Select your answer from the following choices.

ASSIGNMENT: ● People who desires to be famous

● Learned from their parents about success
● Scientists investigate the reasons why some humans want to be famous while some wants to be rich.
● Difficult to make friends when they were younger
The Psychology of Fame
Until the beginning of the 1990s western psychologists had not ● Friends and family encouraged them
systematically studied the human desire to be famous. However, ● Demand attention from others
in the few years up to this time, the amount of celebrity news in ● People who want to be rich
the media had been increasing dramatically. Scientists at ● Didn’t use to receive praise or recognition from their parents
various US universities then started to investigate the reasons ● Focused on the future than the past
why some humans seem to be driven to become famous, while ● Desire for social acceptance
others have no interest in attracting the limelight.
Extensive research with people from different cultures led to the
conclusion that people who desire fame are not the same people Thesis Statement: Scientists investigate the reasons why some humans
who want to be rich. The former group may have some desires
for social acceptance based on previous experiences in their
want to be famous while some wants to be rich.
lives. It seems that many of these people used to find it difficult
to make friends when they were younger, or they didn’t use to
receive praise or recognition from their parents. The
I. People who desires to be famous
psychologists believe that it is likely that these people would A. Desire for social acceptance
often demand attention from others as teenagers and this
desire has remained in adulthood and is now expressed as a B. Difficult to make friends when they were younger
longing to be famous. Conversely, those who want to be rich C. Didn’t use to receive praise or recognition from their parents
are much more focused on the future than the past; in contrast
to the former group, the study found that many of this group D. Demand attention from others
had learned from their parents that success is generated by II. People who want to be rich
hard work and that their friends and family had always
encouraged them to strive for the best in life. These A. Focused on the future than the past
conclusions suggest that there is a link between our upbringing
and how we measure
B. Learned from their parents about success
success. C. Friends and family encouraged them
Source: Leahdeoferio11
WRITING A CRITIQUE:

CRITICAL
APPROACHES
By: Teacher Kim
OBJECTIVES

• using the different approaches of criticism; and

• Apply the appropriate critical approaches in
writing a critique
CRITICIZE
• to judge or evaluate someone or something

CRITIQUE
• the paper or essay/ the product of criticizing

CRITIC
• the person doing the criticism
 Uses a formal,
academic writing
style and has a clear
structure, that is, an
CRITIQUE
introduction, body,
and conclusion
CRITICAL
APPROACHES
1. Formalist Approach (Formalism)
Formalist criticism is a way in which the reader can approach, analyze and
understand using the inherent features of a text. It is done by being completely
objective in analysis while ignoring external factors and focusing only on the
literature itself. Formalism disregards the environment, era and author to focus only
on the work itself, because it sees the literary work as an object in its own right.
CRITICAL
APPROACHES
examples:
“Who are the characters?”
“Why did the character do this?"
“What were the consequences/effects of the character’s actions?” “What does the
story teach us?”
“What does the third line of poem mean?”
That is a common example of the formalist approach happening in everyday life because we try to get the meaning of the text purely on the text itself, and not based
on our experiences, nor the author’s, nor the time and situation when the text was written.
CRITICAL
APPROACHES
2. Biographical Approach
biographical criticism uses details about an author’s personal life to
analyze the author’s work. It relies on autobiographies,
correspondence and other primary materials about the author. The
goal of this approach is understanding why the author wrote what
he/she wrote.
example:
Vincent van Gogh’s famous painting,
Starry Night. In 1889, Vincent van Gogh
painted Starry Night during his stay at the
asylum of Saint-Paul de-Mausole near
Saint Rémy-de-Provence in France. At
that time, his art style shifted from his
previous bright and joyful paintings to
dark and gloomy sceneries, as shown in
Starry Night. Critics say this shift occurred
while he was battling paranoia, depression
and suicidal thoughts.

(HTTPS://COMMONS.WIKIMEDIA.ORG/WIKI/FILE:VANGOGH-STARRY_NIGHT.JPG)
CRITICAL
APPROACHES
3. Historical Approach
Historical criticism, also known as New Historicism, investigates the
social, cultural, and intellectual context that produced a work. While
this may include the author's biography, it focuses more on how time
and place of creation affect meaning in the work.
CRITICAL
APPROACHES
examples:
NOLI ME TANGERE AND EL FILIBUSTERISMO,
JOSE RIZAL’S NOVELS

we may understand the lifestyle, culture and events during the Spanish occupation in the Philippines, that
are exhibited in the work. Moreover, we may also understand that Rizal wrote those novels to reveal the
abuses of the Spanish regime and to illustrate the hardships of the Filipino masses, all of which happened at
that time.
CRITICAL
APPROACHES
4. Psychological/Psychoanalytical Approach
Psychological criticism examines works through theories of
psychology. It looks either at the psychological motivations of the
characters or of the authors themselves. In other words, it looks into
the minds of the characters or the author to understand what the work
means.
examples:
Sigmund Freud’s
psychoanalytic theory, the
psyche (mind) is structured
into three parts: the id, ego and
superego, all developing at
different stages in our lives.
CRITICAL
APPROACHES
5. Reader-Response Approach
Reader-response criticism argues that the meaning of a text is
dependent upon the reader’s response to it. It focuses on the act of
reading and how it affects the readers’ perceptions of a text. To put it
simply, it suggests that meaning is not created by the text nor the
author. Meaning is created by the reader.
CRITICAL
APPROACHES
examples:
SONGS
BOOKS
CRITICAL
APPROACHES
6. Marxist Approach
Marxist criticism grew out of the writings of Karl Marx, who was
highly critical of the capitalist system of economics and politics.
Marx wrote “The Communist Manifesto”.
CRITICAL
APPROACHES
6. Marxist Approach
Marxism is concerned about the ways in which governments and
businesses that control the means of production (factories, etc.) exert
control over the working classes. To put it simply, it is concerned
with issues of class conflict, wealth, work, and the various ideologies
that surround these things.
CRITICAL
APPROACHES
example:
“Upuan,” by Gloc-9. With lines that go, “Kayo po na naka-upo,/
Subukan niyo namang tumayo / At baka matanaw, at baka matanaw
ninyo / Ang tunay na kalagayan ko”, it narrates how the ruling class
seems numb to the needs of the lower class.
CRITICAL
APPROACHES
7. Feminist Approach
Feminist criticism reveals the ways in which literature portrays the
economic, political, social, and psychological oppression of women. This
looks at how aspects of our culture are patriarchal (male dominated) and
aims to expose misogyny (female prejudice) in writing about women,
which can take explicit and implicit forms.
CRITICAL
APPROACHES
example:
work
education (Spanish Occupation)
SEVEN CRITICAL
APPROACHES
• Formalist Approach (Formalism)
• Biographical Approach
• Historical Approach
• Psychological/Psychoanalytical
• Reader-Response Approach
• Marxist Approach
• Feminist Approach
 LIKE THE CRITICAL APPROACHES,
PEOPLE HAVE VARYING
Wise words PERSPECTIVES ON THINGS. THIS IS
from our DUE TO THEIR VARYING
EXPERIENCES IN LIFE. AS A RESULT,
leaders
WE HAVE DIFFERENT BELIEFS,
OPINIONS AND PREFERENCES. THE
IMPORTANT THING IS WE HAVE TO
RESPECT EACH ONE ANOTHER’S
PERSPECTIVES.
HOMEWORK
EXAMINE EACH AND TRY TO FIGURE OUT WHICH CRITICAL APPROACH WAS USED TO
EXTRACT THE MEANING OF THE WORK.

1. An excerpt from a review of “The Story of an Hour”, a short story

by Kate Chopin (1894)

One of the main events in the story is a loss of someone very important, more
particularly, the loss of Mrs. Mallard’s husband. Josephine, Mrs. Mallard’s sister, had
brought the sad message that there was a railroad disaster and of those listed as ‘killed’ was
Brently Mallard, who was Mrs. Mallard’s husband. In Kate’s life, she had lost someone too,
in a railroad accident in 1855. Her father had widowed her mother.
2. An excerpt from a research focusing on various characters from the “Harry
Potter” novels by J.K. Rowling
Elizabeth E. Heilman expresses her disappointment with the main female character, Hermione Granger, and lists many
examples of negative ways women are portrayed in the novels (Heilman 2003: 222). Contrary to male characters,
Hermione often shows fear - in the first novel, for example, she cowers with fear when she sees a troll, so that the boys
(Harry and Ron) had to rescue her: "[Hermione] was still flat against the wall, her mouth open with terror"
(Philosopher's Stone: 130). Heilman furthermore claims that girls are represented as anti-intellectual, interested mostly
in magic of the lower order as taught in Divination classes (Heilman 2003: 223); that Hermione's knowledge is
important, but only contributes to Harry's adventures and not hers; Heilman also points out that the French girl Fleur
who takes part in the Tri-Wizard Tournament in the fourth novel is the only girl in the tournament, she performs the
worst of all, and in the second part of the tournament gets entangled in seaweed and is unable to save her sister (Harry
does that instead); women are usually described as possessing motherly characteristics - e.g. Professor McGonagall is
smart, but not wise, powerful or brave, she takes care that students go to bed on time, she is relatively easy to trick and
Harry and his friends do that quite often (which is impossible with Principal Dumbledore); unicorns prefer female
touch, etc. (Ibid.: 225)
3. An excerpt from a review of “The Things They Carried”, a compilation of
short stories by Tim O’Brien (1990)
Intermittent passages describe the nature of things carried by the men and then list those
things. The first such passage begins: “The things they carried were largely determined by
necessity” (O’Brien 706). Necessity is the most important quality in determining whether
something is carried by the men. We see this in the openings of the subsequent passages of this
kind. “The things they carried was partly a function of rank, partly of field specialty” (O’Brien
708). “The things they carried were determined to some extent by superstition” (O’Brien 712).
The fact that these passages focusing on rank, specialty, superstition, and so forth follow the
one focusing on necessity—in addition to the presence of qualifiers such as “partly” and “to
some extent” in the later passages—highlights the prominence of necessity in determining
what it is that the men carry.
 ADDITIONAL
HOMEWORK

click the url

https://docs.google.com/document/d/13YozdCdwd019b
Z0cCfyvJDS0mJORpve7/edit?usp=drive_link&ouid=10
1915951591690938991&rtpof=true&sd=true