7 Issues and Challenges in Popular Literature

Module
tended IssuesAtand
Learninng Outcomes: Challenges
the end inthe
of this chapter, Popular Literature
students are expected to:
Interpreting and
1.1Unit 2.171
Intended Learning Outcomes: At the end of this chapter, the students are
expected to:
1. Explain the characteristics of fiction.

2. React on issues and challenges in popular literature.
3. Conduct a critical analysis between contemporary and popular literature.
4. Interpret and evaluate fiction.
1. Identify the 10 principle of CBT.

2. Explain the principles of CBT.
1. Develop awareness about TESDA and its programs

2. Describe Trainers Methodology I
3. Identify the Unit of Competencies of Trainers Methodology I
4. Describe Facilitating Learning Session as a Unit of Competency for Trainers
Methodology I
5.
Competency Based Training (CBT) is training delivery approach that focuses on the
competency development of the learner as a result of the training.
Competency Based Training emphasizes on what the learner can actually do;
focuses on outcomes rather than the learning process within specified time; is
concerned with the attainment and application of knowledge, skills and attitude to
specific level of competency.
CBT is based on the following basic principles:
“Fiction” is defined
as any
imaginative re-
creation of life in
prose narrative
form. All fiction
is a falsehood of
sorts because it
relates events
that never
actually
happened to
people (characters) who never existed, at least not in the manner portrayed in
the stories. However, fiction writers aim at creating “legitimate untruths,” since
they seek to demonstrate meaningful insights into the human condition.
Therefore, fiction is “untrue” in the absolute sense, but true in the universal
sense
1. The training is based on curriculum developed from the competency
standards;
2. The trainer should be aware that all training activities are done
towards the attainment of the assessment criteria set in the competency based
curriculum.
3. Learning is modular in its structure;
4. One competency is generally considered as one module. Since
learning is modular in instruction, a trainee should be competent in the module
currently being trained before going to the other competency. Competency
Based Learning Materials are prepared per competency which shall serve as the
main material and guide in training. Information in the attainment of knowledge
and skills are provided for in the CBLM. In case other training materials such as
videos, computer-based learning materials and other references are needed, the
CBLM usually gives direction on how these materials can be accessed and used.
5. Training delivery is learner-centered and should accommodate
individualize and self-paced learning strategies;
6. Trainees are treated as individual learners with different
characteristics, learning styles and training needs. The sessions should therefore
provide for varied activities, employing different methods of training.
Considering that trainees are being trained simultaneously on different
competencies, activities should always allow trainees to work independently or
in small groups with minimum supervision. Learning Materials should provide for
self-evaluation or peer evaluation so that immediate feedback on the
performance of each trainee is sought for in every learning activity. Answer keys,
model answers and performance criteria checklist are very important tools to
attain these objectives.
7.
8. Training is based on work that must be performed;
9. Training is always based on actual industry practices. Training
should provide for a simulated work environment.
10. Training materials are directly related to the competency standards and
curriculum modules;
11. The Competency Based Learning Materials used during the training
should conform to the competency based curriculum and the competency
standards. The trainer should always check his session plans CBLMs to make sure
that all assessment criteria are attained. The competency standards always
Contemporary, Popular and Emergent Literature

Module Introduction to Trainers Methodology 1Prepare
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Training Facilities/Resources
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provide the minimum requirements of the competency. A trainer should always
aim for the attainment of every criteria. Enhancements are also encouraged.
12. Assessments is based in the collection of evidence of the performance
of work to the industry required standard;
13. Assessment is done to test whether that trainee is able to perform
the job based on the required criteria in the competency standards. This should
be done before a trainee can advance to another competency. A carefully
prepared Institutional Evaluation Tool should be used to assess the competency;
it is based on the satisfaction of the criteria/evidences which are collected
through an institutional competency evaluation.
14. Training is based both on and off the job components;
15. Training is done in a simulated work environment (the laboratory)
and/or in an actual work environment such as in training cum production,
enterprise based training, supervised industry training and on-the-job training.
16. Training program allows for recognition of prior learning (RPL) or
current competencies;
17. Current competencies acquired through training or work
experience are recognized before training through a validation process so that
the trainer can provide activities that match the learning level of each trainee.
Prior learning is recognized by giving them a Certificate of Achievement for the
competencies acquired previously. Data on other acquired skills should be
carefully recorded to serve as data for planning the training activities of a
particular trainee. A trainee who has prior experiences as a janitor but is not yet
competent in “Providing Housekeeping Services to Guest”, for example, may not
practice how to use cleaning equipment anymore but would concentrate on
other activities that would help him satisfy the assessment criteria of the
competency. This would shorten the training hours of the particular trainee.
18. Training allows for multiple entry and exit;
19. Trainees do not need to wait for others to be competent before he
can exit either a competency or the qualification. Fast learners may graduate
faster than others.
20. Training programs are registered with the UTPRAS.

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21. All programs should be registered to the Unified TVET Program
Registration and Accreditation System. UTPRAS registration assures the quality
of training.
22. The competency-based TVET system recognize various types of
delivery modes, both on and off-the job as long as the learning is driven by the
competency standards specified by the industry. The following training
modalities may be adopted when designing training programs:
23. The dualized mode of training delivery is preferred and
recommended. Thus programs would contain in-school and in-industry training
or fieldwork components. Details can be referred to the dual Training System
(DTS) Implementing Rules and Regulations.
24. Modular/self-paced learning is a competency-based training
modality wherein the trainee is allowed to progress at his own pace. The trainer
just facilitates the training delivery.
25. Peer/teaching mentoring is a training modality wherein fast
learners are given the opportunity to assist the slow learner.
26. Supervised industry training or on-the-job training is an approach
in training designed to enhance the knowledge and skills of the trainee through
actual experience in the workplace to acquire specific competencies prescribed
in the training regulation.
27. Distance learning is a formal education process in which majority
of the instruction occurs when the students and instructor are not in the same
place. Distance learning may employ correspondence study, or audio, video or
computer technologies.
28. Project-based instruction is an authentic instructional model or
strategy in which students plan, implement and evaluate projects that have real
application.
29.
Please watch videos that further explain CBT with the links provided below:
https://www.youtube.com/watch?v=YaRjaBcvTSw
https://www.youtube.com/watch?v=RschZFj3vHI
https://www.youtube.com/watch?v=In0qjHXruM0

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Unit 1. What is TESDA and its programs
The Technical Education and Skills Development Authority (TESDA) is the

government agency tasked to manage and supervise technical education and skills
development (TESD) in the Philippines. It was created by virtue of Republic Act of 1994.
The said Act integrated the functions of the former National Manpower and Youth
council (NMYC), the Bureau of Technical-Vocational Education of the Department of
Education, Culture and Sports (BTVTE-DECS) and the Office of Apprenticeship of the
Department of Labor and Employment (DOLE).
May watch about TESDA @ https://www.youtube.com/watch?v=-evtO5xPgoo
Policies, Plans and Information
Programs and services relating to these concerns embody the role of TESDA as the
authority in technical vocational education and training (TVET). These are aimed at
providing clear directions and priorities for TVET in the country. These include the
formulation of plans and policies for the TVET sector and the generation through
researches and studies and the dissemination of relevant data and information for
informed decision of stakeholders of the sector.
Philippine Technical Vocational Education and Training System
The education system in the Philippines embraces formal and non-formal education. It is
closely related to the American mode of education but differs in the number of school
years as other countries have 12 years basic education. In the country however,
elementary education is composed of 6 years and secondary education is 4 years which
together with the tertiary education comprise the formal education system.

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On the other hand, non-formal education includes education opportunities, even
outside school premises, that facilitate achievement of specific learning objectives for
particular clienteles, especially the out-of-school youths or adult illiterates who cannot
avail of formal education. An example is functional literacy programmes for non-literate
and semi-literate adults which integrate basic literacy with livelihood skills training.
Part of this TVET System are the Technical Schools offering short term programs or
trainings, as well as, Universities and Colleges that integrates technology or offer
technology related programs.
In our school, we embrace TVET system under Bachelor of Technology, Diploma of
Technology, Bachelor of Industrial Technology major in Food Preparation and Service
Technology, Food Preparation and Service Technology, and Bachelor of Technical
Vocational Teacher Education.
Standards Setting and Systems Development
Another pillar towards the realization of TESDA’s authority role in the TVET
sector is to ensure quality through provision of standards and system development
services. Competency Assessment and Certification of workers is continuously done in
pursuit of professionalizing skilled workers. (See sample Appendix B)
Support to TVET Provision
In view to the need to provide equitable access and provision of TESD programs
to the growing TVET clients, TESDA continues to undertake direct training provision.
There are four training modalities – school-based, center-based, enterprise-based and
community-based. These are being done with the TESDA’s infrastructure in place – 57
administered schools, 60 training centers, enterprise-based training through
DTS/Apprenticeship and community – based training in convergence with the LGUs.
TESDA Supports and Training Provision
TESD creates opportunities for people to be responsible and become productive

citizens. The need to provide and make accessible relevant to TESD compels TESDA to
undertake direct training activities at the same time support training activities
undertaken by other key players in the TESD sector.
TESDA Technology Institutions are composed of 125 schools, regional, provincial and
specialized training centers nationwide which undertake direct training activities for
TESDA. The absence of an institution in the area which can provide people equitable
access to TESD necessitates TESDA to undertake direct training activities. These TTIs also
serve as venues to test new training schemes and are used as laboratories for new
technology.

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Among the TESDA’s specialized training centers are the following:
TESDA Women’s Center (TWC) seeks to advance the economic status of women through
training, entrepreneurship development, gender sensitive policies, programs and
projects and research and advocacy. It was established through a grant from the
Government of Japan.
Language Skills Institute (LSI) serves as TESDA’s facility for language programs
specifically for workers intending to work abroad. The LSI conducts training workplace
communication on the language of the country of the worker’s destination. There are 35
LSI nationwide offering different language courses which include English, Korean,
Mandarin, Japanese and Spanish.
Korea-Philippines IT Training Centers are grant-assisted projects from the Government
of the Republic of Korea. These KPITTCs are located at the Polytechnic University in
Novaliches, Quezon City and at the Regional Skills Development Centers in Guiguinto,
Bulacan and Tibungco, Davao City, respectively.
Competency Standards Development
TESDA develops competency standards for middle-level skilled workers. These

are in the form of units of competency containing descriptors for acceptable work
performance. These are packaged into qualifications corresponding to critical jobs and
occupations in the priority in the priority Industry sectors. The qualifications correspond
to a specific level in the Philippine TVET Qualifications Framework (PTQF).
The competency standards and qualifications, together with training standards and
assessment arrangements comprise the national training regulations promulgated by
the TESDA Board. The TRs serve as basis for registration and deliver of TVET programs,
competency assessment and certification and development of curricula for the specific
qualification.
(See Appendix C for sample of Training Regulation and Units of Competency)
Competency standards units of competency

Competency standards + qualifications + training standards + assessment
arrangements = TRAINING REGULATION
Unit 2. Trainers Methodology 1
The TRAINERS METHODOLOGY LEVEL I consists of competencies a TVET trainer

performing functions of trainer and assessor must achieve. A TVET trainer is a person
who enables a learner or a group of learners to develop competencies to performing a
particular trade or technical work.

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A person who has achieved this qualification is competent to be a TVET Trainer /
Technical Trainer, Training Facilitator / Coordinator and Competency Assessor.
Watch: https://www.youtube.com/watch?v=uR5HpIy077Y
Unit 3. Unit of Competencies of Trainers Methodology 1

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1.1 Fiction: The Story and the Moral
Fiction is subjective and evocative. It is "made up," and indirect in its

communication. A work of fiction may evoke:
• the thrill of imagining impossible or unavailable experiences

• intrigue with playing out "what if" or" if only" scenarios
• feelings and perceptions of another historical period, or simply observations on
the human condition
We thus read fiction not to gain new

information so much as to experience the
ideas and feelings a story inspires within us.
Readers have different expectations

from fiction and nonfiction. Proof is a major
issue with nonfiction; emotional
involvement is a major issue with fiction.
We expect a story (fiction) to grab us, an
essay (nonfiction) to convince us. We will
suspend belief when reading a romance novel or science fiction, but demand reason and
evidence from nonfiction.
For passing time or sheer enjoyment, of course, simply reading the story can be
satisfaction and reward enough. We do not have to analyze everything we read. The
point is to be able to interpret when we want to—or have to.
Both fiction and nonfiction can be subjected to analysis and interpretation.

These two forms of expression are, however, examined somewhat differently. One
analyzes a nonfiction text
• to discover underlying themes and perspectives, as well as
• to realize how choices of content and language shape the reader's perception
and encourage the reader's acceptance.
Analyzing Lincoln's Gettysburg Address, for instance, we can recognize not only
remarks on the dedication of a cemetery, but comparisons between images of the living
and dead, between what has been done and what must be done.

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We analyze fictional works for recurring themes that reflect on the broader
human experience. People do not
really tell nursery rhymes so that
children know about a girl named
Cinderella or about pigs who built
houses. The stories have deeper,
unstated meanings: virtue
rewarded (Cinderella) or the folly of
a lack of industry (The Three Little
Pigs). We respond to both the story
and an underlying message.
On the surface, Melville's Moby Dick, for instance,

might be seen as an adventure story about a man hunting a
whale. On closer analysis and interpretation, the novel
might be seen as a depiction of man's battle to subdue
nature or of a battle between good and evil. Since fiction is
indirect, fiction can require a significant degree of analysis
and interpretation if one is to get beyond simply following
the story.

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1.2 Fiction is Subjective
Fiction is, by definition, subjective. A novel, story, drama, or poem is the

expression of an author's imagination. The characters and situations are "made up."
Readers expect fiction to reflect the real world; they do not expect it to portray the real
world. And yet fiction can seem very real
without being factual. Poems can capture
feelings or images to perfection. Events
depicted in movies such as Schindler's List,
Amistad, or Titanic can appear just as they
might have in real life.
Fiction can be true, however, only

in the sense that the actions or behaviors
"ring true" with what we know of the
world. The sentiment may be real, but the
characters and incidents are the fruits of
the author's imagination. And author and
directors—as in the movies referred to above—often use "dramatic license" to distort
history for dramatic effect.
1.3 Fiction is Evocative: Images and Symbols
Fiction conveys meaning indirectly (other than, of course,

through morals at the ends of fables). The specifics are not
significant. We draw meaning from the types of actions. This
principle lies behind the fact that television crime series follow
essentially the same plot line, week after week. It does not matter
whether a crime victim is a socialite, a prostitute, a drug dealer, or
politician, whether the crime is murder, extortion, or robbery. The
message that the police always catch the criminal remains the
same.
Fiction evokes ideas and feelings

indirectly by triggering emotional responses
and mental pictures. Fiction commonly
communicates through images and symbols.
Color is often symbolic, as with the red
passion of the Scarlet Letter in the novel of

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that title. Sunlight often conveys truth or reason.
In Willa Cather's short story "Death Comes to the

Archbishop" the development of the Bishop's garden is a
metaphor for the expansion of Catholicism in the New World. And
then there is the politically incorrect use of white and black for
good and bad, as in old Western movies.
Readers must be open to associations and reflection,

creative in their understanding and interpretation. They must
recognize a richness of figurative language and concomitant
element of ambiguity. The more evocative a text, the more the
reader must do the work of finding meaning within the text.
1.3 Interpretation: A Personal Understanding
The meaning of fictional works is more personal than that of nonfiction texts.
With nonfiction texts, we assume any two readers will come away with pretty much the
same understanding of what the text states. While we may not agree with someone
else's interpretation, we should be able to follow their analysis.
With fiction, the meaning is dependent on the perceptions, imagination, and

feelings of the reader. In both cases, however, we demand that an interpretation be
based on evidence on the page. And in both cases, part of understanding is
understanding one's own interests, values, and desires and how they affect what one
looks for and how one thinks about what one finds.

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1.4 Analyzing and Interpreting Fiction: Perspectives
The discussion of nonfiction texts focused on the analysis of

choices of content, language, and structure. The same focus is
useful for the analysis of fiction--with some adjustments. The
discussion examines:
• the general perspective on each of the three major
genres: novels (stories), drama, and poetry
• the application of the notions of content, language, and
structure for each genre
Fiction, we saw above, is mostly about telling stories and expressing feelings. The
content of fiction may take the form of the events of a story, especially in novels and
short stories, spoken remarks, especially in drama, or images and symbols, especially in
poetry. All three elements appear to varying degrees in all forms of fiction.
1.5 Commercial Fiction and Literary Fiction
Commercial Fiction
Intended solely to entertain

 Legal thrillers, romance novels
 Escapist
 Formulaic
Literary Fiction
 Written with serious artistic intentions by someone who hopes to

enable readers to broaden understanding of life and to empathize with
others
 Literary writers are more like explorers who take us out into the
midst of life, show us the props and mirrors and seek to dispel the
illusions.
 Provides keener awareness of our humanity in a friendly and hostile
world.
 Usually need to read twice.
 Plot: the sequence of events through which an author constructs a

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story.
 Structure: usually chronological or cause/effect, however, a complex
structure is often required to convey complex meanings, so it may be
more experimental and unpredictable.

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Unit 4. Facilitate Learning Session as a Unit of Competency for Trainers Methodology 1
Unit of Assessment
Learning outcomes Methodology
Competency Approach
 Prepare training
facilities /resources
 Group
 Conduct pre-
discussion
assessment
Facilitate
 Simulation  Written test
learning  Facilitate training
 Demonstration/
session session
 Lecture oral questioning
 Conduct competency
 Self –pace
assessment
instruction
 Review delivery of
training session
CHALLENGES FACING POPULAR LITERATURE
Literature is in crisis. Perhaps not many of my Profs would agree with me on

this premise, but they are immersed in a literary world where Virginia Woolf
conferences are a big deal and debates over the existence of spondees are heated.
People don’t read anymore. There are a few hangers-on, but even we read less than
others used to.
I freely and gladly acknowledge that change in inevitable; the question is,
what changes are good, and which are to be fought? Literature is worth fighting for,
but the literati are contributing to their own demise in many significant ways. Here
are some factors and causes of the literary crisis I’ve noticed:
1. 1.
2. Post-modernism.
“Whoah, whoah!” the English prof will argue, “if anything, pm caused a
proliferation of texts. There are thousands and millions of works produced in the pm

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era, many of which have literary merit.” Indeed, but that isn’t the problem. I assert that
pm literature and theory have assisted in its decline mainly because postmodern argue
that text and meaning are inherently separate—can’t get there from here. It’s all
subjective. It doesn’t mean. “All writing is lying.” Upon hearing these statements made
by the very people who study and produce literature, the common reader will say, “All
right, I believe you. Think I’ll watch some TV.”
2. Mass media.
There is a lot more to do in our free time than read, most of which is easier
than reading. Reading is a task that requires time and effort (usually); you can’t pitch
convenience or speed to someone when discussing literature. Movies are more action
packed (though usually watered-down); TV entertains; video games excite; the
internet always has a myriad of things to do. Why read? Sure, people in the 1800s and
early 20th Century read far more than we do, but they had fewer diversions.
3. Lots of books are bad.
They just are. Sadly, it’s usually the brain candy that sells because it’s so sweet
(and that’s fine), but it won’t satisfy. Bad works of literature negatively affect the works
that have lasting merit; people who have had a bad experience reading rarely try again
to enjoy it.
4. Rise of other academic subjects.
English is a major in decline in most places (I don’t have the stats to back this up,
but I think I’m right), partly for reason #1, and partly because there are a lot more
options for a scholar these days. International Relations, Biology, Art, Pol-Sci,
Philosophy, Languages, Women’s Studies, et al. I’m quite pleased that there are so many
other courses for people to pursue, but it is taking its toll on literature.
5. No automatic connection to a job after college.
This one really troubles me. College, at its core, is NOT JOB-TRAINING!! Go to
college to learn, young student, and become a better person. Money is only money. If
you graduate and don’t have a job right away, that’s fine. You will find one if you apply
yourself during school. The disciplines that have an automatic field ready-made for the
graduate are few. Sadly, I would posit that parents play a major role in this category
with the obligatory “What are you going to do with that major?” question. If college is
not the time in one’s life when one can feel free to explore, learn and grow by trying out

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a variety of things and find our who one is without worrying about benefits or salary,
when is?
6. Inaccessibility.
This debate is one I’ve touched on before: if a work of literature is dazzlingly

brilliant but no one can understand it, is it good? This is the question raised by books
like Ulysses (not to mention Finnigan’s Wake), The Sound and the Fury, Gravity’s
Rainbow and lesser works like The Black Envelope. I don’t have a good answer–a
balance is too much to ask perhaps. However, when the artist writes above the common
reader’s ability to comprehend, readers will be alienated.
7. Overly-academic language.
This is the sister of problem #6. Academics have invented complicated

terminology for everything. This is not necessarily something bad terminology often aids
specificity and education; however, when academic vocabulary gets out of hand (and it
can), then a piece loses its utility. I find this all the time in literary criticism. Yes, one
must write intelligently and engage the concepts, but what I too frequently find is
pedanticism run wild. Critics like to condescend to their readers. The arrogance of this is
outrageous and wrong-headed. Critics, your very job is to educate those few who
bother to read the meager words you put down; make it worth their while. Make your
points and enlighten where you can.
8. Death of aesthetics.
This problem became glaringly obvious thanks to Kyle’s post on the

Washington Post story about Joshua Bell playing in a Metro station. People–or should
I say Americans?–do not appreciate art. We are businesspeople. Straightforward,
earn a buck, get it done, work on the weekends, open 24 hours, overtime, few
holidays, work till you die people. Why does art of any kind matter? Well, what else
aside from art slows us down? What else shows us beauty, beauty so amazing and
alarming that we have to appreciate it? From where do we gain insight into
existence? Art does all these things, and its decline will mean the decline of America
in one way or many.
Is there a solution to all these problems? Yes, and it’s quite simple, as most
good answer is: literature itself. The very best thing a literary scholar or professor can
do is get out of the way of the works. So many books I’ve read have changed my life.
There are multitudes of brilliant novels, short stories, and poems out there to be
read, and not all of them are long or complex. The purpose of the literati is to make
literature clearer, more profound, and more able to be grasped.

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And for heaven’s sake, we ought to make literature fun because…(gasp!)…the
reason we like to read is IT’S FUN! It’s enjoyable! If it’s not these things, one can just
as easily find something else that is fun. Perhaps this too is what is happening to
literature, but the cure is only one book, story, poem (or even painting, sculpture,
musical piece, or song) away.

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 In this course/subject you are not to be assessed for you to be a Trainers
Methodology 1 holder.
 In this course/subject you are to learn what are the competencies a Trainer
shall have because such will be the competencies that you should possess as a
Senior High or Junior High School Teacher or a Technical Vocational Trainer
 Particularly, you will learn in this course/subject how to Facilitate Learning
Session among your future students.
 At the end of the semester, you should be able to achieve the Learning
Outcomes mentioned above.
 Other competencies are to be taught in other Professional Education Subjects.
 This means that before you will graduate, all the competencies required by the
TM 1 are acquired by you and may submit yourself for National Assessment.
 REMEMBER: IN THIS COURSE/SUBJECT, YOU ARE TO LEARN HOW TO BE A
TRAINER/TEACHER PARTICULARLY TO FACILITATE TRAINING SESSION – ONE OF
THE FIVE COMPETENCIES OF TM1








 Module (Eng Ed 211)
Name: ____________________________________________
Activity No. 71 Program/Year: ____________Date Submitted: ___________
Self – Check Test
Multiple Choice. Select the best answer among the choices given per
item.
Activity 1
LITERARY WRITING: COMPARATIVE ANALYSIS
Direction: Read the short contemporary story entitled “All Summer in a Day” by Ray
Bradbury (please refer to Appendix C) and the popular story entitled “The Murder in the

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Rue Morgue” by Edgar Allan Poe (please refer to Appendix G) . After reading the
stories, answer the questions below.
1. What are the elements of the stories read? State only 2 elements and
cite examples from the stories.
2. How does the contemporary story differ from the popular story?
Support your answer.
Activity 2
LITERARY WRITING: REACTION PAPER
Direction: Write a reaction paper about the issues and challenges in popular
literature.
1. Focus your reaction on the topic and create your thesis statement.
2. Write your reaction in 3 – 4 paragraphs (6 – 8 sentences per paragraph).
3. Please refer to Appendix E on how to write a reaction paper.
4. Watch the video in writing a reaction paper with the link below (for additional
information)
https://www.youtube.com/watch?v=L9S8nXpRNj0
5. Use the rubric below to be guided in making the given task.
Which of the following statements about Fiction is INCORRECT?

It is defined as any imaginative re-creation of life in prose narrative form.

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It seeks to demonstrate meaningful insights into the human condition.
The events actually happened to the characters.
It is true in the universal sense.
A fiction may evokes ___________________.

Facts
Information
Real life situations
Thrill
What characteristic of a fiction is being described by the statement “Fiction can

be true, however, only in the sense that the actions or behaviors "ring true"
with what we know of the world.
Commercial
Evocative
Literary
Subjective
Which of the following is under literary fiction?

Mystery
Poetry
Romance
Science fiction
The discussion or analysis of fiction focuses on the following, EXCEPT.

Content
Language
Structure
Style
Fiction commonly communicates through images and symbols.

True
False
Module (Eng Ed 211) Name: ____________________________________________

Activity No. 1 Program/Year: ____________Date Submitted: ___________
Activity
Answer the given questions relative to the story “The Necklace.”

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(Please refer to Appendix A)
Is the story fiction or non-fiction? Why do you say so?

What characteristics of a fiction are reflected in the story? Support your
answer.
Criteria:
1 – 5 sentences 3 points
Content 4 points
Citation 3 points
Total 10 points/number
Make a summary and write an interpretation and analysis of the story “The Necklace”
by Guy de Maupassant.
(Please refer to Appendix A)
Summary
1 paragraph - 2 points
6 – 8 sentences - 2 points
Chronological order - 3 points
Content - 3 points
Interpretation
Name: ____________________________________________
Content - 3 points
Program/Year: ____________Date Submitted: ___________
Support - 3 points
Analysis
Content - 3 points
Support - 3 points
Module 21 (Prof Ed 212)
NOTE: Activity number 2 will be submitted for Plagiarism Checker and if the result will
be above 30%, your score total score will be deducted with 10 points.
Self-Check Test 2.11
Activity No. 2.11
Instructions:

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Encode in the subject field the Subject Code- Program& Section-Last Name of Student-
First Name of Student-Activity Number (e.g. ProfEd111-BSE2A-Dela Cruz-John-1). This
is your 1st 2nd activity for this subject, please consider for it would affect the recording
of scores.
Encode your answer in the mail or message field. Please see sample below.
For Multiple Choice and Identification type of test, just write the number of the item
and the choice of answer (e.g. 1. a) or answer.
If your answer is hand written in a paper, then take a picture and copy paste in the
mail/message field. Sample of a picture, which is copied and pasted in the mail field, is
shown below.
Email your answer in my email add on or before October 2September 23, 2020, before
12 midnight (for online).
For those who opt to have their learning through offline modular mode, submit your
printed answer or written answer on the same date with the online submission at the
Guard house in our school gate. Place your paper on a brown long folder with my
name on the side. Place the folder inside a plastic envelope. Submission shall be from
8 am to 5 pm only.

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PLEASE DO NOT SEND ME MESSAGE THAT IS ASKING IF I HAVE RECEIVED YOUR MAIL
OR ASKING ME TO CHECK YOUR MAIL OR INFORMING ME THAT YOU HAVE SENT
YOUR ACTIVITY IN MY MAIL.
Self-check 2.1
TRUE OR FALSE:
Write TRUE if the statement is correct and FALSE if the statement is not correct.
In CBT, the trainee is facilitator.
Competency Based Learning Material is a must CBT.
Supervised Industry Training is a must CBT.
In peer teaching, fast learners are the trainer/facilitator of training.
Multiple entry and multiple exit means a trainee can enter a class in any time he
wishes and learners in his own place.
Assessment is always done after every activity.
The Job Sheet is a tool use to assess the competency of a trainee.
Activity 2.1
Essay: Answer the following questions briefly.
What is the difference between the traditional learning and competency based
learning? Cite at least two (2) examples to support your answer.
What is meant with time is flexible and learning is fixed in CBT?
Criteria:
3 to 5 sentences - 3 pts
Idea/content - 4 pts
Examples/citation - 3 pts
Total 10 pts/per number
Self – Check Test 1

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Multiple Choice. Select the best answer among the choices given per item.
In the current educational system in the Philippines, TVET system starts in

____________.
A. Kindergarten
B. Primary
C. Secondary
D. Tertiary
It is the government agency that is tasked to manage and supervise technical

education and skills development in the Philippines.
A. CHED
B. DOLE
C. NMYC
D. TESDA
Which of the following statements of National Certification of TESDA is

incorrect?
It is issued to prove the professionalizing of skilled workers.
It is one of the pillars of the realization of TESDA’s authority role in TVET
sector.
It is the proof of ensuring quality through provision of standards and
system development services.
It is issued to a candidate who has demonstrated competence in some units
of competency that comprise a Qualification.
A person who is competent in all the competency units of Trainers

Methodology 1 could be the following, except.
TVET Trainer
Technical Trainer
Professor
Competency Assessor
A _______________ is comprised of competency standards and

qualifications, together with training standards and assessment
arrangements.
TESDA Handbook
TESDA Manual
Training Guide
Training Regulation

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It is a government office in the Philippines which has the authority in the
technical vocational education and training.
CHED
NMYC
TESDA
TESD
If Automotive and Land Transportation Sector has 37 qualifications, it also
means that there are 37 Training Regulations.
True
False
It is the number of unit of competencies for Trainers Methodology 1 a

candidate shall passed or be competent before he or she shall be qualified
as a Trainer.
3
4
5
6
Activity No. 1
Among the qualifications stated in a sector your major is under, select one
which you think you can be competent and could have the National
Certificate II or an National Certificate II that you already passed and
competent with. (See Appendix A). (2 points)
Example:
Automotive and Land Transportation - Automotive Body
Painting/Finishing NC II
Search online the Training Regulation of the selected qualification. If you have
a printout/hardcopy, then take a picture of the front page.
Example: Automotive Body Painting/Finishing NC II Training Regulation
(5 points)
Take a screenshot or picture of one the competencies under the qualification
being searched. (5 points)
Example: One (1) core unit of competency of Automotive Body
Painting/Finishing NC II Training Regulation
How do you understand Trainers Methodology? How does it relate to your

profession as a Teacher in the future?

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Criteria:
In 5 – 6 sentences only - 2 points
Content - 4 points
How do you understand Facilitate Learning Session as a Unit of Competency for

Trainers Methodology 1?
Criteria:
In 3 sentences only - 2 points
Content - 2 points
Appendix A
List of Sectors and Qualifications per Sector
Appendix B
Sample National Certificate

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Appendix C
Sample Training Regulation as one of the Qualifications for Automotive and

Land Transportation

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7 Issues and Challenges in Popular Literature

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7 Issues and Challenges in Popular Literature

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Module

1. Explain the characteristics of fiction.

4. Interpret and evaluate fiction.

1. Identify the 10 principle of CBT.

1. Develop awareness about TESDA and its programs

CBT is based on the following basic principles:

Contemporary, Popular and Emergent Literature

20. Training programs are registered with the UTPRAS.

Contemporary, Popular and Emergent Literature

Contemporary, Popular and Emergent Literature

The Technical Education and Skills Development Authority (TESDA) is the

May watch about TESDA @ https://www.youtube.com/watch?v=-evtO5xPgoo

Policies, Plans and Information

Philippine Technical Vocational Education and Training System

Contemporary, Popular and Emergent Literature

Standards Setting and Systems Development

Support to TVET Provision

TESDA Supports and Training Provision

TESD creates opportunities for people to be responsible and become productive

Contemporary, Popular and Emergent Literature

Competency Standards Development

TESDA develops competency standards for middle-level skilled workers. These

Competency standards units of competency

Unit 2. Trainers Methodology 1

The TRAINERS METHODOLOGY LEVEL I consists of competencies a TVET trainer

Contemporary, Popular and Emergent Literature

Unit 3. Unit of Competencies of Trainers Methodology 1

Contemporary, Popular and Emergent Literature

Fiction is subjective and evocative. It is "made up," and indirect in its

• the thrill of imagining impossible or unavailable experiences

We thus read fiction not to gain new

Readers have different expectations

Both fiction and nonfiction can be subjected to analysis and interpretation.

Contemporary, Popular and Emergent Literature

On the surface, Melville's Moby Dick, for instance,

Contemporary, Popular and Emergent Literature

Fiction is, by definition, subjective. A novel, story, drama, or poem is the

Fiction can be true, however, only

1.3 Fiction is Evocative: Images and Symbols

Fiction conveys meaning indirectly (other than, of course,

Fiction evokes ideas and feelings

Contemporary, Popular and Emergent Literature

In Willa Cather's short story "Death Comes to the

Readers must be open to associations and reflection,

1.3 Interpretation: A Personal Understanding

With fiction, the meaning is dependent on the perceptions, imagination, and

Contemporary, Popular and Emergent Literature

The discussion of nonfiction texts focused on the analysis of

1.5 Commercial Fiction and Literary Fiction

Intended solely to entertain

 Written with serious artistic intentions by someone who hopes to

Contemporary, Popular and Emergent Literature

Contemporary, Popular and Emergent Literature

CHALLENGES FACING POPULAR LITERATURE

Literature is in crisis. Perhaps not many of my Profs would agree with me on

Contemporary, Popular and Emergent Literature

3. Lots of books are bad.

4. Rise of other academic subjects.

5. No automatic connection to a job after college.

Contemporary, Popular and Emergent Literature

This debate is one I’ve touched on before: if a work of literature is dazzlingly

This is the sister of problem #6. Academics have invented complicated