Senior High School

Creative Writing
Module 6
Understanding Intertextuality as
Technique of Drama

AIRs - LM
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LU_CreativeWriting_Module6
CREATIVE WRITING
Module 6: Understanding Intertextuality as Technique of Drama
Second Edition, 2021

Copyright © 2021
La Union Schools Division
Region I

All rights reserved. No part of this module may be reproduced in any form without written
permission from the copyright owners.

Development Team of the Module

Author: Jenilyn B. Ferrer

Content Reviewer: Ryan A. Cortez
Language Reviewer: Ryan A. Cortez
Editor: SDO La Union, Learning Resource Quality Assurance Team
Illustrator: Ernesto F. Ramos Jr.
Design and Layout: Jackielyn G. Calderon

Management Team:
Atty. Donato D. Balderas Jr.
Schools Division Superintendent
Vivian Luz S. Pagatpatan, PhD
Assistant Schools Division Superintendent
German E. Flora, PhD, CID Chief
Virgilio C. Boado, PhD, EPS in Charge of LRMS
Belen C. Aquino, PhD, EPS in Charge of English
Michael Jason D. Morales, PDO II
Claire P. Toluyen, Librarian II

Printed in the Philippines by: _______________________

Department of Education – SDO La Union

Office Address: Flores St. Catbangen, San Fernando City, La Union
Telefax: 072 – 205 – 0046
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LU_CreativeWriting_Module6
 Senior High school

Creative Writing
Module 6
Understanding Intertextuality as
Technique of Drama

LU_CreativeWriting_Module6
Introductory Message
This Self-Learning Module (SLM) is prepared so that you, our dear
learners, can continue your studies and learn while at home. Activities,
questions, directions, exercises, and discussions are carefully stated for you
to understand each lesson.

Each SLM is composed of different parts. Each part shall guide you
step-by-step as you discover and understand the lesson prepared for you.

Pre-tests are provided to measure your prior knowledge on lessons in

each SLM. This will tell you if you need to proceed on completing this module
or if you need to ask your facilitator or your teacher’s assistance for better
understanding of the lesson. At the end of each module, you need to answer
the post-test to self-check your learning. Answer keys are provided for each
activity and test. We trust that you will be honest in using these.

In addition to the material in the main text, Notes to the Teacher are
also provided to our facilitators and parents for strategies and reminders on
how they can best help you on your home-based learning.

Please use this module with care. Do not put unnecessary marks on
any part of this SLM. Use a separate sheet of paper in answering the exercises
and tests. And read the instructions carefully before performing each task.

If you have any questions in using this SLM or any difficulty in

answering the tasks in this module, do not hesitate to consult your teacher
or facilitator.

Thank you.

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 Target

In the previous module, you were introduced to the wonderful world of literary
genre called drama. You were able to dig deep into the definition of drama and the
underlying concepts of drama along its various types. The elements of drama, as well
as some of the techniques, were also discussed in the previous module.
But have you ever wondered why there are dramas which sound like as if you
have read them before or you have met them along the way in another form like a
short story or a novel or a song? Like the hit musical “Ang Huling El Bimbo”, you
might be wondering: Hey! Isn’t this one the hit song by the 90s rock band
Eraserheads?
This module which you are about to tackle will provide you more information
to answer such questions.
After going through this module, you are expected to:
1. Understand intertextuality as a technique of drama (HUMSS_CW/MPIj-IIc-16);
2. Identify the various types of intertextualities used in drama; and
3. Explain intertextualities used in some popular literary works.

Note to the Teacher

This SLM is strategically designed for independent learning.
However, as the teacher or facilitator of learning, you are highly
encouraged to engage with your learners as they go along. Some learners
may find the activities difficult and would require you to explain
instructions and lesson contents for them to be able to understand and
successfully finish the module.
Your support in the success of teaching-learning is very important.

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 Lesson Understanding Intertextuality
6 as Technique of Drama

In the previous module, you were introduced to the concepts and ideas on
what is drama. You also had a thorough understanding on the different types,
elements and techniques used in drama.
In this module, you will learn more about intertextuality as a technique in
drama.
You may now start with your module! Have and enjoy!

Jumpstart

Activity 1: The Who?!

Directions: In every item is a popular line from a song, poem, movie, or a short story.
Look for the corresponding intertextual relations in the choices given below. Write
the letter of your answer on a separate sheet of paper.
I II
I think I never want to see What was God thinking on the day
1.
another stinging honey bee he gave that bee a weapon anyway
A bee whose nasty stingers pressed Bees in summer are everywhere
into this flesh too near the breast oh do so ever do beware

III
For on this bosom it had lain
and stung me, oh the nasty swain
the bee has stung this silly me
to think God made that stupid bee
--‘Bees’ by Elle De Jeune
Source: https://allpoetry.com/poem/11757874-Bees

This poem about bees sounds funny but did you know that its beat and
rhythm were derived from a more serious poem you most likely met when you were
in elementary? What is the title of this poem written by Joyce Kilmer?
A. Beasts B. Breasts
C. Trees D. Grease

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2. Lady: Hello?
Ghostface: I’m gonna kill you! I’m gonna slice you up!
Lady: Who is this?
Ghostface: I’m gonna chop you like liver!
Lady: What do you want?
Ghostface: I’m in the house. You know where I am?
Source: https://www.youtube.com/watch?v=ZAerssgC4pc
You must be familiar with the character of Ghostface who appeared in the
hit comedy movie Scary Movie in year 2000. But did you know that Ghostface first
appeared as a serious (not a comic) serial killer in a hit movie in 1996? What is
the title of this Hollywood blockbuster?

A. Scream B. Halloween
C. Wild Things D. I Know What You Did Last Summer

3. Napadaan sa sabungan, may nagsisigawan

Nung aking tingnan, manok na pula mukhang matapang
Ang pera ni misis na dapat ay ihulog ko sana sa Palawan
Aking pinusta sa manok na pula mukhang tatama yan
Your parents may put a little frown on their faces as they hear this popular
--lyrics from the song “Manok na Pula” by Jomar Torillo
Source: https://www.youtube.com/watch?v=V6VMH5YiGic

Your parents may put a little frown on their faces as they hear this popular
song with its music reminding them of the good old days. The music in this parody
was taken from the hit song of Anne Murray in 1984. What is the title of this song?
A. You Needed Me B. Just Another Woman in Love
C. You Won’t See Me D. Unchained Melody

4. “Cause you were Romeo, I was a Scarlet Letter;

4. And my Daddy said “Stay away from Juliet!”
But you were everything to me
I was begging you “Please don’t go!”
-lyrics from the song “Love Story”
written, sang and performed by Taylor Swift
Source: www.musicmatch.com

The lines remind you of a famous drama of the star-crossed lovers made
popular by William Shakespeare. What is the title of this drama?
A. Midsummer’s Night’s Dream B. A Winter’s Tale
C. As You Like It D. Romeo and Juliet

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5. “Hindi na kailangan pang magpaalam”, ang wika ni Jori sa sarili.
Nakapagsulat naman na siya ng kanyang paalam sa kanyang mga kababayan at
iyon na rin ang kanyang huli. Sa loob-loob niya at sa mismong isip niya, nagawa
na niya ang mga dapat ihanda. Ang laban niya sa mga mapang-aping mga
pulitiko at mga buwayang negosyante kasama na ang mapanlinlang nilang
pananampalataya ay nasugatan niya ng malalim. Tiniyak niyang pagkatapos ng
kanyang pagbitay ay guguho na ang institusyong umuto sa kanya at sa kanyang
mga kababayan ng napakatagal na panahon. Lumapit and guwardiya sa kanyang
selda at malamig na nagsabi, “Tumayo na po kayo, doktor. Oras na po.”
Kampanteng tumayo si Jori. Naisip na niya ang huling postura bago
bumagsak sa lupa pagkatapos tumagos ang mga bala sa kanyang dibdib
mamaya. Pipilitin niyang humarap sa silangan para masilayan sa huling
pagkakataon ang sinag ng araw.
-- “Lumaban ka, Jori!”, maikling kwento ni Jenilyn Ferrer
Is the scene familiar to you? Does it bring a picture of a hero in your mind? Who
do you think is this hero in Philippine history?

A. Jose Rizal B. Gregorio Del Pilar

C. Andres Bonifacio D. Antonio Luna
Were you able to figure out all the correct answers?
Now that you have had your great jumpstart, let us take a moment first in
understanding the concepts behind intertextuality!

Discover

By now you already have a slight idea on what is intertextuality. In this part,
you are going to read more on what is intertextuality. Continue with your quest for
knowledge! Good luck!

WHAT IS INTERTEXTUALITY?
The use of intertextuality in literature is an effective tool used by writers to
craft meanings with multiple layers into their poems, short stories, songs, novels,
and dramas. With this, it is safe to say that intertextuality is a powerful and effective
technique to convey something in a package seemingly familiar to the readers.
However, intertextuality does not come easy to detect. This technique becomes
difficult to identify especially when the reader does not possess a wide knowledge of
different literary texts. This situation may have been experienced by you when you
were answering the jumpstart activities. For this reason, continually reading and
expanding one’s array of books, poems, films, songs, and plays become all the more
imperative.
The term intertextuality was first developed by the poststructuralist, Julia
Kristeva in the 1960s. Since then, intertextuality has become widely accepted by
postmodern literary critics and theoreticians (www.literariness.org).

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 Intertextuality happens when a text or any work of art is indirectly or directly
referring to another text or work of art through its genre, symbols, ideas, or even
style. Intertextuality appears with a distinctively recognizable elements of the
referenced text.
An implicit intertextual reference happens when the writer indirectly
alludes to another text through the genre, ideas, symbols and styles. On the other
hand, explicit intertextual reference happens when the writer directly states
quotes or reference another text in their work.
With intertextuality, writers are able to enrich and extend the meanings of
their literary work and reflect their perspectives on issues or message in a more
creative manner.
The concept of intertextuality can also be expanded to music, film, advertising,
and many more in a way that everything produced now is influenced by what came
before. References to pop culture in advertising, films that are made from books, and
disc tracks in rap can all be considered intertextual though they are not strictly texts
(www.masterclass.com).

INTERTEXTUALITY VARIATIONS
Intertextuality variations greatly depend on two factors: the intention of the
writer and the significance of the reference. These variations may come in three
forms.
First is the obligatory intertextuality wherein the writer deliberately invokes
a comparison or association between two or more texts. This is usually conscious
and directly injected by the writer into the literary text to help enrich and extend the
meanings.
Given the freedom and space in writing, there is also the variation called
optional intertextuality. The use of this variation creates a lesser impact on the
significance of the intertext within the work of literature.
The accidental intertextuality happens, as the word implies, by accident.
This often happens when readers connect a text with another text, cultural practice,
or a personal experience without any tangible anchor point within the original text.

INTERTEXTUALITY TECHNIQUES
There are five techniques used to create the sense of intertextuality in a
literary work. These are effective means to refer to texts in various ways and help
create and enrich meaning of literary texts.
ALLUSION. This is a literary technique commonly used in intertextuality
where an indirect reference to another text through characters, symbols, ideas which
could be historical, mythical, or religious in nature, are used to extend meaning.
Common allusions in literature and in drama are from characters, symbols
and events in Greeks mythology like the gods and goddesses, heroes like Achilles,
Hercules and Perseus, things like the Pandora’s Box, Golden Fleece, and many more.

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 PARODY. This is simply referred to by most literary scholars as ‘intellectually
humorous imitation’ of a work of art or literature. This so-called imitation of another
text serves the purpose of delivering satirical truths and mockery in a subtle yet
effective manner.
QUOTATION. This is a direct reference to another text with the use of famous
lines. Shakespeare’s “Hamlet” gave the famous lines “To be or not to be, that is the
question!” or in his historical drama “Julius Caesar” where Anthony is best
remembered with the lines “Friends, Romans, countrymen, lend me your ears!”
In World War II history, many works of literature place their characters ala-
McArthur with delivery of lines “I shall return!”
APPROPRIATION. This is the ‘reworking’ or the ‘re-imagination’ of a well-
known work of art or a piece of literature to change or extend its meanings.
The idea here is that there is already a pre-existing work of art (say for example
a painting) and that this artwork is ‘reworked’ by another either by applying new
media into it or whatever that is that the artist would like to present. An artist may
use Juan Luna’s “Spoliarium” where the gladiator pulling a fallen comrade may
appear in his version to be pulling a crocodile in a coat and tie.
The use of appropriation technique becomes a legal case when copyright of
the original authors and intellectual property rights of the original artist are violated.
Andrew E (being the producer) and the Pinoy rap group Salbakuta have had a close
brush on this issue when fans of Barbara Streisand complained about the rap group
degrading the romantic impact of the song “Evergreen” into the chorus of the hit song
‘Stupid Love’ which was made popular by the rap group
(www.philstar.com/entertainment/2002/05/01/159240)
ADAPTATION. This technique is most common in TV dramas or stage plays
where the plot is largely based on popular literary works such as novels and short
stories. A good example is J.K. Rowling’s ‘Harry Potter’ series which made its way
into the silver screen as a film adaptation. Another one is the ‘Lord of the Rings’ novel
by J.R.R. Tolkien which garnered Oscar nominations and awards.

Explore

Here are some enrichment activities for you to work on to master and
strengthen the concepts you have learned from this lesson.
Enrichment Activity 1: True or False
Directions: Read each item carefully. Write True is the statement is correct and
False if otherwise. Use a separate sheet of paper for your answers.

1. The use of intertextuality in literary work is easy to identify even if the reader does
not possess a wide knowledge of different literary texts and materials.

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2. Intertextuality happens when a text or any work of art is indirectly or directly
referring to another text or work of art through its genre, symbols, ideas, or even
style.
3. The term intertextuality was first developed by the poststructuralist Julia Clarete
in the 1960s.
4. An implicit intertextual reference happens when the writer directly alludes to
another text through the genre, ideas, symbols and styles.
5. Explicit intertextual reference happens when the writer indirectly states quotes or
reference another text in their work.
6. The use of intertextuality has given writers the potentials to enrich and extend the
meanings of their literary work and reflect their perspectives on issues or message
in a more creative manner.
7. Intertextuality variations depend on two factors: the intention of the significance
and the writer’s reference.
8. Optional intertextuality creates bigger impact on the significance of the intertext
within the work of literature.
9. Accidental intertextuality happens when readers connect a text with another text,
cultural practice, or a personal experience without any tangible anchor point
within the original text.
10. Obligatory intertextuality is done unconsciously and inflicted directly by the
writer to help enrich and extend the meanings of their literary work.
11. Adaptation is the ‘reworking’ or the ‘re-imagination’ of a well-known work of art
or a piece of literature to change or extend its meanings.
12. Parody is simply referred to by most literary scholars as ‘intellectually humorous
imitation’ of a work of art or literature.
13. Appropriation technique refers to the use of direct reference to another text with
the use of famous lines.
14. Allusion is commonly used in intertextuality where an indirect reference to
another text through characters, symbols, and ideas are used to extend meaning.
15. Adaptation is a technique common in TV damas or stage plays where the stories
are largely based on popular literary works such as novels and short stories.

Enrichment Activity 2: The Who?! (Part 2)

Directions: In every item is a popular line from a song, poem, movie, or a short story.
Look for the corresponding intertextual relations in the choices given below. Write
the letter of your answer on a separate sheet of paper.

1. In the story of the “Little Mermaid”, Ariel, the princess mermaid, is gifted with a
beautiful voice which eventually lured the handsome Prince Eric with the sound
of her song. The beautiful but dangerous voice has its reference from a
mythological character. What do you call these mythic characters?
A. Minotaurs B. Sirens
C. Centaurs D. Satyrs
2. The comics-turned-cartoon series-turned movie “Teenage Mutant Ninja Turtles”
features crime fighting turtles-turned-humanoids with the names Donatello,
Michelangelo, Leonardo, and Raphael. Which of the following choices do the
names originally refer to?
A. Italian Renaissance Artists B. Filipino National Artists
C. English Renaissance Composers D. American rock band Eagles

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3. Pop ballet musical “Rama Hari”, re-staged in 2012, is a historical unity of five
Philippine National Artists in one production: Alice Reyes (Dance), Ryan Cayabyab
(Music), Bienvenido Lumbera (Literature), Salvador Bernal (Theatre Design), and
Rolando Tinio (Theatre and Literature). The drama is all about a prince in search
of his wife and all his adventures. What is the title of this Indian epic?
A. Ramayana B. The Panchatantra
C. Mahabharata D. Sang Kansil, Sang Buaya
4. One of the highlights of the holy week celebration in Filipino Catholic culture is
the staging of the Cenakulo, a live street drama of performers acting out roles from
the Holy Bible. What particular section in the Holy Bible is portrayed in the
Cenakulo?
A. The Ministry of Christ B. The Birth of Christ
C. The Church of Christ D. The Passion of Christ
5. Lualhati Bautista’s “Dekada ’70” has been adopted into drama and movie and has
made it big time not only in the box office but also into the political re-awakening
of post-Martial Law Filipino generations. Who was the then president of the
Philippines in the historical and political background of the story?
A. Diosdado Macapagal B. Corazon Aquino
C. Ferdinand Marcos D. Fidel Ramos
6. Many Star Wars fans remember May 4 of every year as a special day to
commemorate the birth of the Star Wars media franchise by its creator George
Lucas, hence the pun for the event “May the 4th be with you!” What is the original
line as said in all the Star Wars movies?
A. “May the Source be with you!” B. “May the Horse be with you!”
C. “May the Force be with you!” D. “May the Doors be with you!”

7. Minsan sa may Kalayaan tayo’y nagkatagpuan

May mga sariling gimik, at kanya-kanyang hangad sa buhay.
Sa ilalim ng iisang bubong, mga sikretong ibinubulong,
Kahit na anong mangyari, kahit na saan ka man patungo.
--lyrics from the song ‘Minsan’ by Ely Buendia
Source: https://www.youtube.com/watch?v=Fqa6EBAAXjY
Though the song was not given a spot for a single release, the song was able
to generate popularity out from sentiments and theme of friendship. The song was
composed by Eraserheads frontman Ely Buendia. Noted in the beginning of the song
is its reference to a place called Kalayaan. What specific place is being referred to in
the song?
A. Kalayaan Avenue B. Kalayaan Residence Hall in UP
C. Kalayaan Hotel and Resort D. Kalayaan cor. Katipunan Road
8. The film “Bayaning Third World” (https://www.imdb.com/title/tt0260731/) is a
reconstruction of the life of the hero Jose Rizal. It was produced in part
investigative-part documentary-part satirical style and shot entirely in black-and-
white. The film presents the mystery that surrounds the life and death of the
Filipino hero, Jose Rizal. It is presented in the manner of a "mystery movie", with
its efforts to portray Rizal as a hero. What intertextuality technique was used by
the film writer?
A. Parody B. Quotation
C. Appropriation D. Adaptation

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9. “Isa kang mahinang nilalang. Wala kang lakas ng loob para lumaban. Mabuti pa
ang isang Tata Selo, uugod-ugod pero alam niyang tumayo at lumaban para sa
kanyang karapatan. Hahayaan mo na lamang ba na ikaw ay apihin ng mga taong
iyon?” pasigaw na sabi ni Mang Kondring kay Tolits na umiiyak sa tabi.
--talata mula sa “Lumaban ka, Jori!”, maikling kwento ni Jenilyn Ferrer

What intertextuality technique was used by the writer?

A. Parody B. Allusion
C. Appropriation D. Adaptation

10. Malakas na ang tama ng alak kay Tolits. Tumingin siya sa mga katabi. Tulog na
si Jori. Nadako ang mata sa nakadikit na papel sa bote. Kailangan ng lakas ng
loob para mapagtagumpayan ang mga kaaway wika niya sa sarili. Kagaya ng
eksenang nakamarka, ang kasamaan ay hindi magtatagumpay. Kinuha ni Tolits
ang bote. Tinitigan ng matagal ang papel at pagkatapos ay inihagis. Maririnig ang
lagapak ng basag na salamin sa di kalayuan.
--talata mula sa “Lumaban ka, Jori!”, maikling kwento ni Jenilyn Ferrer

What intertextuality technique was used by the writer?

A. Parody B. Allusion
C. Appropriation D. Adaptation

Deepen

At this point, you are now ready to apply the new knowledge, concepts, and
skills which you have learned in this module.
The succeeding activities would require your creative and critical thinking.
Further, you shall put into application the concepts and skills you have learned.
Enrichment Activity 3. Your Line Sounds Familiar!
Directions: On the next page is a copy of a comedy script for play production written
by Grade 11 learners like you. Read the script carefully. Your work is to look for eight
intertextualities used by the two writers in crafting the comedy. For every
intertextuality you find, write a short paragraph regarding it placing emphasis on the
reference from where it was taken. Write your answers on a separate sheet of paper.
For every intertextuality, you shall be given scores based on the rubrics provided.

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Rubrics:
Criteria 5 pts 4 pts 3 pts 2 pts 1 pt

Identified the Identified Identified Identified Identified Identified

intertextualitie
7-8 5-6 3-4 2 intertexts 1 intertext used
s used in the
intertexts intertexts intertexts used in the in the drama
drama
used in the used in the used in the drama
drama drama drama

Explanation of Showed Showed Showed Showed fair Showed poor

reference and very good good satisfactory explanation explanation on
how was it explanation explanation explanation on the use of the use of
used in the in the use of in the use of in the use of intertext by intertext by the
drama to intertext by intertext by intertext by the writers writers
expand the writers the writers the writers
meaning and
creativity

Observance of Observed Observed Observed Grammar Grammar and

grammar and grammar grammar grammar and mechanics of
mechanics in and and and mechanics of writing is totally
writing mechanics mechanics mechanics of writing is flawed and
of writing of writing writing with flawed and needs
with no with some minor needs recall remediation on
errors at all minimal faults of basic rules basic rules
faults

The Drama Script:

THOMAS AND THE TIME MACHINE
(A One-Act Play)
Written for Play Production in Creative Writing
by Louise Joanne Mapanao & Regine Aloot
Characters:
Thomas : a junkyard boy, 16 years of age
Princess Serenity : a princess from another dimension
wears a futuristic-looking gown, 16 years of age,
King Pandarus : king father of Serenity, wears a futuristic-looking robe
holds a staff with a little crystal ball at the tip
Queen Almazora : mother of Serenity, also wears a futuristic-looking gown
Princess Thena : sister of Princess Serenity, 14 years of age, also wears a
futuristic-looking gown
Soldiers : there are four of them, they wear futuristic soldier uniform with
matching laser guns

(A door of a room is placed on the upper left side of the stage. At the middle of the stage
are assortment of junk and debris of all sorts together with the time machine covered
in dirty rags. A dirty kitchen together with a food cabinet with a vase on top filled with
rose flowers, a table and two chairs are placed not far away from the door. A loud
booming sound and thunderous claps are heard. Smoke effect as curtains open.)

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(Open Curtains)
Thomas: (opens the door with an expression of panic, runs near the junk and the
scraps) Oh my goodness! Oh my goodness! What was that thunderous sound! (falls
to his knees and shouts) Repent! The end of the world is near! (another thunderous
sound is heard)
Thomas: (stands, looks at the audience) Where is that loud thunderous sound coming
from anyway? (another thunderous sound is heard and Thomas looks frightened)
Thomas: I think it’s coming from this old machine? (goes near the machine, removes
its cover and gives it an inspection) This is weird! I thought this machine is junk but
how come it has lights working and it even produces loud thunderous sound?
(Thomas operates the machine, clicks all buttons and switches all controls. The
machine sparks then out from the big box just under the controls and switches out
came a giant egg rolling)
Thomas: Whaaaaat?! An egg? Wow! Now I have a good breakfast waiting! (He rubbed
both of his hands and licked his lips)
Thomas: I will crack you now and fry you! With your size, you will surely last for
many days! (tries to crack the egg with a stick but no good) What kind of egg is this
anyway? (puts down the stick and takes a long steel but no good; a broken guitar but
no good and lastly a spading fork, but still no good)
Thomas: (feeling exhausted after many tries) Wow! This egg is killing me! (hears a
cracking sound coming from the egg) What the…(the egg bursts open and out comes
Princess Serenity yawning)
Serenity: (Stands up and looks straight into the eyes of Thomas and then suddenly
faints)
Thomas: (in panic) Oh no! Oh no! (carries Serenity and place her on top of the table;
gives her a slap) Hey! Lady! Wake up! Wake up! (shakes her shoulders) Wake up!
Serenity: (comes into consciousness) What happened? Who are you? Where am I? (she
raises her body slowly into sitting position on top of the table)
Thomas: (seats beside Serenity) I am Thomas, the junkyard boy. I watch over this
place owned by my uncle. You are here in our junk shop! Mang Edwin’s Junkshop!
(then makes a commercial pose) How about you? What is your name and where are
you from? (looks at Serenity) You don’t look like one from our planet?
(Serenity looks at Thomas seriously then a loud sound from Serenity’s stomach is
heard)
Thomas: Oh! You hungry? (Grabs some chocolate in his pocket) Here, grab a Sneakers!
(Serenity opens the chocolate then smells it with disgust)
Thomas: Owww! You don’t like this chocolate? This is expensive, you know?! Okay,
wait I’ll get some food. (opens the kitchen cabinet and brings in pancit canton and a
bottle of softdrinks)
Thomas: Here you go! (Seats beside Serenity with the pancit canton and the softdrinks)
(Serenity looks at the pancit canton)

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Thomas: (looks at Serenity) What will you do for pancit canton?
Serenity: (immediately moves and grabs a softbroom) I will sweep the floor?
Thomas: Nope! Sorry, we don’t do that here in the junkshop
Serenity: (grabs a pail of water) I will bathe the dogs?
Thomas: Sorry, we don’t have dogs!
Serenity: (draws her face close to Thomas and then looks deep into his eyes) This
pancit canton is so yummy!
(Thomas closes his eyes and waits for Serenity’s kiss)
Serenity: (grabs the bottle of softdinks) Here, drink your softdrinks!
Thomas: (scratches his head) Go on lady, just eat. I know you are hungry.
Serenity: (eats her food and drinks her water so fast; Thomas looks in disbelief) There!
I’m done! (gives a loud burp)
Thomas: (turns on the radio and plays a romantic music; he holds Serenity’s hands)
Shall we dance? (tThomas’ hands on Serenity’s waist and Serenity’s hands on
Thomas’ shoulders) You know what? I’ve never been experienced this kind of thing in
my whole life. (awkwardly looks at Serenity)
Serenity: You have never been to a dance? We also do this in our place. We dance.
Thomas: Because…(they stop dancing) I’m just a junkyard boy (he sadly looked down
to the floor)
Serenity: Oh come on, don’t feel bad about being a junkyard boy. By the way, my
name’s Serenity.
Thomas: (looks at Serenity) Wow! Such a beautiful name! (stops dancing again) Oh
wait! I’ll just go and get something that is beautiful as you. (grabs the flowers in the
vase near the kitchen cabinet and gives them to Serenity) Flowers for you, Serenity!
Serenity: Wow! (smells the flowers) Thank you! I love flowers!
(She smells the flowers again; both look deeply into each other’s eyes when suddenly
the machine came to life again; four soldiers come out with their laser guns ready to
shoot)
Thomas: (hides Serenity behind his back) Back off guys! We don’t want any trouble!
Soldier 1: (pushes Thomas away and points his laser gun at the princess) Princess
Serenity, you should come with us! We were sent by your father to take you back to
our kingdom. (Soldier 2 grabs Serenity’s arm)
Thomas: (shouts) Wait! Before you take her, you must fight me first! I challenge you
to a one-on-one combat! (runs to his room and changes in his taekwondo outfit)
Hayaaaaa! (he does taekwondo posing and Jackie Chan moves; challenges Soldier 2)
Soldier 1: (looks at Soldier 2) You afraid of him? Go! Fight him!

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(Fighting ensues; Karate Kid moves by the soldier; Dragon Ball Son Gokou Kami-hame
Wave moves by Thomas; after much of choreographed comic fighting, Soldier 2 lands
a straight punch into Thomas’ face)
Thomas: (gets dizzy and falls to the ground)
(All the soldiers join together beating up Thomas)
Soldier 1: Princess Serenity, you have nowhere to go! Nowhere to hide! Do not resist
or else we would be forced to use the…Force! (to one of the soldiers) Tie her up! Just
to make sure she won’t get away this time. Prepare the time machine on hyperdrive!
We’re going back now! (soldiers and Serenity start walking towards the time machine)
Thomas: (on the floor) Serenity!
Serenity: (crying) Thomas!
Thomas: (crawling) Serenity!
Serenity: (forcing to remove the rope) Thomas!
Thomas: Serenity! Come back! (His voice was filled with sadness)
(Time machine works again with its thunderous clap and they’re all gone leaving
Thomas alone; a moment of silence; Thomas is heard crying)
Thomas: Why did this happen to me? Just when I’m starting to feel real love. Oh,
Serenity, I love you! Please come back!
(The time machine comes to life again then out comes Serenity followed by King
Padarus, Queen Almazora, Princess Thena and the four soldiers)
Thomas: (looks at the time machine) You came back! Serenity!
Serenity: Yes, Thomas! I’m back! (runs towards Thomas and hugs him)
King: (to Serenity) So, he’s the prince you fell in love with?
Serenity: (nods) Yes, my king! (to Thomas) Thomas, they’re my family. My father King
Pandarus, my mother Queen Almazora and my sister Princess Thena.
Thomas: (confused) King? Queen? Princess? What do you mean? What’s all this
Serenity?
Serenity: I am a princess. I travelled to your planet through the time machine to
escape from my father’s decision of marrying me to Draco, his most trusted general.
That is the reason why there were soldiers who came searching for me. I
miscalculated my hyperdrive travel and instead of going to a planet not far from ours,
I landed here in you place instead.
Thomas: I don’t understand? Why escape from your father’s decisions?
Serenity: I do not love Draco. I have no feelings for him. So I ran away.
Thomas: I never thought I would meet Julia Roberts in personal huh?!
Queen: Yes! A runaway bride…but after she ran away, we came to our senses, my
boy. Love does not come in a package. It comes naturally. That is what Serenity
taught us. It’s what both of you taught us.

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King: Thank you Thomas. (looks around) Well, I thought you were a prince?
Thomas: I am, my king! (looks around) I am a…Prince! Prince of the Junkshop!
(They all laugh)

King: Thomas, kidding aside, I want to tell you that my daughter loves you so much.
Please take good care of her.
Thena: My sister decided to stay here in your planet and be with you…forever. We
expect that you will take good care of her!
Thomas: (to Serenity) Really?! (hugs her tight) promise, I will take goodcare of you, my
princess!
King: Before we leave, I just would like to have a taste of that food…(looks at Serenity)
what’s that again? Pancit canton?
Thomas: My king, come and taste it?
(Close Curtains)
-----===000===-----

Gauge

At last, you now come to the part where you shall now measure your acquired
knowledge and understanding of the topic presented in this SLM. Do your best in
answering the assessment! Good luck!
Direction: Read and understand carefully the statements in very item. Choose the
letter of the correct answer. Use a separate sheet of paper for your answers.

1. Who was the proponent of the theory of intertextuality?

A. Karl Jung B. Julia Kristeva
C. Gustav Freytag D. Sigmund Freud
2. What do you call this literary technique used in intertextuality where an indirect
reference to some person, historical event, work of art, or Biblical or mythological
situation or character are used to extend meaning?
A. Allusion B. Parody
C. Appropriation D. Quotation
3. Which of the following intertextuality techniques uses a direct reference to
another text with the use of famous lines?
A. Allusion B. Parody
C. Appropriation D. Quotation
4. Where does intertextuality usually take place?
A. within the same medium or style B. across cultures
C. across medium or style D. all of these
5. What is the main reason why authors use intertextuality of texts?
A. to communicate B. to retire
C. to make money D. to pass time

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6. Which of the following is NOT a type of intertextual relationship.
A. allusion B. quotation
C. parody D. citation
7. When does the use of appropriation technique become a legal case?
A. when the copyright of the original authors is violated
B. when someone forgot to acknowledge original author
C. when intellectual property rights of the original artist are violated
D. all of the above
8. What do you mean by parody?
A. a criticism
B. direct reference
C. intellectually humorous imitation
D. a rewritten, more serious version of an original
9. What is a quotation as an intertextuality technique?
A. a criticism
B. intellectually humorous imitation
C. a rewritten, more serious version of an original
D. direct reference to another text with the use of famous lines
10. When does intertextuality happen?
A. when a text is directly referring to another texts
B. when a text is indirectly referring to another texts
C. when writers enrich their work in a more creative manner
D. all of the above
11. Which of the following is NOT an intertextuality variation?
A. obligatory B. accidental
C. optional D. voluntary
12. Romeo’s favorite book is “The Harry Potter Series”. Now, he is trying to write a
“Fan Fiction” based on the characters Harry, Ron, and Hermione. Which
statement best describes Romeo?
A. He is an incredible writer.
B. He is a huge fan of the series.
C. He is using an optional intertextuality.
D. He is using an obligatory intertextuality so he must cite his sources.
13. It is a factor that can affect the variation of the types of intertextuality.
A. Intention of the writer B. Intention of the audience
C. Intention of the reader D. Intention of both reader and write
14. This happens when the writer has no intention of making an intertextual
reference and it is completely upon the reader's own prior knowledge that these
connections are made.
A. Optional B. Latent
C. Obligatory D. Accidental
15. Which of the following may not be an example of intertextuality?
A. A translation of the Iliad to Arabic
B. Two characters whose names were coincidentally named “William”
C. A writer paying homage to Shakespeare by adopting the themes and
tones of the latter’s dramas
D. None of the choices
16. James Joyce’s Ulysses was a deliberate retelling of Homer’s Odyssey, but
transplanted out of ancient Greece into modern-day Dublin. The various
chapters in Joyce’s novel correspond to the adventures of Odysseus in
Homer’s epic poem. This is an example of:
A. Parody B. Intertextuality
C. Translation D. Deliberate Intertextuality

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17. This happens when the writer has no intention of making an intertextual
reference and it is completely upon the reader's own prior knowledge that
these connections are made.
A. Optional B. Latent
C. Obligatory D. Accidental
18. This happens when one person imitates another to produce humorous
effect.
A. Citation B. Allusion
C. Parody D. Plagiarism
19. Which of the following may not be an example of intertextuality?
A. A translation of the Iliad to Arabic
B. Two characters whose names were coincidentally named “William”
C. A writer paying homage to Shakespeare by adopting his theme and
tone of the latter’s works
D. None of the choices
20. Which one is the best example of accidental intertextuality?
A. A student comparing Harry Potter’s Dumbledore to Lord of the Ring’s
Gandalf
B. A person who watched a drama about Moby Dick and made a
connection about the size of the fish and the ship
C. A professor who read “Hamlet” before “Rosencrantz and
Guildenstern are Dead”
D. All of the choices

Great job! You are now ready to take the next module!

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LU_CreativeWriting_Module6
17
JUMPSTART
ACTIVITY 1
1. C
2. A
3. B
4. D
5. A
EXPLORE
DEEPEN
ENRICHMENT ACTIVITY 1
ENRICHMENT ACTIVITY 1
1. False
ANSWERS MAY VARY
2. True
3. False
4. False
5. False
6. True GAUGE
7. False 1. B
8. False 2. A
9. True 3. D
10. True 4. D
11. False 5. A
12. True 6. D
13. False 7. D
14. True 8. C
15. True 9. D
ENRICHMENT ACTIVITY 2 10. D
1. C 11. D
2. A 12. D
3. A 13. D
4. D 14. D
5. B 15. A
6. B 16. D
7. C 17. D
8. B 18. C
9. C 19. A
10. C 20. D
Answer Key
References

Books:
Graham, Allen. Intertextuality. Oxfordshire, England. Routledge, 2000.

Websites:
Tammy Dang. Literary Techniques: Intertextuality. 2018. Retrieved July 23, 2020
from https://www.matrix.edu.au/literary-techniques-intertextuality/
Christopher Keep, Tim McLaughlin, Robin Parmar. Intertextuality. 2000. Retrieved
July 23, 2020 from http://www2.iath.virginia.edu/elab//hfl0278.html
Sophie Novak. Intertextuality as A Literary Device. 2013. Retrieved from
https://thewritepractice.com/intertextuality-as-a-literary-device
https://www.masterclass.com/articles/how-to-apply-literary-inspiration-to-your-
writing#quiz-
Nasrullah Mambrol. Julia Kristeva: Intertextuality. 2016. Retrieved July 23, 2020
from https://literariness.org/2016/03/22/julia-kristeva-intertextuality/
Baby A. Gil. In defense of Salbakuta’s S2PID LUV. 2002. Retrieved July 23, 2020
from:www.philstar.com/entertainment/2002/05/01/159240/defense-
salbakuta

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 For inquiries or feedback, please write or call:

Department of Education – SDO La Union

Curriculum Implementation Division
Learning Resource Management Section
Flores St. Catbangen, San Fernando City La Union 2500
Telephone: (072) 607 - 8127
Telefax: (072) 205 - 0046
Email Address:
launion@deped.gov.ph
lrm.launion@deped.gov.ph

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