SHS

11- 1st Semester

CORE SUBJECT

21st Century Literature

from the Philippines
and the World

Quarter 1
(Weeks 7-8)

Module 4: Literary Analysis and Creative Adaptation

 Day 1

Pretest
Directions: Read the following statements. Write your answers on your answer sheet.

1. Literary analyses review and evaluate certain aspects of _____?

a. a poem b. a novel c. a short story d. all of them

2. A literary analysis asks you to think about how and why a piece of literature was written.
a. False b. True c. Partly true d. Partly false

3. Which of these is not a component of a literary text?

a. subject b. form c. conflict d. theme

4. This refers to a practice when the author uses the literary elements to create meaning.
a. Literary Analysis b. Position Paper c. Writing Essay d. Review Paper

5. The separation of an intellectual whole into its component parts to better understand the
truth.
a. Criticism b. Analysis c. Plagiarism d. Adaptation

6. A fictional prose that deals with a single conflict which can be read in a single session.
a. symbol b. topic c. short story d. poem

7. Which of the following is an adaptation?

a. Turning a novel into a film
b. Painting a portrait of a famous person
c. Singing along to a song written by someone else
d. Composing an original story inspired by a famous poem

8. Plagiarism is taking someone’s work and trying to claim it as his/her own.

a. True b. Partly true c. False d. Partly false

9. It is the first Shakespearean play adapted for film.

a. Hamlet b. Romeo and Juliet c. Cymbeline d. King John

10. "Shakespeare in Love" revolves around young Will Shakespeare as he writes, directs,
and ultimately plays the lead in one of his renowned tragedies. Which Shakespearean
play is it adapted from?
a. Hamlet b. Romeo and Juliet c. Cymbeline d. King John

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11. Which of the following best describes self-assessment?
a. It is a test. c. It is not a test.
b. It is a test about yourself. d. It is just a question.

For items 12-15, identify the following defined terms:

12. These are your ideas and beliefs that are important in decision-making.
a. values b. interests c. personality d. aptitude

13. This refers to an individual's natural talent, learned ability, or capacity to acquire a skill.
a. values b. interests c. personality d. aptitude

14. This refers to what you like and dislike regarding various activities that you want to do.
a. values b. interests c. personality d. aptitude

15. These are your social traits, motivational drives, needs, and attitudes.
a. values b. interests c. personality d. aptitude

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Lesson 1
Week 7 Literary Analysis

What I Need to Know

By the end of this lesson, you are expected to:

1. define a literary analysis;

2. recognize the components of literary analysis; and
3. demonstrate proficiency in writing literary analysis.

What’s In
Slay this!
Direction: Complete the concept map below by writing a word associated with “analysis”. Write

your answers on your answer sheet. (10pts.)

ANALYSIS

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 Day 2

What’s New
Let me introduce you to the world of literary analysis. Hopefully, this can help you
understand literary texts.

CLOSE READING FOR LITERARY ANALYSIS

Close reading is a deep analysis of how a literary text works; it is both a reading process
and something you include in a literary analysis paper, though in a refined form.

Fiction writers and poets build texts out of many central components, including subject,
form, and specific word choices. Literary analysis involves examining these components,
which allows us to find in small parts of the text clues to help us understand the whole.
For example, if an author writes a novel in the form of a personal journal about a
character’s daily life, but that journal reads like a series of lab reports, what do we learn
about that character? What is the effect of picking a word like “tome” instead of “book”? In
effect, you are putting the author’s choices under a microscope.

The process of close reading should produce a lot of questions. It is when you begin to
answer these questions that you are ready to participate thoughtfully in class discussion
or write a literary analysis paper that makes the most of your close reading work.

Close reading sometimes feels like over-analyzing, but don’t worry. Close reading is a
process of finding as much information as you can in order to form as many questions as
you can. When it is time to write your paper and formalize your close reading, you will
sort through your work to figure out what is most convincing and helpful to the argument
you hope to make and, conversely, what seems like a stretch. This guide imagines you
are sitting down to read a text for the first time on your way to developing an argument
about a text and writing a paper. To give one example of how to do this, we will read the
poem “Design” by famous American poet Robert Frost and attend to the four major
components of literary analysis: subject, form, word choice (diction), and theme. (The
Writing Center , 2020)

Here is an example on how to do a literary analysis. Please read the poem below entitled
“Design” by Robert Frost. And, take note on the information that follows.

In reading poetry, it is suggested to have a pencil out when you read a text. And, write
notes in the margins, and underline important words. Place question marks where you
are confused by something. Of course, if you are reading in a library book, you should
keep all your notes on a separate piece of paper. If you are not making marks directly on,
in, and beside the text, be sure to note line numbers or even quote portions of the text so
you have enough context to remember what you found interesting.

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 Design by Robert Frost

I found a dimpled spider, fat and white,

On a white heal-all, holding up a moth
Like a white piece of rigid satin cloth—
Assorted characters of death and blight
Mixed ready to begin the morning right,
Like the ingredients of a witches’ broth—
A snow-drop spider, a flower like a froth,
And dead wings carried like a paper kite. .
What had that flower to do with being white,
The wayside blue and innocent heal-all?
What brought the kindred spider to that height,
Then steered the white moth thither in the night?
What but design of darkness to appall? —
If design govern in a thing so small.

COMPONENTS OF LITERARY ANALYSIS

❖ Subject

The subject of a literary text is simply what the text is about. What is its plot? What is its
most important topic? What image does it describe? It’s easy to think of novels and
stories as having plots, but sometimes it helps to think of poetry as having a kind of plot
as well. When you examine the subject of a text, you want to develop some preliminary
ideas about the text and make sure you understand its major concerns before you dig
deeper.

Observations

In “Design,” the speaker describes a scene: a white spider holding a moth on a white
flower. The flower is a heal-all, the blooms of which are usually violet-blue. This heal-all is
unusual. The speaker then poses a series of questions, asking why this heal-all is white
instead of blue and how the spider and moth found this flower. How did this situation
arise?

Questions

The speaker’s questions seem simple, but they are actually fairly nuanced. We can use
them as a guide for our own as we go forward with our close reading.

•Furthering the speaker’s simple “how did this happen,” we might ask, is the scene in this
poem a manufactured situation?

•The white moth and white spider each use the atypical white flower as camouflage in
search of sanctuary and supper respectively. Did these flora and fauna come together
for a purpose?

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 •Does the speaker have a stance about whether there is a purpose behind the
scene? If so, what is it?

•How will other elements of the text relate to the unpleasantness and uncertainty in
our first look at the poem’s subject?

After thinking about local questions, we must zoom out. Ultimately, what is this text
about?

❖ Form

Form is how a text is put together. When you look at a text, observe how the
author has arranged it. If it is a novel, is it written in the first person? How is the novel
divided? If it is a short story, why did the author choose to write short-form fiction
instead of a novel or novella? Examining the form of a text can help you develop a
starting set of questions in your reading, which then may guide further questions
stemming from even closer attention to the specific words the author chooses. A little
background research on form and what different forms can mean makes it easier to
figure out why and how the author’s choices are important.

Observations

Most poems follow rules or principles of form; even free verse poems are marked by
the author’s choices in line breaks, rhythm, and rhyme—even if none of these exists,
which is a notable choice. Here’s an example of thinking through these elements in
“Design.”

In “Design,” Frost chooses an Italian (or Petrarchan) sonnet form: fourteen lines in
iambic pentameter consisting of an octave (a stanza of eight lines) and a sestet (a
stanza of six lines). We will focus on rhyme scheme and stanza structure rather than
meter for the purposes of this guide. A typical Italian sonnet has a specific rhyme
scheme for the octave:

abbaabba

There’s more variation in the sestet rhymes, but one of the more common schemes is

cdecde

Conventionally, the octave introduces a problem or question which the sestet then
resolves. The point at which the sonnet goes from the problem/question to the
resolution is called the volta, or turn. (Note that we are speaking only in generalities
here; there is a great deal of variation.)

Frost uses the usual octave scheme with “-ite”/”-ight” (a) and “oth” (b) sounds: “white,”
“moth,” “cloth,” “blight,” “right,” “broth,” “froth,” “kite.” However, his sestet follows an
unusual scheme with “-ite”/”-ight” and “all” sounds:

acaacc

Questions

Now, we have a few questions with which we can start:

✓ Why use an Italian sonnet?

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 ✓ Why use an unusual scheme in the sestet?
✓ What problem/question and resolution (if any) does Frost offer?
✓ What is the volta in this poem?
✓ In other words, what is the point?

Italian sonnets have a long tradition; many careful readers recognize the form and know
what to expect from his octave, volta, and sestet. Frost seems to do something standard
in the octave in presenting a situation; however, the turn Frost makes is not to resolution,
but to questions and uncertainty. A white spider sitting on a white flower has killed a white
moth.

✓ How did these elements come together?

✓ Was the moth’s death random or by design?
✓ Is one worse than the other?

We can guess right away that Frost’s disruption of the usual purpose of the sestet has
something to do with his disruption of its rhyme scheme. Looking even more closely at
the text will help us refine our observations and guesses.

❖ Word Choice (Diction)

Looking at the word choice of a text helps us “dig in” ever more deeply. If you are reading
something longer, are there certain words that come up again and again? Are there
words that stand out? While you are going through this process, it is best for you to
assume that every word is important—again, you can decide whether something is
important later. Even when you read prose, read with a pencil and make notes. Mark the
words that stand out, and perhaps write the questions you have in the margins or on a
separate piece of paper. If you have ideas that may possibly answer your questions, write
those down, too.

Observations

Let’s look at the first line of “Design”:

I found a dimpled spider, fat and white

The poem starts with something unpleasant: a spider. Then, as we look more closely at
the adjectives describing the spider, we may see connotations of something that sounds
unhealthy or unnatural. When we imagine spiders, we do not generally picture them
dimpled and white; it is an uncommon and decidedly creepy image. There is dissonance
between the spider and its descriptors, i.e., what is wrong with this picture? Already we
have a question: what is going on with this spider?

We should look for additional clues further on in the text. The next two lines develop the
image of the unusual, unpleasant-sounding spider:

On a white heal-all, holding up a moth

Like a white piece of rigid satin cloth—

Now we have a white flower (a heal-all, which usually has a violet-blue flower) and a
white moth in addition to our white spider. Heal-alls have medicinal properties, as their

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name suggests, but this one seems to have a genetic mutation—perhaps like the spider?
Does the mutation that changes the heal-all’s color also change its beneficial
properties—could it be poisonous rather than curative? A white moth doesn’t seem
remarkable, but it is “Like a white piece of rigid satin cloth,” or like manmade fabric that is
artificially “rigid” rather than smooth and flowing like we imagine satin to be. We might
think for a moment of a shroud or the lining of a coffin, but even that is awry, for neither
should be stiff with death.

Questions

The first three lines of the poem’s octave introduce unpleasant natural images “of death
and blight” (as the speaker puts it in line four). The flower and moth disrupt expectations:
the heal-all is white instead of “blue and innocent,” and the moth is reduced to “rigid satin
cloth” or “dead wings carried like a paper kite.” We might expect a spider to be
unpleasant and deadly; the poem’s spider also has an unusual and unhealthy
appearance.

•The focus on whiteness in these lines has more to do with death than purity—can we
understand that whiteness as being corpse-like rather than virtuous?

Well before the volta, Frost makes a “turn” away from nature as a retreat and haven;
instead, he unearths its inherent dangers, making nature menacing. From three lines
alone, we have several questions:

•Will whiteness play a role in the rest of the poem?

•How does “design”—an arrangement of these circumstances—fit with a scene of death?

•What other juxtapositions might we encounter?

These disruptions and dissonances recollect Frost’s alteration to the standard Italian
sonnet form: finding the ways and places in which form and word choice go together will
help us begin to unravel some larger concepts the poem itself addresses.

❖ Theme

Put simply, themes are major ideas in a text. Many texts, especially longer forms like
novels and plays, have multiple themes. That’s good news when you are close reading
because it means there are many ways you can think through the questions you develop.

Observations

So far in our reading of “Design,” our questions revolve around disruption: disruption of
form, disruption of expectations in the description of certain images. Discovering a
concept or idea that links multiple questions or observations you have made is the
beginning of a discovery of theme.

Questions

What is happening with disruption in “Design”? What point is Frost making? Observations
about other elements in the text help you address the idea of disruption in more depth.
Here is where we look back at the work we have already done: What is the text about?
What is notable about the form, and how does it support or undermine what the words
say? Does the specific language of the text highlight, or redirect, certain ideas?

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In this example, we are looking to determine what kind(s) of disruption the poem contains
or describes. Rather than “disruption,” we want to see what kind of disruption, or whether
indeed Frost uses disruptions in form and language to communicate something opposite:
design.

REMINDERS: After you make notes, formulate questions, and set tentative hypotheses,
you must analyze the subject of your close reading. Literary analysis is another process
of reading (and writing!) that allows you to make a claim about the text. It is also the point
at which you turn a critical eye to your earlier questions and observations to find the most
compelling points, discarding the ones that are a “stretch.” By “stretch,” we mean that we
must discard points that are fascinating but have no clear connection to the text.

Here follows an excerpt from a brief analysis of “Design” based on the close reading
above. This example focuses on some lines in detail in order to unpack the meaning and
significance of the poem’s language. By commenting on the different elements of close
reading we have discussed, it takes the results of our close reading to offer one way into
the text. (In case you were thinking about using this sample as your own, be warned: it
has no thesis and it is easily discoverable on the web. Plus, it doesn’t have a title.)

SAMPLE ANALYSIS
(EXCERPT)
Frost’s speaker brews unlikely associations in the first stanza of the poem. The “Assorted
characters of death and blight / Mixed ready to begin the morning right” make of the
grotesque scene an equally grotesque mockery of a breakfast cereal (4–5). These lines
are almost singsong in meter and it is easy to imagine them set to a radio jingle. A pun on
“right”/”rite” slides the “characters of death and blight” into their expected concoction: a
“witches’ broth” (6). These juxtapositions—a healthy breakfast that is also a potion for
dark magic—are borne out when our “fat and white” spider becomes “a snow-drop”—an
early spring flower associated with renewal—and the moth as “dead wings carried like a
paper kite” (1, 7, 8). Like the mutant heal-all that hosts the moth’s death, the spider
becomes a deadly flower; the harmless moth becomes a child’s toy, but as “dead wings,”
more like a puppet made of a skull.

The volta offers no resolution for our unsettled expectations. Having observed the scene
and detailed its elements in all their unpleasantness, the speaker turns to questions
rather than answers. How did “The wayside blue and innocent heal-all” end up white and
bleached like a bone (10)? How did its “kindred spider” find the white flower, which was
its perfect hiding place (11)? Was the moth, then, also searching for camouflage, only to
meet its end?

Using another question as a disguise, the speaker offers a hypothesis: “What but design
of darkness to appall?” (13). This question sounds rhetorical, as though the only reason
for such an unlikely combination of flora and fauna is some “design of darkness.” Some
force, the speaker suggests, assembled the white spider, flower, and moth to snuff out
the moth’s life. Such a design appalls or horrifies. We might also consider the speaker
asking what other force, but dark design could use something as simple as appalling in
its other sense (making pale or white) to effect death.

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However, the poem does not close with a question, but with a statement. The speaker’s
“If design govern in a thing so small” establishes a condition for the octave’s questions
after the fact (14). There is no point in considering the dark design that brought together
“assorted characters of death and blight” if such an event is too minor, too physically
small to be the work of some force unknown. Ending on an “if” clause has the effect of
rendering the poem still more uncertain in its conclusions: not only are we faced with
unanswered questions, we are now not even sure those questions are valid in the first
place.

Behind the speaker and the disturbing scene, we have Frost and his defiance of our
expectations for a Petrarchan sonnet. Like whatever designer may have altered the
flower and attracted the spider to kill the moth, the poet built his poem “wrong” with a
purpose in mind. Design surely governs in a poem, however small; does Frost also have
a dark design? Can we compare a scene in nature to a carefully constructed sonnet?

A NOTE ON ORGANIZATION
Your goal in a paper about literature (literary analysis) is to communicate your best and
most interesting ideas. Your ideas may need to be organized in service of a thesis to
which everything should link back. It is best to ask your instructor about the expectations
for your paper. Knowing how to organize these papers can be tricky, in part because
there is no single right answer—only more and less effective answers. You may decide
to organize your paper thematically, or by tackling each idea sequentially; you may
choose to order your ideas by their importance to your argument or to the poem. If you
are to compare two texts, you might work thematically or by addressing first one text and
then the other. One way to approach a text may be to start with the beginning of the
novel, story, play, or poem, and work your way toward its end.
You will have to decide for yourself the best way to communicate your ideas to your
reader. Is it easier to follow your points when you write about each part of the text in
detail before moving on? Or is your work clearer when you work through each big idea—
the significance of whiteness, the effect of an altered sonnet form, and so on—
sequentially?

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 What I can do

It’s time for you to shine!

Directions: Read the following questions and write your answers on the space provided.
Write your answers on your answer sheet. (6pts.)

1. What is a literary analysis?

__________________________________________________________
__________________________________________________________
__________________________________________________________

2. What are the four components of a literary analysis?

___________________________________________________________
___________________________________________________________
___________________________________________________________

3. From the four components of a literary text, which one is the most important? Why?

___________________________________________________________
___________________________________________________________
___________________________________________________________

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 What I Have Learned

Things to Ponder!
Directions: Complete the statements below. Write your answers on the gaps. Write your
answer on your answers sheet. (6pts.)

A literary analysis is _____________________________________.

The ways in analyzing literary texts are ________, __________, __________ and
___________.It is important to write a literary analysis
because____________________________________________________.

Day 3 & 4

What’s More

Directions: Choose only one task and write your literary analysis on a separate sheet of paper.
Write your answers on your answer sheet. (20pts.)
Task 1

Put Your Best Foot Forward

Recall the short story “Dead Stars” by Paz Marquez Benitez which was introduced to you in
Module 1. (For the full story, you can visit https://www.sushidog.com/bpss/stories/stars.htm).
Write a literary analysis on the said short story. Be guided by the given scoring rubric.

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Criteria Needs Average Good Excellent Score
Improvement
5pts 10pts 15pts 20pts
1. An introductory Lacks an Identifies the Clearly and Identifies the title,
statement introductory title, author, smoothly author, and
identifies the title, statement and literary identifies literary genre in a
author, and literary that identifies genre to be the title, clear, smooth,
genre to be the title, author, analyzed. author, and and interesting
analyzed. and literary literary genre way.
genre to be to be
analyzed. analyzed.
2. A focus/thesis Lacks a The The The focus/thesis
statement makes a focus/thesis focus/thesis focus/thesis statement
point about statement statement statement makes a clear
characters, plot, that makes a makes a makes a clear and insightful
setting, clear point point about point about point about the
or theme. about the text. the text. text.
the text.

3. Evidence from The analysis One or two Several Multiple well-

the text supports lacks examples relevant facts chosen facts and
the analysis. supporting from the and details from the
evidence. text support details from text strongly
the analysis. the text support the
support analysis.
the analysis.
4. Direct Lacks One Two or more Relevant,
quotations from supporting quotation quotations domain-specific
the text quotations from the text from the quotations are
support the from the text, is text is correctly correctly
analysis. or fails to use correctly punctuated punctuated and
correct punctuated and use proper
punctuation and uses use proper citation style.
and proper citation style.
citation style. citation style.

5.Transition/linking Lacks A few Some Varied transition

words and transition transition transition words
phrases connect words words and words and and phrases
ideas. and phrases, phrases phrases introduce and
or transitions connect connect ideas. connect ideas.
used ideas.
incorrectly.

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6. The conclusion Lacks a Summarizes Summarizes Summarizes the
summarizes the conclusion that most of the the writer’s writer’s
writer’s key ideas. summarizes writer’s key ideas. key ideas in a
the writer’s ideas. thoughtful
ideas. and satisfying
way.
7. Follows Serious errors Some errors Few errors in Correct grammar,
conventions of in grammar, in grammar, grammar, spelling,
mechanics, spelling, spelling, spelling, punctuation, and
usage, and punctuation, punctuation, punctuation, capitalization.
spelling. and and and
capitalization capitalization. capitalization.
interfere with
reader
understanding.

TOTAL SCORE:
Adapted from: READ180 rBook Writing Rubric: Literary Analysis

Task 2
Butterfly High!
Recall the poem “Watch me weep: Butterflies” by Lira Kale Pajarillo which was
introduced to you in Module 2. (For the full copy, you can visit
https://group3fleming.wordpress.com/2017/08/16/hyper-poetry/). Go over with the text
once again and write a literary analysis. Be guided by the given scoring rubric. (20pts.)
Criteria Needs Average Good Excellent Score
Improvement
5pts 10pts 15pts 20pts
1. An introductory Lacks an Identifies the Clearly and Identifies the title,
statement introductory title, poet, smoothly poet, and literary
identifies the title, statement and literary identifies genre in a clear,
poet, and literary that identifies genre to be the title, poet, smooth,
genre to be the title, poet, analyzed. and literary and interesting
analyzed. and literary genre to be way.
genre to be analyzed.
analyzed.
2. A focus/thesis Lacks a The The The focus/thesis
statement makes a focus/thesis focus/thesis focus/thesis statement
point about the statement statement statement makes a clear
literary devices that makes a makes a makes a clear and insightful
used in the poem clear point point about point about point about the
about the poem. the poem. poem.
the poem.

3. Evidence from The analysis One or two Several Multiple well-

the text supports lacks examples relevant facts chosen facts and
the analysis. supporting from the and details from the
evidence. text support details from text strongly

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 the analysis. the text support the
support analysis.
the analysis.
4. Direct Lacks One Two or more Relevant,
quotations from supporting quotation quotations domain-specific
the text quotations from the text from the quotations are
support the from the text, is text is correctly correctly
analysis. or fails to use correctly punctuated punctuated and
correct punctuated and use proper
punctuation and uses use proper citation style.
and proper citation style.
citation style. citation style.

5.Transition/linking Lacks A few Some Varied transition

words and transition transition transition words
phrases connect words words and words and and phrases
ideas. and phrases, phrases phrases introduce and
or transitions connect connect ideas. connect ideas.
used ideas.
incorrectly.
6. The conclusion Lacks a Summarizes Summarizes Summarizes the
summarizes the conclusion that most of the the writer’s writer’s
writer’s key ideas. summarizes writer’s key ideas. key ideas in a
the writer’s ideas. thoughtful
ideas. and satisfying
way.
7. Follows Serious errors Some errors Few errors in Correct grammar,
conventions of in grammar, in grammar, grammar, spelling,
mechanics, spelling, spelling, spelling, punctuation, and
usage, and punctuation, punctuation, punctuation, capitalization.
spelling. and and and
capitalization capitalization. capitalization.
interfere with
reader
understanding.

TOTAL SCORE:
Adapted from: READ180 rBook Writing Rubric: Literary Analysis

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Lesson 2 Textual Adaptation
Week 8
and Self-Assessment

Day 1

What I Need to Know

By the end of this lesson, you are expected to:

1. define textual adaptation;

2. produce an adaptation of a poem using multimedia and ICT skills; and
3. critique an adaptation using a self-assessment guide.

What’s In

Slay this!
Directions: Take a closer look at the following movie posters then answer the questions that
follow. Write your answers on your answer sheet. (6pts.)

The Lord of
Harry Potter Twilight Saga
the Rings The Notebook

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 1. What common feature do these movies have?
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
2._______________________________________________________________
What made these movie adaptations patronized by many?
______________________________________________________________________
______________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
3.___When reading a novel or short story, do you imagine yourself watching it as a movie or a
TV series? Why?
_______________________________________________________________
______________________________________________________________
_________________________________________________________________________
_________________________________________________________________________
_________________________________________________________________________
_________________________________________________________________________
___
_______________________________________________________________
______________________________________________________________

Day 2

What’s New

In relation to the activity above, everyone has met textual adaptation at some point, usually from
a very young age. We all remember reading the Harry Potter series and then (usually) being
disappointed by the movie that correlates to each book. This is a perfect example of a textual
adaptation.

THE ADAPTATION PROCESS

Textual adaptation is perceived in a literary sense, where a novel or book is adapted into a film
or series. However, media textual adaptations range from literary adaptation, to other mediums
such as performance and sound. The adaptation process is performed in a tasteful way – usually
adaptors of a media text will choose other texts that have already gained a following as it is
usually easier to obtain funding for the adaptation. (Worcester, 2015) The adaptation process is a
multifaceted mechanism where the adaptor must consider not only the legal side of the process,
but also the ethical side of the process. The legal side of the adaptation process involves
copyright law and the idea of plagiarism whereas the ethical process involves the preservation of
an original idea (Newell, 2006).

It is during these processes that the argument of adaptation VS plagiarism comes into play. So,
what separates adaptation from plagiarizing?

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Adaptation of a text is taking a pivotal idea from another text such as certain themes and
producing them in a new and original way, but not changed enough that the traditional
roots/influences of the text are lost. Plagiarism is taking someone’s work and trying to claim it as
your own without modifying it all. For example, William Shakespeare’s Romeo and Juliet was
adapted from written text into many films and was also adapted into a musical called West Side
Story. In West Side Story the theme of ‘star cross’d’ lovers is explored within a different social
context and in the medium of physical performance. An example of Plagiarism would be if
someone took Shakespeare’s Romeo and Juliet and attempted to claim that they had written it
(Talab, 2000).

Textual adaptation is extremely important when referring to media texts. Textual adaptation
allows for the transitivity of social and cultural views and values across different social contexts.
Textual adaptations allow media practitioners to create a timeline of how society’s ethics, beliefs
and ideas have evolved over time (Zelizer, 1997). For example, when comparing Zeferelli’s
film Romeo and Juliet to Baz Luhrmann’s adaptation of Romeo and Juliet we can instantly
recognize a different social context. We can also recognize certain ideas present in Baz
Luhrmann’s adaptation that simply would not represent the society that Zeferelli’s adaptation was
enveloped by e.g. Mercutio is an African American male who cross dresses in Baz Luhrmann’s
adaptation. (Worcester, 2015)

Moving on, we shall now talk about self-assessment in relation to literary adaptations. Please
read and take note of important concepts.

SELF-ASSESSMENT by: Dawn Rosenberg Mckay

What is a self-assessment? Is it a test of some sort? A self-assessment is not a test. It does not
have the desired outcome, for example, right or wrong answers that would demonstrate the
mastery of a subject. It is a way to learn about yourself by gathering data that includes
information about your work-related values, interests, personality type, and aptitudes.

Why should you do a formal self-assessment?

How much do you know about yourself? If you are like most people, you probably must give a lot
of thought to this question before you can answer it. You might know what your hobbies are and
that you are (or aren't) a people person. You probably couldn't explain, with ease, what values
are important to you and, while you may know some things that you are good at, you may not
have a complete list of all your aptitudes. Even if you could provide a rundown of every one of
your characteristics, there's a good chance you don't know how to use that information to help
you.
Utilizing a variety of self-assessment tools will help you put together all the pieces of the puzzle.

Anatomy of a Self-Assessment

A self-assessment, to be effective, must consider an individual's values, interests, personality

type, and aptitudes. All these characteristics make up who you are, so ignoring any of them won't
give you an accurate answer. Let's look at each one.

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Values

Your values are the ideas and beliefs that are important to you. Your values can include
autonomy, prestige, security, interpersonal relationships, helping others, flexible work schedule,
outdoor work, leisure time, and high salary.

Interests
Your likes and dislikes regarding various activities make up your interests. E.K. Strong and other
psychologists discovered many years ago that people who share similar interests also enjoy the
same type of work. Based on this theory he developed what is now called the Strong Interest
Inventory, an assessment many career development experts use to assist their clients with
career planning. Examples of interests include reading, running, golfing, and knitting.

Personality Type
Your personality type is made up of your social traits, motivational drives, needs, and attitudes.
Carl Jung, a Swiss psychiatrist, developed a theory of personality that is widely used in career
planning and is the basis for the Myers-Briggs Type Indicator (MBTI), a highly popular personality
inventory. Knowing what your type is can help you choose an occupation because personality
types are better suited to certain careers, as well as work environments, than are others.

Aptitude
Aptitude refers to an individual's natural talent, learned the ability, or capacity to acquire a skill.
Examples include math, science, visual art, music, verbal or written communication, reading
comprehension, logic and reasoning, manual dexterity, mechanics, or spatial relations. You may
have multiple aptitudes. It is important to keep in mind that having an aptitude for something,
doesn't mean you will necessarily like doing it. (Mckay, 2019)

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 What I can do
It’s your time to shine!
Directions: Find the given words below and encircle them. Choose (3) three terms and write
their definition inside the boxes. Write your answers on your answer sheet. (15pts.)

Note to the
teacher: You
may provide a
photocopy of
the puzzle to
the learners.

_________ ________
__________________________ ___________________________
__________________________ ___________________________
__________________________ ___________________________

___________
___________________________
___________________________
___________________________

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 What I Have Learned
Things to Ponder!

Directions: Complete the statements below. Write your answers on your answer sheet.

(4pts.)

The most important process in textual adaptation is__________________.

because _____________________________________________.

The most important anatomy of self-assessment is____________________

because
_________________________________________________________________.

Day 3

What’s More
Directions: Choose only one task and write your answer on a separate sheet of paper.
Task 1
Put Your Best Foot Forward

Recall the poem “Balaki Ko, ‘Day, Samtang Gasakay Ta’g Habal-habal” By Adonis G.
Durado which you have discussed from the Module 1. (For the full text of the poem visit
http://www.ethnicgroupsphilippines.com/arts-and-culture/filipino-voices/cebuano%E2%80%93balaki-ko-
%E2%80%98day-samtang-gasakay-ta%E2%80%99g-habalhabal/). Make a storyboard adaptation on the said
poem. Upload your output in your google classroom for the teacher’s perusal and be guided by
the given scoring rubric. Write your answer on your answer sheets. (25pts.)

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 DRAW YOUR STORYBOARD HERE

Grading Rubric for Storyboard Adaptation

Based on your own assessment, rate yourself using the rubric provided:

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Rating Scale = 20 – 24 pts grade 90 – 100

16 – 19 pts grade 80 – 89

12 – 15 pts grade 70 –79

6 – 11pts grade 65

Adapted from: https://moshej.edublogs.org/files/2011/04/Storyboard-Rubric4-1hrbsok.pdf

How satisfied are you with your output?

Draw your reaction based on the emotions below. Explain your choice briefly.

DRAW HERE! EXPLAIN HERE!

Task 2
Getting into Clouds!
Directions: Make a word cloud about the anatomy of self-assessment. Write the words that
relate to your values, interests, personality type and aptitude. Here is a sample of a word
cloud. Write your answer on your answer sheets. (20pts.)

MAKE YOUR WORD CLOUD HERE

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 Grading Rubric for Word Cloud

Day 4

Post Test

Directions: Read the statements carefully and write the letter of your chosen answer. Use a
separate sheet of paper and label it with Post Test Module 4 in 21st Century Literature.

1. This is a deep analysis of how a literary text works which is both a reading process and
an element you include in a literary analysis paper.
a. Reading books b. Close Reading c. Critical Reading d. Poem Reading

2. Literary analysis examines the following components; EXCEPT

a. subject b. form c. theme d. observation

3. Which of the following should close reading produce?

a. answers b. observations c. analysis d. questions

4. He wrote the following famous poems: “The Gift Outright,” “Stopping by Woods on a Snowy
Evening,” “Design,” and “The Road Not Taken,”.
a. Edgar Allan Poe c. Robert Frost
b. William Shakespeare d. Ernest Hemingway

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For items 5-8, identify the defined components of literary analysis.

5. This element expounds the topic and generally what the text is about.
a. subject b. form c. theme d. word choice

6. This element helps the reader go deeper and "dig in” into the text.
a. subject b. form c. theme d. word choice

7. This refers to the major ideas in a text.

a. subject b. form c. theme d. word choice

8. It is how a text is put together, thereby shedding light on the topic.

a. subject b. form c. theme d. word choice

9.It is perceived in a literary sense where a novel or book is adapted into a film or series.
a. Literary analysis c. Textual Adaptation
b. Literary criticism d. None of the above

10. What separates adaptation from plagiarism?

a. Textual adaptation is extremely important when referring to media texts.
b. Adaptation of a text is taking a pivotal idea from another text such as certain themes
and producing them in a new and original way.
c. Plagiarism is taking someone’s work and trying to claim it as your own without
modifying it all.
d. Plagiarism is someone took Shakespeare’s Romeo and Juliet and attempted to claim
that they had written it.

11. What is the legal side of the adaptation process?

a. Copyright law c. Human Rights
b. Preservation of an original idea d. General Rights

12. What is the ethical process in plagiarism?

a. Copyright law c. Human Rights
b. Preservation of an original idea d. General Rights

13. How can self-assessment be effective?

a. One must consider an individual's values, interests, personality type.
b. One must consider another people’s values, interests, personality type.
c. One must consider an individual's values and interests only.
d. One must consider an individual's, personality type and aptitude only.

For items 14-15, identify the following defined terms:

14. These refer to ideas and beliefs that are important in decision-making.
a. interests b. aptitude c. personality d. values

15. Which of the following is linked to an individual's natural talent, learned ability, or
capacity to acquire a skill.
a. interests b. aptitude c. personality d. values

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References
Online Sources

Image. (n.d.). Retrieved 7 8, 2020, from Wikipedia: The Free Encyclopedia:

https://www.nypl.org/sites/default/files/hp-posters.jpg
Image. (n.d.). Retrieved 7 8, 2020, from Wikipedia: The Free Encyclopedia:
http://upload.wikimedia.org/wikipedia/en/8/86/Posternotebook.jpg
Image. (n.d.). Retrieved 7 8, 2020, from Wikipedia: The Free Encyclopedia: https://images-
na.ssl-images-amazon.com/images/I/513EzPkkd5L.jpg
Image. (n.d.). Retrieved 7 19, 2020, from Wikipedia: The Free Encyclopedia:
http://upload.wikimedia.org/wikipedia/en/b/b6/Twilight_(2008_film)_poster.jpg
Image. (n.d.). Retrieved 7 20, 2020, from Wikipedia: The Free Encyclopedia:
http://commons.wikimedia.org/wiki/File:Foundation-
l_word_cloud_without_headers_and_quotes.png
Mckay, D. R. (2019, June 25). The Balance Careers. Retrieved from
www.thebalancecareers.com: https://www.thebalancecareers.com/self-assessment-
524753
The Writing Center . (2020). Retrieved from The University of Wisconsin-Madison:
https://writing.wisc.edu/handbook/assignments/closereading/
Worcester, L. (2015, 05 31). Textual Adaptations. Retrieved from mediafactory.org.au:
http://www.mediafactory.org.au/2015-media1-projects-onestepfurther/2015/05/31/the-
adaptation-process/
https://www.gryphonhouse.com/activities/catchy-titles-lis

Acknowledgements:
21st Century Literature from the Philippines and the World – SHS Core Subject
Quarter 1 – Module 4: Literary Analysis and Creative Adaptation

Development Team of the Module

Compiler: Maria Fatima P. Visbal, TII, Inayawan Night High School

Editors: Rex C. Ebarle, MTI, Cebu City National Science High School
Gina M. Panes, TIII, Cebu City National Science High School
Dennis Jay L. Tecson, TII, Alaska Night High School

Evaluator: Angelique B. Villafuerte, MTI, Mabolo National High school

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For inquiries or feedback, 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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