Name: Monsales, Shara Mae L.

Strand/ Sec: GAS

1211
Different Contextual
Reading Strategies in
Literature
First Quarter: Module 4

A. Directions: Match the words in Column A to its definition in

Column B. Write the letter of the correct answer on the space
provided.
Column A Column B

____ 1. It refers to the immediate physical and social a. author

setting in which people live or in which something
happens.

____ 2. It is the context formed by the beliefs, education b. contextual

values, and experiences of the writer. reading

____ 3. It is a context that is how meaning is understood c. socio

without relying on intent and assumption. cultural context

____ 4. It refers to the particular form, words, sentences, d. historical

and paragraphs that surround the passage you are context
reading.

____ 5. He/she is a writer of a book, article or report. e. literary style

Name: Monsales, Shara Mae L. Strand/ Sec: GAS
1211
____ 6. It is a context which refers to the religious, f. linguistic
economic, social and political conditions that existed context
during a certain time and place.

____ 7. It means engaging to what the author is trying to g. literary

say or the main argument being presented. context

____ 8. It is an analysis of a text that helps us to assess h. critical

the text not only within the context of its historical and reading
cultural setting but also in terms of its textuality.

____ 9. These are various elements and techniques used i. biographical

in writing that construct the whole literature and context

2
create an intended perception of the writing for the reader.

____ 10. In literature, it is the way in which an author j. literary

writes and/or tells a story. devices

For numbers 11-15

B. Directions: Read and analyze each statement and identify if the
statement is TRUE or FALSE.

__________ 11. The historical context is the environmental, social,

cultural, financial, and political circumstances that influence the events
or trends we see that happened during the time the story was written.

__________ 12. All the authors in the world have different backgrounds
which are reflected in their written works.

__________ 13. Socio-cultural context means the thought that language,

rather than existing in isolation, is closely linked to the culture and
society in which it is used.
 Name: Monsales, Shara Mae L. Strand/ Sec: GAS
1211
__________ 14. Biographical context offers personal background of the
author’s life, which often helps students to make sense of the story.

__________ 15. Authors have the same literary techniques or style.

A. Discover me!
Directions: Identify the word defined in each number. Fill in the blanks
to complete the word.
1. b _ o g It involves more than just the basic facts like education,
r_p_y work, relationships, and death; it portrays a person's
experience of these life events

2. s _ c _ A group of individuals involved in persistent social interaction,

_ty or a large social group sharing the same spatial or social
territory, is typically subject to the same political authority and
dominant cultural expectations.

3. c _ l t _ r An umbrella term that encompasses the social behavior and

e norms found in human societies, as well as the knowledge,
beliefs, arts, laws, customs, capabilities, and habits of the
individuals in these groups

4. a _ t _ b Self-written account of the life of oneself.

_o_ra_h
y

5. c _ n t It depends on the preceding or following parts of a text to

_xt__l clarify the meaning.

6. l _ n _ The scientific study of language involves the analysis of

u_sti_ language form, language meaning, and language in context.
s

7. t _ x _ Comprises all of the attributes that distinguish the

u_li_y communicative content under analysis as an object of study
associated with structuralism and post-structuralism.
 Name: Monsales, Shara Mae L. Strand/ Sec: GAS
1211
8. l _ t _ r (of language) associated with literary works or other formal
_r_ writing; having a marked style intended to create a particular
emotional effect.

9. _ n _ l detailed examination of the elements or structure of something.

_s_s

10. t _ m A display of a list of events in chronological order.

__in_

Directions: Read the excerpt of “Green Sanctuary” by A. R. Enriquez and

answer the follow-up questions.

Green Sanctuary
(Former Title: Surveyors of the Liguasan Marsh)

Chapter 1
The two of them --- Alberto Gonzales and his cousin Francisco --- were
on top of the papaya tree by the house in Zamboanga. They were then
still boys. Suddenly, the papaya tree started to sway toward the house.
Before he and his cousin could climb down, the three fell. The papaya'’
top broke off against the edge of the galvanized iron roof and came down
upon both of them: fruit, flowers, leaves, and all. They were too shocked
and scared of his mother and Tia Isabel, who were in the yard nearby, to
cry.

5
“What was that, Albertito?” said the mother, using his pet name.
“Nada, mama,” he said. “Nothing” --- although they were standing there,
the papaya tree trunk still between their legs, for they had had no time
to climb down because the tree fell so quickly.
Name: Monsales, Shara Mae L. Strand/ Sec: GAS
1211
“Ooohhhh,” she said. She never once looked at them, not even to turn
her head for a glance, since she was too busy talking to their aunt.
“Then what was that racket I heard?” She went on talking, not looking at
them still.
“It was nothing, mama,” he said. “Nada, nada,” although the leaves,
flowers, and fruit were still coming down on them like rainfall.
The two squatted there under the eaves, Alberto and his cousin
Francisco, not moving a hair, really scared to move so as not to catch his
mama’s or their aunt’s attention.
They were then still boys.

Chapter 2
For was he not a Zamboangueño, born and raised in Zamboanga, with
Moros as his childhood playmates? Quite often, outside of his home
town, in the Visayas or in Luzon, he was mistaken for a Moro.
“You must be a datu,” the dimpled whore from Culi-Culi, a haven for
worn out prostitutes in Manila, had said to him while putting the money
away under her elastic panty belt.
He had tipped her generously for one lay and treated her more gently
than he would a decent girl. “No, no, I’m not a datu,” he said, sitting up
on the side of the pallet and gazing at the icon of Christ on a tiny altar
up against a wall. “Why do you say I’m a datu?”
She sat up on the pallet too, and, wrapping her arms round him, leaned
her head on the small of his back. She said, “Did you not say you were
from Zamboanga?”
“It does not mean I’m a Moro,” he said. Her hair brushed against his
back. Under a glaring electric ceiling bulb, he was naked but for his
socks, which he had not taken off. While screwing her he had felt silly
and had even once turned his head to look at his stockinged feet. “Much
less am I a datu,” he said, “just because I gave you a big tip.”
Because Alberto had treated her decently, gently, the whore said she
would give him an extra lay. He said, “No, no, no, thanks,” and
immediately felt so proud for having self-control and strong will. And yet
one lay was truly enough, because before the week was over he had the
clap, and while pissing into the toilet bowl in his boarding-house in
Sampaloc, Manila, to relieve the burning sensation he broke the toilet
bowl cover, and two days or so later he
Name: Monsales, Shara Mae L. Strand/ Sec: GAS
1211
6
nearly broke his head when he slipped on the bathroom tiles. He made
up his mind then to see a doctor who had his clinic on the unlit ground
floor of a half-demolished building in front of the University. The doctor
gave him a long sermon on morality and the virtues of Saint Ignatius
Loyola, the soldier saint and patron of fornicators, but after over half an
hour had not written any prescription for his social disease. Alberto
stood up to leave, and the doctor nonchalantly asked him where in the
devil’s name he was going without the prescription. Alberto changed his
voice to an effeminate’s, and said, “I’m going to see a preacher.”

Chapter 3
In a way crudely, that was his life --- always going crack, crack, crack. Or
perhaps more like a duck’s nervous quack, quack, quack. But there was
always a crack a cleavage, a break, and somehow, he was always
responsible for it. He was never conscious of it happening at the time.
The exact moment could only be traced back --- or, sometimes, foreseen
--- but at that infinitesimal moment when the break, aayyiiieee, the
crack came: never!
He left some girls (not so many as he would like to boast or pretend to
have had to his friends by his non-committal silence when the subject of
girls and prostitutes was brought up) --- before that rumble near the
school, over a girl, in Zamboanga. He would like to think he left them,
but now looking back and being true to himself, it seemed they had
drifted away when that crack came.
And as for Myrna, that moment came some two years ago. They were
standing by the side of the Liberal Arts building, in half darkness, the
concrete parade ground walk hard and firm under his feet.
“I have mother’s jewelry and some money I saved in my handbag,” she
said. She smiled, so sweetly, and her face seemed to light up in the half
darkness. It was as though she had smiled into his face, sending
radiation of light into his with her love and trust in him.
He wanted to ask what she was doing with her mother’s jewelry, with the
money. But then it suddenly came to him that her reply might force him
to a commitment, irrevocable and implacable --- to say yes to her. So,
instead he said, “Won’t your mother be angry if she discovers the loss of
her jewelry?”
“Does it matter when we are gone?” she said. And he saw the light in her
face begin to dim. Still, she looked radiant standing there before him in
her green and-white school uniform, so beautiful and desirable. He ached
Name: Monsales, Shara Mae L. Strand/ Sec: GAS
1211
wanting her. But was he ready to pay for tonight’s and all the night’s
screwing for the rest of his life by running away with her now and
eventually marrying her?
He tried not to look into her face when he said, “Maybe we should think
more about this. Why don’t we talk about this again tomorrow?”

7
Finally, the light, the glow in her face, dimmed: but oh! she was so
beautiful still. And then, suddenly, quiet and pitiful, she stood there with
her mother’s jewelry and the little money she had saved in her bag. She
did not say anything, although her eyes said, painfully, to him --- or so
he imagined ---
“You goddamn coward! You pitiful (how ironical), goddamn coward!”
And then crack, crack, crack! And nothing he could say or do afterwards
would change that scene or bring back the light, the radiance in her
lovely, innocent face. Crack, and that finally was lost. O that I shall die!
And then there was Baby. He called her Baby, although her real name
was Concepcion. She was a quiet, silent young girl, very dark, not so tall
as Myrna, but more vivacious, easily excited: more soft in your arms,
liquid-like, the moment you touched her. The two of them were in the
unlit operating room of the town hospital, in the darkness, and she was
in her immaculately white nurse’s uniform, since she was on night-
duty.
“You mean do it here?” he said, incredibly, holding both her hands in his
and looking round for the operating table. He hardly could see it in the
darkness; and there, in the unlit operating room, only her white nurse’s
uniform reflected the shafts of faint moonlight coming through the
windows.
“Why not?” she said, as she withdrew one hand and quickly thrust it
inside his pants. She was panting then, and he thought he saw her red
lips parting, hot, moist, falling like dewy rose petals.
But he was not ready: trembling and scared that if he gave in he would
have to be tied up with her every moment for the rest of his life. Or,
perhaps he wanted to show her he was much more gallant than other
young men, “mas galante;” and had more dignity by refusing her: to quell
her soaring passion on the operating table. “What if the head nurse sees
us!” he whispered, stalling for time. “She comes in here during her
rounds.”
Name: Monsales, Shara Mae L. Strand/ Sec: GAS
1211
Really, she did not say anything, but in the closeness of her mouth and
her breasts he felt her silent laughter begin to rise, to tremble as much
as he trembled then --- and to soar up her throat before breaking with
contempt and hate for him. This he had not expected. And now,
viciously, he heard her say, although she never said a word above a hiss,
heard her say, spitefully, lashing her hiss-words like a horse-whip across
his face: “Miss Lydia Tamparong! She lays more men here on the
operating table a night than there are patients operated on by Dr.
Carreon in a week!”
He lost her. He tried to capture the falling petals, to open her red roughed
wet lips with his, but catlike she withdrew; hiss-falling away silently,
invisibly, wafting down in the air-current of her hissing when he tried to
kiss her again. And he swore just as silently: Dear God! Dear, dear God!

8
Briefly answer the following questions:
1. Was the setting vividly described by the author? Explain.
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________

2. Which is a better place to live- rural or urban? Why?

_______________________________________________________________
_____
_______________________________________________________________
_____
_______________________________________________________________
_____
_______________________________________________________________
_____
_______________________________________________________________
_____
_______________________________________________________________
Name: Monsales, Shara Mae L. Strand/ Sec: GAS
1211
_____
_______________________________________________________________
_____
_______________________________________________________________
_____
_______________________________________________________________
_____
3. What are the sociocultural issues depicted in the story?
Explain.
________________________________________________________________
_____
________________________________________________________________
_____
________________________________________________________________
_____
________________________________________________________________
_____
________________________________________________________________
_____
________________________________________________________________
_____
________________________________________________________________
_____
________________________________________________________________
_____
________________________________________________________________
_____
________________________________________________________________
_____

Directions: Based on the Green Sanctuary by Antonio R. Enriquez, write

the part of the story which shows the type of context. You may use
additional papers you need them.
1. Biographical Context
Name: Monsales, Shara Mae L. Strand/ Sec: GAS
1211

2. Linguistic Context

3. Sociocultural Context

Directions: Reflect on the learning you gained from the “Green

Sanctuary”. Use a separate sheet for your answer.
Name: Monsales, Shara Mae L. Strand/ Sec: GAS
1211
What I thought about the purpose of A. R. Enriquez in writing the
 Name: Monsales, Shara Mae L. Strand/ Sec: GAS
1211

novel:

16

What I discovered after reading the excerpt:

What I know about Mindanao:

Name: Monsales, Shara Mae L. Strand/ Sec: GAS
1211

17

Directions: Compose a song based on the moral that you learned from
the “Green Sanctuary”. Choose a melody of your song by adapting from
other Filipino songs like “Ako ay Pilipino.”
 Name: Monsales, Shara Mae L. Strand/ Sec: GAS
1211
Directions: Encircle the letter that corresponds to the correct answer.

1. It is exploring similarities and differences between texts to understand

them better.
A. comparing and contrasting B. previewing
C. outlining and summarizing D. evaluating
2. It distinguishes the differences between contemporary values and attitudes
and those represented in the text.
A. reflecting B. comparing and contrasting
C. evaluating D. contextualizing
3. It is identifying the main ideas and paraphrasing them in your own words.
A. questioning B. outlining/summarizing
C. contextualizing D. previewing
4. It is testing the logic of a story as well as its trustworthiness and emotional
effect.
A. comparing and contrasting B. reflecting
C. questioning D. evaluating
5. It is thinking deeply or carefully about the message conveyed by the literary
text.
A. evaluating B. reflecting
C. contrasting D. summarizing
6. It is the process of asking queries about the content of the story.
A. previewing B. evaluating
C. questioning D. reflecting
7. It is allowing readers to get a sense of what the text is about and how it
is organized before reading the text.
A. previewing B. outlining C. reflecting D. questioning
8. These are circumstances and characters in the text that could be
representative of or similar to the ones in the life of the author.
A. biographical context B. sociocultural context
C. linguistic context D. historical context
9. It focuses on the language which is used in the literary text and how the
language is used to send meaning.
A. sociocultural context B. historical context
C. biographical context D. linguistic context
10. It helps you realize the social, cultural, political, and economic forces
affecting the literary work that you are reading.
A. biographical context B. historical context
C. sociocultural context D. linguistic context

11. It refers to the economic, political, social, and religious situations that
existed during a certain period and place.
A. biographical context B. sociocultural context
 Name: Monsales, Shara Mae L. Strand/ Sec: GAS
1211
C. linguistic context D. historical context
12. It refers to the context within the discourse, that is, the relationship
between the words, phrases, sentences, and even paragraphs.
A. linguistic context B. cultural context
C. biographical context D. sociocultural context
13. It is formed by the beliefs, education, culture, and experiences of the
author.
A. linguistic context B. cultural context
C. biographical context D. sociocultural context
14. It includes using stories, analyzing newspaper headlines, and looking at
slang and idiomatic language.
A. linguistic context B. cultural context
C. biographical context D. sociocultural context
15. It is the social, political, cultural, economic, and environmental situations
that influence the events or trends we see that happened during the time a text
is written.
A. Sociocultural context B. Linguistic context
C. Historical context D. Postcolonialism

Directions: Write a blog that will promote the tourism of Mindanao.

Name: Monsales, Shara Mae L. Strand/ Sec: GAS
1211
Rubric for Assessment:
Criteria Points

Content and Creativity 50

Text Layout, Use of Graphics and 30

Multimedia

Mechanics 20

Total: 100
points

21