CREATIVE NONFICTION - Q4 - Module 1 Revised SLM PDF

Senior High School
12 - 2nd Semester
Specialized Subject
Creative Nonfiction
Quarter 4
Module 1: Critical Approaches and Sample
Commentary/Critique in Creative Nonfiction
REGION 7 – CENTRAL VISAYAS
DIVISION OF CEBU CITY
FOURTH QUARTER
Module 1 - Week 1
Critical Approaches and Sample Commentary/Critique in
Creative Nonfiction
Content Standard : The learner understands the distinction between
and among creative nonfiction types and forms.
Performance Standard : The learner competently delivers an artistic

presentation, summarizing and analyzing the form,
theme and techniques of a chosen creative
nonfictional text.
Competency : Present a commentary/critique on a chosen creative

nonfictional text representing a type or form
(Biography/Autobiography, Literary
Journalism/Reportage, Personal, Narratives,
Travelogues, Reflection Essays, True Narrative,
Blogs, Testimonies, Other Forms)
About the Module

This module has one lesson entitled: Critical Approaches and Sample
Commentary/Critique in Creative Nonfiction. It aims to let the learners understand
the distinction between and among critical approaches in writing a critique. This
module gives you an overview on the sample commentary/critique of different
types and forms in creative nonfiction based on its critical approaches. The
significant skill that this module wants you to achieve after completion includes
form/structure, theme, and techniques present in the chosen creative nonfictional
text. In view of this, you are expected to have a meaningful learning experience in
answering the provided activities.
Day 1
Pretest
Directions: Read the statements carefully and identify the term being described.
Write the letter of the correct answers on a separate sheet of paper.
1. This approach regards literature as a unique form of human knowledge that needs
to be examined on its own terms.
A. Feminist Criticism/Feminism C. Marxist Criticism
B. Formalism D. Reader Response Criticism
2. This focuses on how literature presents women as subjects of socio-political,

psychological, and economic oppression.
3. It stresses the interaction between the reader and the text.

4. It is concerned with differences between economic classes and implications of a

capital system, such as the continuing conflicts between the working class and the
elite.
5. This type of critical approach is simply a careful reader or viewer who keeps in
mind issues of power and money.
6. In this approach, reading is a transaction or exchange in which readers construct

meaning as they progress through a text because readers bring their own
experiences and ideologies to the text.
7. This approach reveals how aspects of our culture are patriarchal that is, how our
culture views men as superior and women as inferior.
8. This approach includes the style, structure, tone, imagery among others that are
found within the text.
9. In this approach, form/structure is the key not the content as it does not
consider other things such as the purpose of the analysis content or even cultural
notions.
10. The intentions of the writer in this critical approach are irrelevant since a text
can have multiple meanings that shift overtime.
11. All the literary elements in this approach are necessary for understanding the
work which are contained within the word itself of particular interest.
12. In writing a Marxist criticism, the writer must consider the following questions,
except:
A. What role does class play in the work; what is the author's analysis of
class relations?
B. How do characters overcome oppression?
C. In what ways does the work serve as propaganda for the status quo; or
does it try to undermine it?
D. What does a phrase-by-phrase analysis of a short literary text, or a key
portion of a longer text, tell us about the reading experience pre-structured
by (built into) that text?
13. In writing a Feminist Criticism, the writer must consider the following questions,
except:
A. What does the work imply about the possibilities of sisterhood as a mode of
resisting patriarchy?
B. What does the work say about women's creativity?
C. What does the history of the work's reception by the public and by the critics
tell us about the operation of patriarchy?
D. Does the work propose some form of utopian vision as a solution to the
problems encountered in the work?
14. In writing a Reader Response Criticism, the writer must consider the following
questions, except:
A. Do the sounds/shapes of the words as they appear on the page or how they
are spoken by the reader enhance or change the meaning of the word/work?
B. How might we interpret a literary text to show that the reader's response is,
or is analogous to the topic of the story?
C. What does the body of criticism published about a literary text suggest about
the critics who interpreted that text and/or about the reading experience
produced by that text?
D. What is the quality of the work's organic unity? In other words, how does
the work was put together to reflect what it is?
15. In writing a Formalism, the writer must consider the following questions, except:
A. How do these parts and their collective whole contribute to or not contribute
to the aesthetic quality of the work?
B. What does the form of the work say about its content?
C. Is there a central or focal passage that can be said to sum up the entirety of
the work?
D. What constitutes masculinity and femininity?
Critical Approaches and Sample
Commentary/Critique in
Creative Nonfiction
What I Need to Know
After completing this module, you are expected to:
➢ identify the different critical approaches in writing a critique;

➢ react to the idea/plan in a sample reader response critic; and
➢ analyze the given formalist critic to determine the form/structure used in
relation to literary elements and techniques.
What’s In
Directions: Facebook Status Report is an example of emerging forms of creative

nonfiction. Give your comments on the idea/plan on the pilot implementation of
face to face classes in low risk areas. Write your answers on a separate sheet of
paper.
facebook
The Palace informs that President Rodrigo Roa Duterte and the Cabinet approved
during tonight’s Cabinet meeting, December 14, 2020, the conduct of pilot
implementation or dry run of face-to-face classes in select schools within areas
with low COVID-risk for the whole month of January 2021 as proposed by the
Department of Education (DepEd).
The DepEd shall coordinate with the COVID-19 National Task Force (NTF) for the
monitoring of the conduct of the pilot implementation. The pilot shall be done
under strict health and safety measures, and where there is commitment for
shared responsibility among DepEd, local government units and parents.
We need to emphasize that face-to-face classes in schools where this may be

allowed will not be compulsory, but rather voluntary on the part of the learner /
parents. Having said this, a parent’s permit needs to be submitted for the student
to participate in face-to-face classes. – Harry Roque, Presidential Spokesperson
Source: https://www.facebook.com/PresSpokespersonPH/photos/a.401810640153994/1337551066579942/?type=3
Write your comment/s…
Let us see if your comment

exhibits a critical approach in
writing a critique.
Notes to
the Student
Day 2
What’s New
According to Barrot and Sipacio (2016) in their book Communicate Today: English for
Academic and Professional Purposes, there are various ways or standpoints by which
you can critique a certain material. You can critique a material based on its technical
aspects, its approach to gender, your reaction as the audience, or through its portrayal
of class struggle and social structure. The following are the four critical approaches in
writing a critique and sample critiques.
What Is It
Critical Approaches and Sample Commentary/Critique in Creative Nonfiction

1. Formalism - This approach regards literature as a unique form of human knowledge
that needs to be examined on its own terms, all the elements necessary for
understanding the work are contained within the word itself of certain interest.
To the formalist critic these are the elements that forms a critique. This includes
the style, structure, tone, imagery among others that are found within the text.
Our primary goal for formalist critics is to determine how such elements work
together with the text's content to shape its effect upon readers.
In other words, the form of a work of literature is inherently part of its content
so the basic things to look into are the elements of the story such as the
characters, setting, tone, point of view, diction and all other elements of the text.
In formalism form/structure is the key not the content as it does not
consider other things such as the purpose of the analysis content or even
cultural notions.
Consider these guide questions in writing a formalist criticism.
1. How does the work use imagery to develop its own symbols?
2. How do elements of the story, tone, point of view, and all other elements
work in the text?
3. How do these parts and their collective whole contribute to or not
contribute to the aesthetic quality of the work?
4. What does the form of the work say about its content?
5. Is there a central or focal passage that can be said to sum up the entirety
of the work?
Before reading the sample critic,

recall the Personal Narrative “Three
Creepy Nights” found in Module 3
Notes to
from the previous quarter.
the Student
Sample formalist critique of the personal narrative “Three Creepy Nights”
Three Creepy Nights is an example of a personal narrative essay authored by

Leo PJ Revelo. The story narrated the characters’ experience of the supernatural
and the unexplained. The short narrative introduced the Filipino supernatural
and mythical creatures lurking in the dark such as wakwak, sigbin, santelmo
and white lady. These entities were used to scare children but, at some points,
went beyond the stories told by the elders – some experienced their bizarre
presence and brought forth anxiety and fear.
The story navigated with a strange sound that the family had heard for three
consecutive nights. The family had the chance to experience the eerie noise and
the commotion it brought to them. It was evident in the story that the character
who narrated the story had to combat with his fear at the same time to figure
out what creature produced the strange sound they heard. The characters were
entangled with the external sounds and it led to the whole story’s conflict and
interests. The use of onomatopoeia to convey sounds and emanate auditory
awareness was evident through the repetitive usage of “BOOOOOOOG”, “Brrr
Brrrr Brrrr, and “THUUUG”. These had woven the story entirely and evoked
fear. Since the story’s main theme provoked horror and thrill, the interplay of
symbols was evident as explicitly used in the story like dark versus light, hope
versus despair; strange sounds and the rosary, the priest and the unexplained.
The story can be implied that there are questions left unanswered. The strange,
eerie noises in the narrative brought complex interventions to the characters’
stances. Although each character’s perspective jumps from one to the other,
the overall setting and emotions conveyed were on the same level --- fear,
horror, and thrill. The story ended subtly and somehow left unresolved as the
noise were unidentified, but the general meaning of the work would give the
reader a concept of perseverance and to keep going despite the hurdles along
way.
In the sample commentary/critic above, the focus is more on its form/structure.

Structure of the story such as the literary elements, and techniques are used in
crafting the critic.
2. Feminist criticism or feminism believes on how literature presents women as

subjects of social, political, psychological, and economic equality of the sexes.
It also reveals how aspects of our culture are patriarchal that is, how our culture
views men as superior and women as inferior (Barrot and Sipacio, 2016).
There are typical questions to consider in writing a feminist criticism according

to Purdue University, College of Liberal Arts. Below are the following questions:
1. How is the relationship between men and women portrayed?

2. What are the power relationships between men and women (or
characters assuming male/female roles)? How are male and female roles
defined?
3. What constitutes masculinity and femininity? How do characters
embody these traits?
4. Do characters take on traits from opposite genders? How so? How does
this change others’ reactions to them?
5. What does the work reveal about the operations (economically,
politically, socially, or psychologically) of patriarchy?
6. What does the work imply about the possibilities of sisterhood as a mode
of resisting patriarchy?
7. What does the work say about women's creativity?
8. What does the history of the work's reception by the public and by the
critics tell us about the operation of patriarchy?
9. What role does the work play in terms of women's literary history and
literary tradition?
Sample feminist critique of the reflective essay “Making the Right Choice”
In Leio Revelo’s piece, “Making the Right Choice” there was this
character’s retrospection on how he ended teaching English rather than
Social Studies. The story also put the role of women who surrounded the
main character as he took the challenges of becoming a teacher – the
influence of his mother, the effect of his stay in the Social Studies class,
and the impact of his English major classmates had in him during their
demonstration lesson.
This essay led its audience to the character’s journey of his chosen path
and arrived at the destination with the right choice. The character had
hesitations in the beginning of his narrative; he had a dilemma of
choosing the right major he’d take in his pursuit of tertiary education.
Upon choosing what major to take, the presence and influence of the
character’s mother was evident. He was hesitant to choose English as
his major because he was not confident and talkative enough as expected
for English majors. He was unsure of himself, so he gave in to his
mother’s demand. The character in the story portrayed a mother and son
relationship which evidently exhibited the matriarchal dominance in
the family when it comes to decision making. He gave in to his mother’s
wish and persevered until the end. The presence of the other English
majors as they sparked his passion for education while teaching
Literature and Grammar was also evident.
The reflective essay revolved on the dilemma of the main character and
the influence of the supporting characters. The character was able to
solve his problem and put all the pieces together. Matriarchy dominated
in the narrative’s atmosphere as the supporting female characters laid
out their assistance and help. It was their influence that made the main
character’s decision a good one; he took it one at a time, every step to
the right direction.
As you noticed in the sample commentary/critic, the word dominance stood
out. Explicitly, describing woman as a character in the story in the absence of
the patriarch. Furthermore, a feminist critic tells us to believe on how literature
presents women as subjects of social, political, psychological, and economic
equality of the sexes.
3. Reader response criticism stresses the interaction between reader and text. The
intentions of the writer are irrelevant since a text can have multiple meanings
that shift overtime.
In this approach, reading is a transaction or exchange in which readers

construct meaning as they progress through a text because readers bring their
own experiences and ideologies to the text. Their responses will differ, the reader
infuses personal meaning into verbal symbols on a page and the text channels
meaning through its structure to create meaning in this framework. A reader
must be active, constantly building and synthesizing meaning paying attention
not only to words on the page but also to the images and emotions he or she is
experiencing.
A text does not embody meaning but rather guides the active creation of
meaning but it's important to keep in mind that reader response is not the same
as personal response rather the individual responses are situated in a larger
community of readers through active discussion.
The following are the common aspects looked into reader response criticism:
1. How does the interaction of text and reader create meaning?

2. What does a phrase-by-phrase analysis of a short literary text, or a key
portion of a longer text, tell us about the reading experience pre-
structured by (built into) that text?
3. Do the sounds/shapes of the words as they appear on the page or how
they are spoken by the reader enhance or change the meaning of the
word/work?
4. How might we interpret a literary text to show that the reader's response
is, or is analogous to, the topic of the story?
5. What does the body of criticism published about a literary text suggest
about the critics who interpreted that text and/or about the reading
experience produced by that text?
Sample reader response critique of the Facebook Status Report of Secretary

Harry Roque from the Office of the Presidential Spokesperson on the pilot
implementation of face-to-face classes in select schools in low-risk areas.
It is imperative for announcements made on Facebook to draw much

attention especially if the content is timely, universal, and contains
intellectual value. Same goes with the idea on the pilot implementation of
face-to-face classes in select schools in low-risk areas.
Varied commentaries and reactions filled the comment section of the said
post. To date, it garnered 698 reactions, 118 comments, and 283 shares.
Some of the commentaries agreed to the pilot implementation of face-to-face
classes in select schools in low-risk areas; negative comments not in favor of
the said announcement.
The readers of the Facebook post construct meaning as they progress

through a text because readers as the audience bring their own experiences
and ideologies to the text. Their responses will differ, the reader infuses
personal meaning into verbal symbols. Here are some of the actual responses
of the readers.
“Nice move, we really have to move on while following the min health protocols
or else our kids wl have generational catastrophe in education if we will not
move on. We have to learn to live with the virus safely. Anjan na , just like the
other viruses.”
- Bren Davis Lafasni
“Experimental? Everything starts from a low risk…what if? Can u hold up the
line?”
- Allain Delos Reyes
The interaction between the textual commentaries in a Facebook post and the
reader as reactors/responders creates meaning differently when manifesting
verbal symbols. In the actual example, the one who agreed focused his response
on being active, constantly building and synthesizing meaning and paying
attention to the observance of the minimum health protocols while the other
response argued by highlighting the word “experimental” and even throws a
hypothetical question as a way of response.
4. Marxist criticism is concerned with differences between economic classes and

implications of a capital system, such as the continuing conflicts between the
working class and the elite. Hence, it attempts to reveal that the ultimate source
of people’s experience is the socioeconomic system (Barrot and Sipacio, 2016).
The Marxist critic simply is a careful reader or viewer who keeps in mind issues
of power and money, and points on any of the following kinds of questions:
1. What role does class play in the work; what is the author's analysis of
class relations? How do characters overcome oppression?
2. In what ways does the work serve as propaganda for the status quo; or
3. What does the work say about oppression; or are social conflicts ignored
or blamed elsewhere?
4. Does the work propose some form of utopian vision as a solution to the
problems encountered in the work? (utopian vision – is aiming for a
perfect society in which everyone works well with each other and is
happy).
Sample Marxist critique of the Travelogue “When in Cebu: Chasing History”
Getting a chance to travel and wander is not only for the elite and high social
class. Instead, everybody is entitled for it since tourist destinations are now
readily accessible. However, power and money still play a vital role in
realizing your dream tourist spot destination. People who are from a well-off
family indulge in luxury hotel anytime they like while those that are coming
from low class will decide to allocate their earnings in buying basic
commodities.
The travelogue is focused in the Island of Cebu where the oldest and the first
national road in the Philippines can be found. The writer enumerated all
places he has been to when travelling Cebu such as the Magellan’s Cross,
Colon Street, and Temple of Leah. These tourists’ spots entail stories of labor
and power relations. The Spanish Regime brought drastic changes especially
in the implementation of the Polo System or forced labor. The construction
of church complex and how the Spaniards planned the City of Cebu utilized
early Cebuanos to glorify Spain and its colonies. Further, The Temple of Leah
boasts its splendor as a tomb but as it is situated atop a hill, it signifies that
someone has to be in the pedestal to have comfort and luxury even in the life
hereafter.
The main attractions that Cebu has for its visitors tell stories, both good and
bad, the stories of the oppressed and the oppressor. The travelogue put these
spots as highlights of the city not only because they contribute to the local
history but the underlying narratives of their contribution to the economy
and income generation.
Also, the storyline of the travelogue is subtly anchored on the accessibility of

the stated attractions --- one can only visit and fully enjoy them if he/she
has enough means to travel. Going to these places will only take you less
than a day if you own a vehicle. In contrast, going to the mentioned places
will take days, or weeks for less fortunate, a great gap that is difficult to
bridge --- the gap between the rich and the poor.
In this Travelogue, the critique focused on the different social classes.

Contextual, historical, and practical examples are used to associate people from
different social classes. The commentary ended with the statement saying the
gap and that social classification is inescapable.
These are not the only critical approaches you

can use, other approaches include postmodern
criticism, post-colonial, structuralism,
psychological, gender, ecocriticism, biographical,
Notes to
historical, mythological and deconstructionist
the Student
criticism.
What I can do
Directions: Below is an example critique of a Facebook Status Report.

Read carefully its content and provide your reaction by comparing your comment from
the previous activity “What’s In”. Write your answers on a separate sheet of paper.
It is imperative for announcements made on Facebook to draw much attention

especially if the content is timely, universal, and contains intellectual value. Same goes
with the idea on the pilot implementation of face-to-face classes in select schools in
low-risk areas.
Varied commentaries and reactions filled the comment section of the said post. To
date, it garnered 698 reactions, 118 comments, and 283 shares. Some of the
commentaries agreed for the pilot implementation of face-to-face classes in select
schools in low-risk areas; negative comments not in favor of the said announcement.
The readers of the Facebook post construct meaning as they progress through a text
because readers as the audience bring their own experiences and ideologies to the text.
Their responses will differ, the reader infuses personal meaning into verbal symbols.
Here are some of the actual responses of the readers.
“Nice move, we really have to move on while following the min health protocols or else
our kids wl have generational catastrophe in education if we will not move on. We have
to learn to live with the virus safely. Anjan na , just like the other viruses.”
- Bren Davis Lafasni
“Experimental? Everything starts from a low risk…what if? Can u hold up the line?”
- Allain Delos Reyes
Guide Questions:
1. Based on the actual responses from the reader, are you for or against with
the idea on the pilot implementation of face-to-face classes in select schools in low-
risk areas?
Yes, Why? __________________________________________________________________
No, Why? ___________________________________________________________________
2. Does your commentary from the introductory activity (What’s In) exhibit a
reader response criticism?
Yes, Why? __________________________________________________________________
No, Why? ___________________________________________________________________
What I have learned
Directions: Fill in the blanks with the right term found inside the box to complete the
thought expressed from the text below. Write the terms on a separate answer sheet.
analyze aspects approach audience critique

gender material reaction struggle structure
According to Barrot & Sipacio (2016) in their book Communicate Today: English for
Academic and Professional Purposes, they have listed four critical approaches in
writing a critique. There are various ways or standpoints by which you can 1._____
and 2._____ a certain 3._____. You can critique a material based on its technical
4._____, its 5._____ to 6._____, your 7._____ as the 8._____, or through its portrayal of
class 9._____ and social 10._____.
Day 3
What’s More
I. Directions: Below are guide questions to consider in writing a commentary or

critique. Identify whether these guide questions are Formalist, Feminist, Reader
Response or Marxist criticism. Write you answers on a separate sheet of paper.
1. How do elements of the story, tone, point of view, and all other elements work
in the text?
2. What role does class play in the work; what is the author's analysis of class
relations?
3. What does the work say about women's creativity?
4. What does the form of the work say about its content?
5. What does the work reveal about the operations (economically, politically,
socially, or psychologically) of patriarchy?
6. How does the interaction of text and reader create meaning?
7. How might we interpret a literary text to show that the reader's response is, or
is analogous to, the topic of the story?
8. What constitutes masculinity and femininity? How do characters embody these
traits?
9. What is the quality of the work's organic unity? In other words, how does the
work was put together to reflect what it is?
10. In what ways does the work serve as propaganda for the status quo; or does it
try to undermine it?
II. Directions: Below is a sample formalist critique of Three Creepy Nights, a
Personal Narrative written by Mr. Leio PJ R. Revelo. Determine the form/structure
used in a sample formalist commentary/critique in relation to literary elements and
techniques.
Three Creepy Nights is an example of a personal narrative essay authored by Leo PJ

Revelo. The story narrated the characters’ experience of the supernatural and the
unexplained. The short narrative introduced the Filipino supernatural and mythical
creatures lurking in the dark; wakwak, sigbin, santelmo and white lady were used
to scare children but, at some points, went beyond the stories told by the elders –
some experienced their bizarre presence and brought forth anxiety and fear.
The story navigated with a strange sound that the family hear for three consecutive
nights. The family had the chance to experience the eerie noise and the commotion
it brought to them. It was evident in the story that the character who narrated the
story had to combat with his fear at the same time to figure out what creature
produced the strange sound they heard. The characters were entangled with the
external sounds and it led to the whole story’s conflict and interests. The use of
onomatopoeia to convey sounds and emanate auditory awareness was evident
through the repetitive usage of “BOOOOOOOG”, “Brrr Brrrr Brrrr, and “THUUUG”
had woven the story entirely and evoked fear. Since the story’s main theme provoked
horror and thrill, the interplay of symbols was evident such as dark versus light,
hope versus despair, strange sounds and the rosary, the priest and the unexplained.
The story can be interpreted that there are questions left unanswered. The strange,
eerie noises in the narrative brought complex interventions to the characters’
stances. Although each character’s perspective jumps from one to the other, the
overall ambiance and emotions conveyed were on the same level --- fear, horror, and
thrill. The story ended subtly and somehow left unresolved as the noise were
unidentified, but the overall meaning of the work would give the reader a concept of
perseverance and to keep going despite the hurdles along way.
1. FORM/STRUCTURE
a. Type of Creative Nonfiction: __________________________________________________

b. Title: _______________________________________________________________________
c. Content of Introduction: _____________________________________________________
d. Contents of the Body: _______________________________________________________
2. ELEMENTS
a. Characters: ________________________________________________________________
b. Setting: ___________________________________________________________________
c. Conflict: ____________________________________________________________________
d. Literary Techniques: _______________________________________________________
e. Point of View: _______________________________________________________________
f. Theme: ____________________________________________________________________
Day 4
Post Test
Directions: Read the statements carefully and identify the term being described.
Write the letter of the correct answers on a separate sheet of paper.
1. In writing a Formalism, the writer must consider the following questions, except:
A. How do these parts and their collective whole contribute to or not contribute
to the aesthetic quality of the work?
B. What does the form of the work say about its content?
C. Is there a central or focal passage that can be said to sum up the entirety of
the work?
D. What constitutes masculinity and femininity?
2. In writing a Marxist criticism, the writer must consider the following questions,
except:
A. What role does class play in the work; what is the author's analysis of
class relations?
B. How do characters overcome oppression?
C. In what ways does the work serve as propaganda for the status quo; or
D. What does a phrase-by-phrase analysis of a short literary text, or a key
portion of a longer text, tell us about the reading experience pre-structured
by (built into) that text?
3. In writing a Reader Response Criticism, the writer must consider the following
questions, except:
A. Do the sounds/shapes of the words appear on the page or how they are
spoken by the reader enhance or change the meaning of the word/work?
B. How might we interpret a literary text to show that the reader's response is,
or is analogous to, the topic of the story?
C. What does the body of criticism published about a literary text suggest about
the critics who interpreted that text and/or about the reading experience
produced by that text?
D. What is the quality of the work's organic unity? In other words, how does
the work was put together to reflect what it is?
4. In writing a Feminist Criticism, the writer must consider the following questions,
except:
A. What does the work imply about the possibilities of sisterhood as a mode of
resisting patriarchy?
B. What does the work say about women's creativity?
C. What does the history of the work's reception by the public and by the critics
tell us about the operation of patriarchy?
D. Does the work propose some form of utopian vision as a solution to the
problems encountered in the work?
5. All the literary elements in this approach are necessary for understanding the work
are contained within the word itself of particular interest.
6. This approach regards literature as a unique form of human knowledge that needs to
be examined on its own terms.
7. The intentions of the writer in this critical approach are irrelevant since a text
can have multiple meanings that shift overtime.
8. This focuses on how literature presents women as subjects of socio-political,

psychological, and economic oppression.
9. In this approach, form/structure is the key not the content as it does not consider
other things such as the purpose of the analysis content or even cultural notions.
10. It stresses the interaction between reader and text.

11. The approach that forms a critique is its structure rather than its content. This
includes the style, structure, tone, imagery among others that are found within the
text.
12. It is concerned with differences between economic classes and implications of a capital
system, such as the continuing conflicts between the working class and the elite.
13. This approach reveals how aspects of our culture are patriarchal that is, how our
culture views men as superior and women as inferior.
14. This type of critical approach is simply a careful reader or viewer who keeps in mind
issues of power and money.
15. In this approach, reading is a transaction or exchange in which readers construct

meaning as they progress through a text because readers bring their own experiences
and ideologies to the text.
ELEMENTS WHAT’S IN
WHAT’S MORE
1. Narrator and his 1. Answers
family may vary
Activity I
2. The supernatural 1. Formalism
WHAT I CAN
and unidentified 2. Marxist
DO
bothering the family 3. Feminism
for three nights (man 4. Formalism
1. Answers
vs. nature) 5. Marxist
may vary
3. Onomatopoeia 6. Reader Response
2. Answers
7. Reader Response
4. Some people may vary
8. Feminism
experience supernatural
9. Formalism
instances in their own WHAT I HAVE
10. Marxist
houses. LEARNED
1. analyze
Activity II
2. critique
FORM/STRUCTURE
3. material
1. Personal Narrative
4. aspects
Essay
5. approach
2. Three Creepy Nights 6. gender
3. Started with a scary 7. reaction
background content 8. audience
such as talking about 9. struggle
the supernatural and 10. structure
the unexplained.
4. Beginning –
Introduction of the
Filipino supernatural
and mythical creatures
lurking in the dark
Middle – The story
navigated with a strange
sound that the family
hear for three
consecutive nights.
Ending – The critic
ended subtly by stating
the overall meaning of
the work which gives the
reader a concept of
perseverance despite the
hurdles along the way.
Answer Key
References
Book/s
Aguila, A. et al. (2017). Telling the Truth: The Art of Creative Nonfiction for Senior High
School. Quezon City: C & E Publishing.
Barrot, J., Sipacio, P.J. (2016). Communication Today: English for Academic &
Professional Purposes for Senior High School. Quezon City: C & E Publishing
Inc.
Image/s
Weliever, K. (2017) Understanding yourself. Thepreacherword.com.

https://thepreachersword.files.wordpress.com/2017/12/understanidng-
yourself.jpg
Internet Sources
Literary Terms. (2015, June 1). Retrieved November 3, 2015, from

https://literaryterms.net/.
Roque, Harry (2020, December 14)). On the Pilot Implementation of Face-to-face

classes in select schools in low risk areas. Office of the Presidential
Spokesperson. Retrieved April 5, 2021, from https://bit.ly/3gOXyve
Masterworks of English Literature (n.d.) Critical Approaches to Literature. English

205 Masterworks of English Literature. Retrieved April 16, 2021, from
https://bit.ly/3edj7TA.
Acknowledgements:
Creative Nonfiction: SHS (Specialized Subject)

Quarter 4 – Module 1: Critical Approaches and Sample Commentary/Critique in
Creative Nonfiction
Self-Learning Module Development Team
Compiler: Sionel M. Mendaros

SHS Teacher I, Lusaran Integrated Senior High School
Editors: Marijune Indig-Torreon

Master Teacher II, Abellana National High School
Mary Jane Moloboco Acusar

Master Teacher I, Abellana National High School
Evaluator: Evelyn Rias Pielago

Principal IV, Abellana National High School
For inquiries or feedbacks, please write or call:
Department of Education – Division of Cebu City

Office Address: Imus Avenue, Cebu City
Telephone Nos.: (032) 255 – 1516 / (032) 253 – 9095
E-mail Address: cebu.city@deped.gov.ph

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Senior High School

DIVISION OF CEBU CITY

Performance Standard : The learner competently delivers an artistic

Competency : Present a commentary/critique on a chosen creative

About the Module

2. This focuses on how literature presents women as subjects of socio-political,

3. It stresses the interaction between the reader and the text.

4. It is concerned with differences between economic classes and implications of a

6. In this approach, reading is a transaction or exchange in which readers construct

What I Need to Know

After completing this module, you are expected to:

➢ identify the different critical approaches in writing a critique;

Directions: Facebook Status Report is an example of emerging forms of creative

We need to emphasize that face-to-face classes in schools where this may be

Write your comment/s…

Let us see if your comment

Critical Approaches and Sample Commentary/Critique in Creative Nonfiction

Consider these guide questions in writing a formalist criticism.

Before reading the sample critic,

Three Creepy Nights is an example of a personal narrative essay authored by

In the sample commentary/critic above, the focus is more on its form/structure.

2. Feminist criticism or feminism believes on how literature presents women as

There are typical questions to consider in writing a feminist criticism according

1. How is the relationship between men and women portrayed?

In this approach, reading is a transaction or exchange in which readers

1. How does the interaction of text and reader create meaning?

Sample reader response critique of the Facebook Status Report of Secretary

It is imperative for announcements made on Facebook to draw much

The readers of the Facebook post construct meaning as they progress

4. Marxist criticism is concerned with differences between economic classes and

Sample Marxist critique of the Travelogue “When in Cebu: Chasing History”

Also, the storyline of the travelogue is subtly anchored on the accessibility of

In this Travelogue, the critique focused on the different social classes.

These are not the only critical approaches you

Directions: Below is an example critique of a Facebook Status Report.

It is imperative for announcements made on Facebook to draw much attention

analyze aspects approach audience critique

class 9._____ and social 10._____.

I. Directions: Below are guide questions to consider in writing a commentary or

Three Creepy Nights is an example of a personal narrative essay authored by Leo PJ

a. Type of Creative Nonfiction: __________________________________________________

8. This focuses on how literature presents women as subjects of socio-political,

10. It stresses the interaction between reader and text.

15. In this approach, reading is a transaction or exchange in which readers construct

Weliever, K. (2017) Understanding yourself. Thepreacherword.com.

Literary Terms. (2015, June 1). Retrieved November 3, 2015, from

Roque, Harry (2020, December 14)). On the Pilot Implementation of Face-to-face

Masterworks of English Literature (n.d.) Critical Approaches to Literature. English

Creative Nonfiction: SHS (Specialized Subject)

Compiler: Sionel M. Mendaros

Editors: Marijune Indig-Torreon

Mary Jane Moloboco Acusar

Evaluator: Evelyn Rias Pielago

For inquiries or feedbacks, please write or call:

Department of Education – Division of Cebu City

You might also like

class 9._ and social 10._.