaching learning process using
Assessment drama innovative teaching
of Drama) principles, skills, and I
strategies for teaching
-
prose
Twelve angry
men
A. Salient Concept
Twelve Angry Men Synopsis

In a New York City courthouse, an eighteen-year-old boy from a slum is on trial for
allegedly stabbing his father to death. Final closing arguments having been presented, a visibly
bored judge instructs the jury to decide whether the boy is guilty of murder. If there is any
reasonable doubt of his guilt they are to return a verdict of not guilty. The judge further informs
them that a guilty verdict will be accompanied by a mandatory death sentence.
The jury retires to a private room, where the jurors spend a short while getting acquainted
before they begin deliberating. It is immediately apparent that the jurors have already decided
that the boy is guilty, and that they plan to return their verdict without taking time for discussion
with the sole exception of Juror 8 (Henry Fonda), who is the only "not guilty" vote in a
preliminary tally. He explains that there is too much at stake for him to go along with the verdict
without at least talking about it first. His vote annoys the other jurors, especially Juror 7 (Jack
Warden), who has tickets to a baseball game that evening; and Juror 10 (Ed Begley Sr.), who
believes that people from slum backgrounds are liars, wild, and dangerous.
The rest of the film's focus is the jury's difficulty in reaching a unanimous verdict. While
several of the jurors harbor personal prejudices, Juror 8 maintains that the evidence presented in
the case is circumstantial, and that the boy deserves a fair deliberation. He calls into question the
accuracy and reliability of the only two witnesses to the murder, the "rarity" of the murder
weapon (a common switchblade, of which he has an identical copy), and the overall questionable
circumstances. He further argues that he cannot in good conscience vote "guilty" when he feels
there is reasonable doubt of the boy's guilt.
Having argued several points and gotten no favorable response from the others, Juror 8
reluctantly agrees that he has only succeeded in hanging the jury. Instead, he requests another
vote, this time by secret ballot. He proposes that he will abstain from voting, and if the other 11
jurors are still unanimous in a guilty vote, then he will acquiesce to their decision. The secret
ballot is held, and a new "not guilty" vote appears. This earns intense criticism from Juror 3 (Lee
J. Cobb), who blatantly accuses Juror 5 (Jack Klugman) who had grown up in a slum of
56
switching out of sympathy toward slum children. However, Juror 9 (Joseph Sweeney) reveals
that he himself changed his vote, feeling that Juror 8's points deserve further discussion.
Juror 8 presents a convincing argument that one of the witnesses, an elderly man who
claimed to have heard the boy yell "I'm going to kill you" shortly before the murder took place,
could not have heard the voices as clearly as he had testified due to an elevated train passing by
at the time; as well as stating that "I'm going to kill you," is often said by people who do not
literally mean it. Juror 5 changes his vote to "not guilty". Soon afterward, Juror 11 (George
Voskovec) questions whether it is reasonable to suppose the defendant would have fled the
scene, having cleaned the knife of fingerprints but leaving it behind, and then come back three
hours later to retrieve it (having been left in his father's chest). Juror 11 then changes his vote.
Juror 8 then mentions the man's second claim: upon hearing the father's body hit the
floor, he had run to the door of his apartment and seen the defendant running out of the building
from his front door in 15 seconds. Jurors 5, 6 and 8 question whether this is true, as the witness
in question had had a stroke, limiting his ability to walk. Upon the end of an experiment, the jury
finds that the witness would not have made it to the door in enough time to actually see the killer
running out. Juror 8 concludes that, judging from what he claims to have heard earlier, the
witness must have merely assumed it was the defendant running. Juror 3, growing more irritated
throughout the process, explodes in a rant: "He's got to burn! He's slipping through our fingers!"
Juror 8 takes him to task, calling him a "self-appointed public avenger" and a sadist, saying he
wants the defendant to die because of personal desire rather than the facts. Juror 3 shouts "I'll kill
him!" and starts lunging at Juror 8, but is restrained by Jurors 5 and 7. Juror 8 calmly retorts,
"You don't really mean you'll kill me, do you?", proving his previous point.
Jurors 2 (John Fiedler) and 6 (Edward Binns) also decide to vote "not guilty", tying the
vote at 6-6. Soon after, a rainstorm hits the city, apparently postponing the baseball game for
which Juror 7 has tickets, thus allowing him to relax and pay attention with that schedule
pressure relieved.
Juror 4 (E.G. Marshall) continues to state that he does not believe the boy's alibi, which
was being at the movies with a few friends at the time of the murder, because the boy could not
remember what movie he had seen when questioned by police shortly after the murder. Juror 8
explains that being under emotional stress can make you forget certain things, and tests how well
Juror 4 can remember the events of previous days. Juror 4 remembers, with some difficulty, the
events of the previous five days, and Juror 8 points out that he had not been under emotional
stress at that time, thus there was no reason to think the boy should be able to remember the
particulars of the movie that he claimed to have seen.
Juror 2 calls into question the prosecution's claim that the accused, who was 5'7" tall, was
able to inflict the downward stab wound found on his father, who was 6'2". Jurors 3 and 8
conduct an experiment to see if it's possible for a shorter person to stab downward into a taller
person. The experiment proves the possibility, but Juror 5 then explains that he had grown up
amidst knife fights in his neighborhood, and shows, through demonstrating the correct use of a
switchblade, that no one so much shorter than his opponent would have held a switchblade in
such a way as to stab downward, as the grip would have been too awkward and the act of
changing hands too time-consuming. Rather, someone that much shorter than his opponent
would stab underhanded at an upwards angle. This revelation augments the certainty of several
of the jurors in their belief that the defendant is not guilty.
Increasingly impatient, Juror 7 changes his vote just so that the deliberation may end,
which earns him the ire of Jurors 3 and 11, both on opposite sides of the discussion. Juror 11, an
immigrant who has repeatedly displayed strong patriotic pride, presses Juror 7 hard about using
his vote frivolously, and eventually Juror 7 admits that he now truly believes the defendant is not
guilty.
The next jurors to change their votes are Jurors 12 (Robert Webber) and the Jury
Foreman (Martin Balsam), making the vote 9-3 and leaving only three dissenters: Jurors 3, 4 and
57
10. Outraged at how the proceedings have gone, Juror 10 goes into a rage on why people from
the slums cannot be trusted, of how they are little better than animals who gleefully kill each
other off for fun. His speech offends Juror 5, who turns his back to him, and one by one the rest
of the jurors start turning away from him. Confused and disturbed by this reaction to his diatribe,
Juror 10 continues in a steadily fading voice and manner, slowing to a stop with "Listen to me.
Listen..." Juror 4, the only man still facing him, tersely responds, "I have. Now sit down and
don't open your mouth again." As Juror 10 moves to sit in a corner by himself, Juror 8 speaks
quietly about the evils of prejudice, and the other jurors slowly resume their seats.
When those remaining in favor of a guilty vote are pressed as to why they still maintain
that there is no reasonable doubt, Juror 4 states his belief that despite all the other evidence that
has been called into question, the fact remains that the woman who saw the murder from her
bedroom window across the street (through the passing train) still stands as solid evidence. After
he points this out, Juror 12 changes his vote back to "guilty", making the vote 8-4.
Then Juror 9, after seeing Juror 4 rub his nose (which is being irritated by his eye
glasses), realizes that, like Juror 4, the woman who allegedly saw the murder had impressions in
the sides of her nose which she rubbed, indicating that she wore glasses, but did not wear them to
court out of vanity. Juror 8 cannily asks Juror 4 if he wears his eyeglasses to sleep, and Juror 4
admits that he does not wear them nobody does. Juror 8 explains that there was thus no logical
reason to expect that the witness happened to be wearing her glasses while trying to sleep, and he
points out that on her own evidence the attack happened so swiftly that she would not have had
time to put them on. After he points this out, Jurors 12, 10 and 4 all change their vote to "not
guilty".
At this point, the only remaining juror with a guilty vote is Juror 3. Juror 3 gives a long
and increasingly tortured string of arguments, ending with, "Rotten kids, you work your life
out!" This builds on a more emotionally ambivalent earlier revelation that his relationship with
his own son is deeply strained, and his anger over this fact is the main reason that he wants the
defendant to be guilty. Juror 3 finally loses his temper and tears up a photo of himself and his
son, then suddenly breaks down crying and changes his vote to "not guilty", making the vote
unanimous.
As the jurors leave the room, Juror 8 helps the distraught Juror 3 with his coat in a show
of compassion. The film ends when the friendly Jurors 8 (Mr. Davis) and 9 (Mr. McCardle)
exchange names, and all of the jurors descend the courthouse steps to return to their individual
lives... never to see each other again.
(Note: there is no indication nor is the question ever answered if the teenage boy really is guilty
or not; instead the film makes it clear that this is outside of the question if the jurors cannot be
certain that he is guilty, if there is any reasonable doubt, they must acquit him.)
B. Developmental Activity
58

LAP-WEEK 13
POETRY (Teaching and Assessment of Poetry)
Narrative poetry
-The fox and the wood cutter
-A poison tree
Lyric poetry
-I wondered lonely as a cloud
A. Topic Outline
Content
Standard
POETRY The learner a. craft a learning
(Teaching and understands plan
Assessment of the concept according to the
Poetry) of teaching English
Narrative drama curricula that
poetry develops
higher order thinking
-
skills of
The fox
learners through the
and the use of poetic texts
wood
cutter
-
59
A poison
tree
Lyric
poetry
-I
wondered
lonely as
a cloud
A. Introductory Activity
B. Salient Concept
Narrative Poetry
The Fox and the Wood cutter
A Fox having been hunted hard, and run a long chase, saw a Countryman at work in a wood, and
begged him to help him to some hiding-place. The man said he might go into his cottage, which
was close by. He was no sooner in, than the Huntsmen came up. “Have you seen a Fox pass this
way?” said they. The Countryman said “No, but pointed at the same time towards the place
where the Fox lay. The Huntsmen did not take the hint, however, and made off again at full
speed. The Fox, who had seen all that took place through a chink in the wall, thereupon came
out, and was walking away without a word. “Why, how now?” said the man; “haven’t you the
manners to thank your host before you go?” “Yes, yes,” said the Fox; “if you had been as honest
with your finger as you were with your tongue, I shouldn’t have gone without saying good-bye.”
A Poison Tree
I was angry with my friend;
I told my wrath, my wrath did end.
I was angry with my foe:
I told it not, my wrath did grow.
And I waterd it in fears,

Night & morning with my tears:
And I sunned it with smiles,
And with soft deceitful wiles.
And it grew both day and night.

Till it bore an apple bright.
And my foe beheld it shine,
And he knew that it was mine.
And into my garden stole,

When the night had veild the pole;
In the morning glad I see;
My foe outstretched beneath the tree
Lyric Poem
I Wandered Lonely as a Cloud
I wandered lonely as a cloud
That floats on high o'er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.
Continuous as the stars that shine

And twinkle on the milky way,
They stretched in never-ending line
60
Along the margin of a bay:
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance.
The waves beside them danced; but they

Out-did the sparkling waves in glee:
A poet could not but be gay,
In such a jocund company:
I gazed—and gazed—but little thought
What wealth the show to me had brought:
For oft, when on my couch I lie

In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude;
And then my heart with pleasure fills,
And dances with the daffodils
C. Developmental Activity
D. Exploration Activity

LAP-WEEK 14
FICTION (Teaching and Assessment of Fiction)
-The conjurers revenge
A. Topic Outline
Content
Standard
FICTION
(Teaching and
Assessment of
Fiction)
-

The
conjurer
s
revenge
A. Sensitivity Check
B. Salient Concept
THE CONJURER’S REVENGE

-- Stephen Leacock
61
“The Conjuror’s revenge” is a short story written by Stephen Leacock. The story tells how
a conjuror teaches a lesson to a person who tries to spoil his magic show.
One day a conjuror was demonstrating his magic tricks in a show. He produced a bowl of
gold fish out of an empty cloth. The audience felt thrilled and applauded. But, the quick man in
the front row commented that the magician had it up his sleeve. Later, the magician showed
other tricks such as Hindoostani rings trick, producing 17 eggs out of an empty hat, etc. But the
quick man continuously whispered that the magician kept all those things secretly under his
dress. His comments spoiled the show and the audience lost interest in the show.
The magician decided to take revenge on the quick man for spoiling his show. He
requested the quickman to give his gold watch, kerchief, collar, and spectacles. With the quick
man’s permission, he smashed all these things in the name of latest Japanese tricks. The quick
man was puzzled at this. Finally, the conjuror announced that the show was over. Audience felt
thrilled and left the show feeling that the conjuror showed some interesting tricks. The quick man
could not speak anything. Thus, the conjuror took revenge on the quick man, for spoiling his
show with his comments.
“THE CONJURER’S REVENGE” by Stephen Leacock

INTRODUCTION: ‘The Conjurer's Revenge’ by Stephen Leacock is a humorous short story. A
Conjurer deals smartly with a troublesome person known as the Quick Man for spoiling his
magic show.
THE CONJURER: The Conjurer is a skilled magician who performs magic tricks for an
audience. He was so talented that he could produce even a fish bowl from a piece of empty cloth.
He could do difficult tricks like extracting eggs from a hat. During a show, he meets the Quick
Man who unnecessarily spoils the show. Initially, the conjurer ignores him and continues with
the show. Towards the end, the conjurer decides to take his revenge on the Quick Man.
QUICK MAN: A ‘Quick Man’ is referred to a person who is crazy and fast in grasping, quick-
witted but cunning. Among the audience, there was one such man who whispered at the end of
every trick that it was all fraud. This upset the conjurer and spoiled the magical effect for the
audience. He can be called as the villain in the story.
THE CONJURER’S SHOW: The conjurer performed several tricks for the audience. From the
beginning of the show, the Quick Man keeps spoiling the show for the conjurer. He kept saying
the audience that the trick was done with the help of items hidden up the conjurer’s sleeve. When
the conjurer produced a fish bowl from a piece of empty cloth, the Quick Man said that this must
have been up his sleeve. The next trick was the famous Hindostanee rings. He joined two
separate rings into one with a blow. The Quick Man whispered that he had another lot up his
sleeve. The conjurer worried a lot but he continued his tricks.
The conjurer got a hat from the audience and extracted seventeen eggs in thirty five seconds. The
audience thought it was wonderful but the Quick Man told he had a hen up his sleeve. The egg
trick was ruined. The conjurer got the same response for all his tricks. According to the Quick
Man, the conjurer must have had rings, eggs, cards, bread, a live guinea pig and a rocking chair
hidden up his sleeve. These constant comments by the Quick Man made the audience feel that
the tricks were nothing special. This upset the conjurer. However, he went on performing one
trick after the other till he could take it no more. He decided to take revenge.
THE FAMOUS JAPANESE TRICK: The conjurer announced that he would be showing the
famous Japanese trick. Appearing to perform a trick using items borrowed from Quick Man, he
took the Quick Man's watch and broke it to pieces. The Quick Man told the audience that the
watch had been slipped into the conjurer’s sleeve. The conjurer then took the Quick Man’s
handkerchief and punched holes in it. The Quick Man thought that this was a trick which he did
not understand. The conjurer then took the Quick Man’s hat and trampled on it. He then
proceeded to burn the Quick Man’s collar and smashed his spectacles. The Quick Man, all the
while thought that this was just a trick. However, later the Quick Man and the entire audience
realized that what the conjurer did with the Quick Man’s things were not tricks.
62
THE CONJURER’S REVENGE: The conjurer's revenge was complete after he destroyed the
belongings of the Quick Man. The conjurer had succeeded in fooling the Quick Man with his
permission. Thus the conjurer took his revenge. The humorous part of the story is the seriousness
with which he asked for the various items of the Quick Man. The conjurer kept up the suspense
till the end of the show by not letting either Quick Man or the audience realize that the “trick”
that he was performing at the end of the show was not a trick but the real destruction of the
possessions of the Quick Man. At no point of time did the Quick Man realized that the Conjurer
was taking his revenge.
CONCLUSION: The moral of the story is that, when we cannot appreciate a person, we should
learn to keep it to ourselves. If we unnecessarily irritate or cause any harm to another person, we
will have to face the consequences.
E. Exploration Activity

LAP-DAY 15
NON-FICTION (Teaching and Assessment of Non-Fiction)
-Essays – Of studies, Of Love (Bacon)
A. Topic Outline
Content
Standard
NON- The learner a. conduct a teaching
FICTION understands demonstration of a
(Teaching and the concept developmentally-sequenced
Assessment of of teaching learning process using
Non-Fiction) drama innovative teaching
principles, skills, and
63
- strategies for teaching prose
Essays
– Of
studies,
Of
Love
(Bacon)
A. Salient Concept
Essay
Of Studies
STUDIES serve for delight, for ornament, and for ability. Their chief use for delight, is in
privateness and retiring; for ornament, is in discourse; and for ability, is in the judgment, and
disposition of business. For expert men can execute, and perhaps judge of particulars, one by
one; but the general counsels, and the plots and marshalling of affairs, come best, from those that
are learned. To spend too much time in studies is sloth; to use them too much for ornament, is
affectation; to make judgment wholly by their rules, is the humor of a scholar. They perfect
nature, and are perfected by experience: for natural abilities are like natural plants, that need
proyning, by study; and studies themselves, do give forth directions too much at large, except
they be bounded in by experience. Crafty men contemn studies, simple men admire them, and
wise men use them; for they teach not their own use; but that is a wisdom without them, and
above them, won by observation. Read not to contradict and confute; nor to believe and take for
granted; nor to find talk and discourse; but to weigh and consider. Some books are to be tasted,
others to be swallowed, and some few to be chewed and digested; that is, some books are to be
read only in parts; others to be read, but not curiously; and some few to be read wholly, and with
diligence and attention. Some books also may be read by deputy, and extracts made of them by
others; but that would be only in the less important arguments, and the meaner sort of books, else
distilled books are like common distilled waters, flashy things. Reading maketh a full man;
conference a ready man; and writing an exact man. And therefore, if a man write little, he had
need have a great memory; if he confer little, he had need have a present wit: and if he read little,
he had need have much cunning, to seem to know, that he doth not. Histories make men wise;
poets witty; the mathematics subtile; natural philosophy deep; moral grave; logic and rhetoric
able to contend. Abeunt studia in mores. Nay, there is no stond or impediment in the wit, but
may be wrought out by fit studies; like as diseases of the body, may have appropriate exercises.
Bowling is good for the stone and reins; shooting for the lungs and breast; gentle walking for the
stomach; riding for the head; and the like. So if a man’s wit be wandering, let him study the
mathematics; for in demonstrations, if his wit be called away never so little, he must begin again.
If his wit be not apt to distinguish or find differences, let him study the Schoolmen; for they are
cymini sectores. If he be not apt to beat over matters, and to call up one thing to prove and
illustrate another, let him study 197 the lawyers’ cases. So every defect of the mind, may have a
special receipt.
Of Love
THE stage is more beholding to love, than the life of man. For as to the stage, love is ever
matter of comedies, and now and then of tragedies; but in life it doth much mischief; sometimes
like a siren, sometimes like a fury. You may observe, that amongst all the great and worthy
persons (whereof the memory remaineth, either ancient or recent) there is not one, that hath been
transported to the mad degree of love: which shows that great spirits, and great business, do keep
out this weak passion. You must except, nevertheless, Marcus Antonius, the half partner of the
empire of Rome, and Appius Claudius, the decemvir and lawgiver; whereof the former was
indeed a voluptuous man, and inordinate; but the latter was an austere and wise man: and
therefore it seems (though rarely) that love can find entrance, not only into an open heart, but
also into a heart well fortified, if watch be not well kept. It is a poor saying of Epicurus, Satis
magnum alter alteri theatrum sumus; as if man, made for the contemplation of heaven, and all
noble objects, should do nothing but kneel before a little idol, and make himself a subject,
64
though not of the mouth (as beasts are), yet of the eye; which was given him for higher purposes.
It is a strange thing, to note the excess of this passion, and how it braves the nature, and value of
things, by this; that the speaking in a perpetual hyperbole, is comely in nothing but in love.
Neither is it merely in the phrase; for whereas it hath been well said, that the arch-flatterer, with
whom all the petty flatterers have intelligence, is a man’s self; certainly the lover is more. For
there was never proud man thought so absurdly well of himself, as the lover doth of the person
loved; and therefore it was well said, That it is impossible to love, and to be wise. Neither doth
this weakness appear to others only, and not to the party loved; but to the loved most of all,
except the love be reciproque. For it is a true rule, that love is ever rewarded, either with the
reciproque, or with an inward and secret contempt. By how much the more, men ought to beware
of this passion, which loseth not only other things, but itself! As for the other losses, the poet’s
relation doth well figure them: that he that preferred Helena, quitted the gifts of Juno and Pallas.
For whosoever esteemeth too much of amorous affection, quitteth both riches and wisdom. This
passion hath his floods, in very times of weakness; which are great prosperity, and great
adversity; though this latter hath been less observed: both which times kindle love, and make it
more fervent, and therefore show it to be the child of folly. They do best, who if they cannot but
admit love, yet make it keep quarters; and sever it wholly from their serious affairs, and actions,
of life; for if it check once with business, it troubleth men’s fortunes, and maketh men, that they
can no ways be true to their own ends. I know not how, but martial men are given to love: I
think, it is but as they are given to wine; for perils commonly ask to be paid in pleasures. There is
in man’s nature, a secret inclination and motion, towards love of others, which if it be not spent
upon some one or a few, doth naturally spread itself towards many, and maketh men become
humane and charitable; as it is seen sometime in friars. Nuptial love maketh mankind; friendly
love perfecteth it; but wanton love corrupteth, and embaseth it.
B. Developmental Activity
65

LAP-WEE 16
NOVEL (Teaching and Assessment of Novel)
-The pearl
Topic Outline
Content
Standard
NOVEL The learner a. conduct a teaching
(Teaching and understands demonstration of a
Assessment of the concept developmentally-sequenced
Novel) of teaching learning process using
- drama. innovative teaching
The principles, skills, and
strategies for teaching prose
pearl
A. Introductory Activity
B. Salient Concept
The Pearl - John Steinbeck

Kino, Juana, and their infant son, Coyotito, live in a modest brush house by the sea. One
morning, calamity strikes when a scorpion stings Coyotito. Hoping to protect their son, Kino and
Juana rush him to the doctor in town. When they arrive at the doctor’s gate, they are turned away
because they are poor natives who cannot pay enough.
Later that same morning, Kino and Juana take their family canoe, an heirloom, out to the estuary
to go diving for pearls. Juana makes a poultice for Coyotito’s wound, while Kino searches the
sea bottom. Juana’s prayers for a large pearl are answered when Kino surfaces with the largest
66
pearl either of them has ever seen. Kino lets out a triumphant yell at his good fortune, prompting
the surrounding boats to circle in and examine the treasure.
In the afternoon, the whole neighborhood gathers at Kino’s brush house to celebrate his find.
Kino names a list of things that he will secure for his family with his newfound wealth, including
a church wedding and an education for his son. The neighbors marvel at Kino’s boldness and
wonder if he is foolish or wise to harbor such ambitions.
Full text: Jane Eyre
Toward evening, the local priest visits Kino to bless him in his good fortune and to remind him
of his place within the church. Shortly thereafter, the doctor arrives, explaining that he was out in
the morning but has come now to cure Coyotito. He administers a powdered capsule and
promises to return in an hour.
In the intervening period, Coyotito grows violently ill, and Kino decides to bury the pearl under
the floor in a corner of the brush house. The doctor returns and feeds Coyotito a potion to quiet
his spasms. When the doctor inquires about payment, Kino explains that soon he will sell his
large pearl and inadvertently glances toward the corner where he has hidden the pearl. This
mention of the pearl greatly intrigues the doctor, and Kino is left with an uneasy feeling.
Before going to bed, Kino reburies the pearl under his sleeping mat. That night, he is roused by
an intruder digging around in the corner. A violent struggle ensues, and Kino’s efforts to chase
away the criminal leave him bloodied. Terribly upset by this turn of events, Juana proposes that
they abandon the pearl, which she considers an agent of evil.
The next morning, Kino and Juana make their way to town to sell the pearl. Juan Tomás, Kino’s
brother, advises Kino to be wary of cheats. Indeed, all of the dealers conspire to bid low on the
pearl. Kino indignantly refuses to accept their offers, resolving instead to take his pearl to the
capital. That evening, as Kino and Juana prepare to leave, Juan Tomás cautions Kino against
being overly proud, and Juana repeats her wish to be rid of the pearl. Kino silences her,
explaining that he is a man and will take care of things.
In the middle of the night, Juana steals away with the pearl. Kino wakes as she leaves and
pursues her, apprehending her just as she is poised to throw the pearl into the sea. He tackles her,
takes the pearl back, and beats her violently, leaving her in a crumpled heap on the beach. As he
returns to the brush house, a group of hostile men confronts him and tries to take the pearl from
him. He fights the men off, killing one and causing the rest to flee, but drops the pearl in the
process.
As Juana ascends from the shore to the brush house, she finds the pearl lying in the path. Just
beyond, she sees Kino on the ground, next to the dead man. He bemoans the loss of the pearl,
which she presents to him. Though Kino explains that he had no intention to kill, Juana insists
that he will be labeled a murderer. They resolve to flee at once. Kino rushes back to the shore to
prepare the canoe, while Juana returns home to gather Coyotito and their belongings.
Kino arrives at the shore and finds his canoe destroyed by vandals. When he climbs the hill, he
sees a fire blazing, and realizes that his house has burned down. Desperate to find refuge, Kino,
Juana and Coyotito duck into Juan Tomás’s house, where they hide out for the day. Relieved that
the three did not perish in the blaze, as the rest of the neighborhood believes, Juan Tomás and his
wife, Apolonia, reluctantly agree to keep Kino and Juana’s secret and provide shelter for them
while pretending to be ignorant of their whereabouts.
At nightfall, Kino, Juana, and Coyotito set out for the capital. Skirting the town, they travel north
until sunrise and then take covert shelter by the roadside. They sleep for most of the day and are
preparing to set out again when Kino discovers that three trackers are following them. After
hesitating briefly, Kino decides that they must hurry up the mountain, in hopes of eluding the
trackers. A breathless ascent brings them to a water source, where they rest and take shelter in a
nearby cave. Kino attempts to mislead the trackers by creating a false trail up the mountain.
67
Kino, Juana, and Coyotito then hide in the cave and wait for an opportunity to escape back down
the mountain.
The trackers are slow in their pursuit and finally arrive at the watering hole at dusk. They make
camp nearby, and two of the trackers sleep while the third stands watch. Kino decides that he
must attempt to attack them before the late moon rises. He strips naked to avoid being seen and
sneaks up to striking distance. Just as Kino prepares to attack, Coyotito lets out a cry, waking the
sleepers. When one of them fires his rifle in the direction of the cry, Kino makes his move,
killing the trackers in a violent fury. In the aftermath, Kino slowly realizes that the rifle shot
struck and killed his son in the cave.
The next day, Kino and Juana make their way back through town and the outlying brush houses.
Juana carries her dead son slung over her shoulder. They walk all the way to the sea, as
onlookers watch in silent fascination. At the shore, Kino pulls the pearl out of his clothing and
takes one last, hard look at it. Then, with all his might, under a setting sun, he flings the pearl
back into the sea.
E. Exploration Activity
68

LAP-WEEK 17
Article Review
Topic Outline
Content
Standard
Article 
Review
A. Salient Concept
B. Development Activity
PREPARED BY:
KENT LEO ESTAURA, MAEd
69

Kent Leo Estaura, Maed: Instructor

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Week ASSESSMENT/EVALUATION The learner The learner  LAP 11

Rubric for Infographics

World Literature Periods

Later Periods of Literature

THE ENLIGHTENMENT (NEOCLASSICAL) PERIOD (C. 1660-1790)

VICTORIAN PERIOD And The 19th Century (c. 1832-1901)

MODERN PERIOD (c. 1914-1945)

In Britain, modernist writers include W. B. Yeats, Seamus Heaney, Dylan Thomas, W. H.

POSTMODERN PERIOD (c. 1945 onward)

American Literature Periods

TRANSCENDENTALISM (1840-‐1855): Transcendentalism is an American literary

NATURALISM: An outgrowth of Realism, Naturalism is a literary movement among

REGIONALISM: Another outgrowth of Realism, Regionalism in literature is the

OVERVIEW ON THE NATURE OF LITERATURE AND ITS GENRE

LITERATURE AS SIGNIFICANT HUMAN EXPERIENCE

Literature as Significant Human Experiences

DIVISIONS AND TYPES OF PROSE

STRUCTURAL ELEMENTS OF PROSE

DIVISIONS AND TYPES OF POETRY

 Narrative Poetry- it tells a story following an order of events. It includes

STRUCTURAL ELEMENTS OF POETRY

STRUCTURAL ELEMENTS OF DRAMA

LAP Code: No. of Hours: 3 hrs/meeting

2. Bienvenido Lumbera, is a poet, librettist, and scholar. As a poet, he introduced to Tagalog

LITERATURE COMPETENCIES IN ENGLISH K TO 12 CURRICULUM

What is LITERARY COMPETENCE?

DEFINITION OF LITERARY COMPETENCY

GRADE LITERARY SUBJECT LEARNING COMPETENCIES

8 Afro-Asian Literature First Quarter

10 World Literature First Quarter

TEACHING LITERATURE – AN OVERVIEW

Literature has… if reading it...

CHOOSING BOOKS AND READING MATERIALS IN TEACHING LITERATURE

Factors Related Directly to Students

THE MODELS OF TEACHING LITERATURE

Suggested Activities: lectures, explanation, reading of notes and criticism

The Language Model

Suggested Activities: cloze procedure, prediction exercises, jumbled sentences, summary

The Personal Growth Model

Paraphrastic approach is primarily paraphrasing and rewording the text to simpler

ASSESSMENT STRATEGIES IN TEACHING LITERATURE

LAP Code: No. of Hours: 3 hours/meeting

Literary Devices (poetic devices)

Caesura and enjambment

Juxtaposition and oxymoron

Oxymoron is a type of juxtaposition, and it’s really more of a direct, paradoxical

Personification and pathetic fallacy

Key Strategies (Understanding Poetry to Teach)

5. Make connections. Personalizing poetry makes it meaningful.

7. Summarize the poem’s meaning.

LAP Code: No. of Hours: 3 hours/meeting

Lesson design in teaching prose

Assessment in teaching prose

LAP Code: No. of Hours: 3 hours/meeting

The 14 Main Literary Genres

8. Bildungsroman. Bildungsroman is a literary genre of stories about a character growing

9. Speculative Fiction. Speculative fiction is a supergenre that encompasses a number of

Examples of some types of literary criticism are:

15 Types of Literary Criticism

4.Reader-response: Reader-response criticism is rooted in the belief that a reader's reaction to or

6.Psychoanalytic criticism: Using Sigmund Freud’s principles of psychoanalysis—like dream