ATENEO DE NAGA UNIVERSITY JUNIOR HIGH SCHOOL
SECOND TERM SY 2018-2019
UNIT: A Call to Save the World and the Peoples
ESTABLISHED GOALS
CONTENT STANDARD:
The learner demonstrates
understanding of how world
literature and other text types
serve as sources of wisdom in
expressing and resolving conflicts
among individuals, groups and
nature.
PERFORMANCE STANDARD:
The learner skilfully delivers an
oral performance using effective
verbal and non-verbal strategies.
DESCRIPTORS:
(C1.7) Seek meaningful
application of knowledge and
skills to life situations.
(C1.10) Grow in awareness of
global nature of many social
problems and relate them to
current issues and historical
antecedents.
(C2.1) Acknowledge that there
are universal values which qualify
a truly human life.
(C3.4) Confront the moral
ambiguities embedded in values
promoted by local and global
structures and advocate social
change.
(C1.2) Desire to improve himself
to continually gain deeper
understanding of who he is, and
to become more authentically
free and decisive in his actions.
(C1.4) Think critically and
creatively.
(C1.6) Develop the
perspectives over central ideas,
methodologies, and conceptual
geographies of the variety of
intellectual disciplines.
SUBJECT GRADE: 10
TEACHERS: MS. LORENA HAYALIN, MR. MELJOHN TATEL,
and MR. FROMJO REYES
22 ACADEMIC SESSIONS
DESIRED RESULTS
TRANSFER GOAL
In the long run and on your own, you will express appreciation of significant human experience in the context of changing social
order through communicative and literary way.
MEANING-MAKING
ESSENTIAL UNDERSTANDINGS ESSENTIAL QUESTIONS
At the end of the unit, you will have explored and started to At the end of the unit, you will have explored the answers to:
understand that: 1. How does an established idea or popular concept
1. Authors have diverse views about the changing social change in time?
order. 2. What do authors say about the changing social order?
2. Literature questions our perceived reality by creating its 3. How does literature distort or change our common
own version of reality. perceptions of things around us?
3. We all share the responsibility of caring and preserving 4. How can I show that I value my environment?
the environment. 5. How will I connect ideas to one another?
4. Improving language skills contributes greatly to 6. How can I put my ideas across to my reader or listener
5. It is always best to express ideas parallel structures. in the most effective ways possible?
7. How can I make long complex sentences easy to
understand?
ACQUISITION
KNOWLEDGE SKILLS ATTITUDES
At the end of the unit, you will know At the end of the unit, you shall be At the end of the unit, you will choose
about… skilled at… to…
1. Parallelism 1. expressing reactions to the 1. Show appreciation of literature as
2. Politically Correct and Gender- messages of various texts read avenue for the expression of respect
3. Neutral Language 2. noting the major and minor and understanding for women’s issues/
4. Literary Theories ideas in the different texts read concerns.
5. United Fruit Company (Pablo and listened to. 2. Express desire to improve your
Neruda) 3. correcting given sentences for communication ability in both oral and
6. The Story of an Hour (Kate Chopin) faulty parallel structures written forms
7. Not My Best Side (U.A. Fanthorpe) 4. revising sentences for political 3. Show a positive attitude towards
8. The Last Flower (James Thurber) correctness listening, speaking, reading and writing
5. writing a literary critique of a text activities
using the carnivalesque or eco- 4. Manifest careful and thorough
criticism theory observance of the rules of grammar
and composition studied in class
5. Show interest in improving your
vocabulary.

ASSESSMENT EVIDENCE
Conducting a Talk Show
PERFORMANCE TASK: TALK SHOW
After discussing several theories of literature in class, you are tasked to deliver a performance through a talk show to show your understanding of the concepts
discussed in the class. The performance will be a group task involving writing a script for the show based on a literary text (a poem or a short story chosen by the
group) which highlights any one or two literary theories discussed. The script may be based on a pivotal scene, lines or event in a text. The talk show will have at
most 2 hosts, guests such as authors, people from advocacy groups, students, etc. The performance should run within a 7-10 minute time frame, including other
creative parts of the talk show.
OUTLINE AND THESIS STATEMENT RUBRIC
https://www.rcampus.com/rubricshowc
Poor
1-4 pts
Group members make
serious errors in material
Knowledge of
presented.
Material
More than one group
member seems very
Organization disorganized. Group
members do not seem to
know their roles well.
Some students do not
speak clearly, and there are
Presentation problems with volume and
eye contact.
Discussion is somewhat
lacking in basic
questions/answers. No use
Creativity of props/costumes.
Outline is lacking in detail
and has significant errors in
Outline grammar, spelling, and
punctuation.
TOTAL
EVIDENCE
EVALUATIVE CRITERIA
Your work will be rated according to the criteria given in the rubric.
Fair
5-8 pts
All group members display
thorough knowledge of material
presented. More than one
group member makes minor
errors.
All group members show minor
disorganization, or one group
member seems very
disorganized.
All group members speak
clearly, but there are minor
problems with volume and eye
contact.
Presentation is acceptable.
Discussion is adequate, but
does not go beyond basic
questions/answers.
Outline is somewhat lacking in
detail, or has significant errors
in grammar, spelling, and
punctuation.
Good
9-12 pts
All group members display
thorough knowledge of
material. One group member
makes minor errors.
Presentation is well-
organized, but some group
members show minor
disorganization.
All group members speak
clearly, but there are minor
problems with volume or eye
contact.
Presentation shows effort.
Students occasionally go
beyond basic
questions/answers. Some
use of props/costumes.
Outline is well-written and
detailed. Minor errors in
grammar, spelling,
punctuation.
Excellent
POINTS
13-15 pts
All group members
display thorough
knowledge of material
presented.
Presentation and
materials are well
organized. All group
members know their
roles well.
All group members
speak clearly and
loudly and make good
eye contact.
Presentation shows
significant effort.
Students go beyond
basic questions and
answers. Good use of
props/costumes.
Outline is well-written
and detailed. No errors
in grammar, spelling,
punctuation.
 Use structures of modification.
LEARNING COMPETENCY
SSN SESSION OBJECTIVE/S TOPIC
Given a set of sentences, students identify the structures that are not parallel, Parallelism
1-2 and rewrite the sentences to correct the non-parallel structures with at least Pearson Education. (2004). Writing and grammar: Communication in
75% rating. action, Silver Level. Boston, Ma:Prentice Hall Publication.
LEARNING ACTIVITIES ASSIGNMENT
Continue the given
1. Give the counterparts of the indicated part of speech of the following words: worksheet.
a. donate (to noun) b. decision (to adjective) c. beauty (to adjective)
d. liberty (to verb) e. independence (to adverb)
2. Read aloud the objectives of the day.
3. Recall what a phrase is along with its types, and a clause and its types.
4. Take note:

Parallelism is the placement of equal ideas in words, phrases, or clauses of similar types.

Parallel grammatical structures may be made up of two or more words of the same part of speech, two or more phrases
of the same type, two or more clauses of the same type, or occasionally two or more sentences of the same type.

PARALLEL WORDS: The wrestler looked strong, fit, and agile.

PARALLEL PHRASES: The greatest pleasure I know is to do a good action by stealth and
to have it found out by accident. – Charles Lamb
PARALLEL CLAUSES: The tennis star whom I have met and whom you saw last Thursday
will speak.
PARALLEL SENTENCES: It couldn’t be, of course. It could never, never be. – Dorothy Parker

CORRECTING FAULTY PARALLELISM IN SERIES

Non-Parallel Structures Corrected Sentences
GERUND GERUND NOUN GERUND GERUND GERUND
Planning, drafting, and revision are three steps in the writing Planning, drafting, and revising are three steps in the writing
process. process.

INFINITIVE PHRASE INFINITIVE PHRASE INFINITIVE PHRASE INFINITIVE PHRASE

I was appalled to see her manners, to hear her bad language, I was appalled to see her manners, to hear her bad
and language, and

PARTICIPIAL PHRASE INFINITIVE PHRASE

feeling her intense animosity. to feel her intense animosity.
NOUN CLAUSE NOUN CLAUSE
Some experts feel that our population is too large, but Some experts feel that our population is too large, but

INDEPENDENT CLAUSE NOUN CLAUSE

it will diminish. that it will diminish.

 Sentences which compare things with the use of correlative conjunctions also need parallel structure. Likewise
comparison with the use of the words as or than needs parallel elements.

CORRELATIVE CONJUNCTIONS: both…and, whether…or, either…or, neither…nor, not…but, not only…but also
COMPARISON: as…as, such…that, as many…as, as may…as, no sooner…than, rather…than, scarcely…when

Examples:
 Not Parallel: Tonight, not only we are going to the Chinese restaurant but also to the comic book store.
Parallel: Tonight, we are going not only to the Chinese restaurant but also to the comic book store. (prepositional
phrase)

 Not Parallel: Although Rickon’s inheritance is substantial, it is still smaller than his sister.
Parallel: Although Rickon’s inheritance is substantial, it is still smaller than his sister’s (inheritance). (noun phrase)

 Not Parallel: Shaira’s grade point average is much higher than her brother.
Parallel: Shaira’s grade point average is much higher than her brother’s (grade point average). (noun phrase)

 Not Parallel: Andrew was both an industrious and he was also an excellent athlete.
Parallel: Andrew was both an industrious and an excellent athlete. (adjective)
 5. Answer the formative exercises.
A. Recognizing Parallel Structures.
Write the parallel structures in the following sentences. Then identify what each is composed of: words, phrases,
clauses, or sentences.

EXAMPLE: We must hope for the best, not for the worst. Answer: for the best – for the worst (phrases)

1. They know that we will help them and that the price will be quite low.
2. Sarah’s cat was Siamese. Tom’s dog was Pekinese.
3. Listening carefully and ignoring interruptions are essential in that class.
4. They gave their children love, hope and attention.
5. The presents were hidden behind the curtains, under the couch, and in the old Greek vase.

B. Correcting Faulty Parallelism. Rewrite each sentence to correct the faulty parallelism.

1. The new employee was lazy, insolent, and was acting irresponsibly.
2. I think the plants did well because they were fertilized rather than because of my talks to them.
3. Ken either will go to the parade or to the Egyptian museum.
4. Going home is better than to stay here.
5. I would choose reading a book over a television show.

6. Take note of the teacher’s feedback.

7. What is the importance of knowing and applying the principles of parallelism in constructing our sentences?

LEARNING COMPETENCY Observe the language of research, campaigns and advocacies.

SSN SESSION OBJECTIVE/S TOPIC
Given the principles behind political correctness, students rewrite sentences Politically Correct Language
using politically correct language and cite the importance of politically correct Tsehelska, M. (2001). Teaching politically correct language. English
3-4 language with at least 75% rating. Teaching Forum. 1, 20-23.
O’Neill, B. (2011). A Critique of Politically Correct Language. The
Independent Review. 2, 279-291.
LEARNING ACTIVITIES ASSIGNMENT
1. Identify commonly used names for people whose images are flashed on the screen. Read about critiques
2. Read aloud the objectives for the day. on politically correct
3. What are names or words that commonly insult and offend people? language.
4. Take note:

Political Correctness is the conformity to a belief that language and practices which could offend political sensibilities (as in matters
of sex or race) should be eliminated.
A cornerstone of the Politically Correct (PC) Language reform movement is the hypothesis that language is a filter through which
reality is viewed. The trend to ‘opening up’ society to diversity of all kinds is the reason why the said language reform movement was
designed to aid social changes.
Using politically correct language means avoiding these languages:
1. Sexist language – use of words or phrases suggesting that members of one sex are less able, intelligent and skillful
2. Pejorative language – use of words or phrases disapproving or suggesting that something is of no importance (labeling
nationalities, aged people, etc.)
3. Taboo language – use of words or phrases which are likely to be offensive (referring to sex, nationalities)
Aspects of Politically Correct Language
1. Racial and ethnic groups 3. Age
2. Gender 4. Illness and disability
Thus, politically correct language refers to words and phrases that we use, instead of potentially derogatory or insulting
language, to talk about something negative without causing offense.
Don’t say Say instead Don’t say Say instead:
ABILITY AGE
Handicapped/disabled differently abled people old person senior citizen
Idiot/stupid/dumb person with special needs child/kid young person
retarded person/crazyguy/ madman mentally challenged
APPEARANCE
deaf hearing impaired fat/obese overweight
blind sight impaired
GENDER
RACE my wife life partner
American Indians Native Americans housewife homemaker
blacks/coloured people African-Americans policeman police officer
Aborigines Australian postman postal worker
steward/-ess flight attendant
 5. Perform the exercises. (on separate sheets)
A. Match the politically correct words in A with their original terms in B.
B. On the space provided, rewrite the following sentences using politically correct language.
6. Consider feedback from teacher and classmates.
7. What is the relevance of using politically correct language in research paper writing?

LEARNING COMPETENCY Observe the language of research, campaigns, and advocacies

SSN SESSION OBJECTIVE/S TOPIC
Gender-Neutral Language
Given the guidelines for using gender-neutral language, students Stevenson, J. (n.d.). Using gender-neutral language in
5-6 supply appropriate words and revise sentences to avoid sexist academic writing: Warren Wilson College Writing Studio.
language with at least 75% rating. Retrieved from http://www.warren-
wilson.edu/academics/writing-studio
LEARNING ACTIVITIES ASSIGNMENT
1. State the gender of the nouns flashed on the screen. Answer the worksheet
2. Give the objectives of the day. given by the teacher.
3. Recall the four aspects of political correctness.
4. Take note: Read the poem, The
Gender-neutral Language is a language that aims to eliminate reference to gender in terms that describe United Fruit
people. (Bryan Garner 2009) Company.

Guidelines for gender-neutral language

1. Replace generic masculine pronouns (he, is) by rewriting your sentence in one of the following
ways:
A. Recast your sentence in the plural.
Example: Each student must be early in attending his class.
Revised: All students must be early in attending their class.

B. Use both pronouns without parentheses (e.g. she or he, her/him, his/hers, herself or himself).
Example: The patient should wait until her hospital bill has been fully paid.
Revised: The patient should wait until his/her hospital bill has been fully paid.
Note: Most sources agree that the construction s/he should be avoided.

C. Use neutral words like individual or one.

Example: The stage manager must delegate all the tasks; he is therefore responsible for the show’s
success.
Revised: The stage manager must delegate all the tasks; this individual is therefore responsible for
the show’s success.
D. Eliminate the pronoun altogether.
Example: The incumbent is expected to edit a variety of documents. He must also prepare weekly
updates.
Revised: The incumbent is expected to edit a variety of documents and prepare weekly updates.

E. Repeat the noun.

Example: The student must submit the course registration papers by July 1. His guidance
counsellor will send confirmation by mail.
Revised: The student must submit the course registration papers by July 1. The student’s guidance
counsellor will send confirmation by mail.

2. Avoid patronizing expressions, and use woman instead of girl or lady unless you are
referring to a minor.
Example: One of the lovely ladies in the office will answer your call.
Revised: One of the administrative assistants will answer your call.

3. Avoid unnecessary feminine forms, such as ess, ette, and ienne

Don’t use Use

headmaster, headmistress director, principal
mailman mail carrier, letter carrier
businessman, businesswoman businessperson, people in business
 chairman, chairwoman chair, chairperson, convenor
policeman, policewoman police officer

Example: Our foreman, Suellen, often acts as chairman of the health and safety committee.
Revised: Our supervisor, Suellen, often acts as chair of the health and safety committee.

4. Avoid the generic term man, generic words and expressions that contain man and the use
of man as an adjective or verb.

Don’t use Use

average man average person, ordinary person
best man for the job best person for the job
to man to operate, to staff
Layman layperson, non-specialist
man (when referring to humanity) human beings, humanity, humans, individuals, people
man-made artificial, handmade, manufactured, synthetic
Mankind humankind

5. Avoid generalizations about men’s and women’s personality traits and social roles.
Example: Hysterical women and angry men
Revised: Moody women and men
Example: The nurse should bring her stethoscope to the training session.
Revised: Nurses should bring their stethoscopes to the training session.

6. When you mention the names of a woman and man together, portray them as equals.
Examples:

Steven Spielberg and Virginia Woolf

Steven Spielberg, the director and Virginia Woolf, the writer

*These guidelines are taken from https://www.noslangues-ourlanguages.gc.ca/bien-well/fra-

eng/style/nonsexistguidelines-eng.html

5. Answer a formative exercise.

A. Underline the sexist term use in each item and supply the appropriate gender-neutral language on
the space provided.
__________1. The geology professor taught the lesson using layman’s terms.
__________2. Each member of the glee club pays her contribution to the treasurer.
__________3. A teacher should do her job well.
__________4. My uncle hired a cameraman for his wedding.
__________5. A policeman is assigned to patrol the subdivision every night.
__________6. Some weathermen in the Philippines choose to work abroad due to high salary.
__________7. The gunman who shot the Mayor in the head confessed to the priest.
__________8. I never thought that she would become the school directress.
__________9. Stewardess will undergo several tests for two months.
__________10. The government proposed to build a man-made dam near the village.

B. Revise the following sentence observing the guidelines on gender-sensitive language.

1. A marijuana user will be encouraged to continue on using it if he knew that it is already
legalized in his country.

6. Take note of the feedback of the teacher.

7. What is/are the importance of being gender-sensitive in our use of language?
 LEARNING COMPETENCY Power struggles of characters
SSN SESSION OBJECTIVE/S TOPIC
Given the text, “The United Fruit Company” and with at least 75% rating, Marxism
students must be able to: The United Fruit Company by: Pablo Neruda
7-8 a. define the key concepts under Marxism Delahoyde, M. (n.d.). Introduction to Literature: Washington State University.
b. identify the power struggle presented; and Retrieved from: https://public.wsu.edu/~delahoyd/marxist.crit.html
Tyson, L. (2006). A Critical Theory Today (Second ed.). New York: Routledge.
c. relate themselves with the theme of the text.
LEARNING ACTIVITIES ASSIGNMENT
1. Match the given words in column A with the concepts in column B. Write the letter of the correct answer. Read The Story of
Answer Column A Column B an Hour by: Kate
1 Pablo Neruda A. a German philosopher, economist, historian, Chopin.
sociologist, political theorist, journalist and
socialist revolutionary Answer the
2 Proletariat B. an ideology that says “I’m only as good as vocabulary
what I buy.” worksheet.
3 Karl Marx C. a German philosopher, economist, historian,
sociologist, political theorist, journalist and
socialist revolutionary
4 bourgeoisie D. working-class people
5 Consumerism A. those who control the world’s natural,
economic, and human resources

2. Read aloud the objectives for the day.

3. Share your thoughts about this issue: ENDO CONTRACTUALIZATION
4. Take note:
Who is Karl Marx?
Karl Marx (1818-1883) was primarily a theorist and historian. After examining social organization in a scientific way
(thereby creating a methodology for social science: political science), he perceived human history to have consisted
of a series of struggles between classes--between the oppressed and the oppressing. Whereas Freud saw "sexual
energy" to be the motivating factor behind human endeavor and Nabokov seemed to feel artistic impulse was the
real factor, Marx thought that "historical materialism" was the ultimate driving force, a notion involving the distribution
of resources, gain, production, and such matters.

The supposedly "natural" political evolution involved (and would in the future involve) "feudalism" leading to
"bourgeois capitalism" leading to "socialism" and finally to "utopian communism." In bourgeois capitalism, the
privileged bourgeoisie rely on the proletariat--the labor force responsible for survival. Marx theorized that when
profits are not reinvested in the workers but in creating more factories, the workers will grow poorer and poorer until
no short-term patching is possible or successful. At a crisis point, revolt will lead to a restructuring of the system.

For a political system to be considered communist, the underclasses must own the means of production--not the
government nor the police force. Therefore, aside from certain first-century Christian communities and other
temporary communes, communism has not yet really existed. (The Soviet Union was actually state-run capitalism.)

Marx is known also for saying that "Religion is the opiate of the people," so he was somewhat aware of the problem
that Lenin later dwelt on. Lenin was convinced that workers remain largely unaware of their own oppression since
they are convinced by the state to be selfless. One might point to many "opiates of the people" under most political
systems--diversions that prevent real consideration of trying to change unjust economic conditions.

Marxist Criticism
According to Marxists, and to other scholars in fact, literature reflects those social institutions out of which it emerges and
is itself a social institution with a particular ideological function. Literature reflects class struggle and materialism: think
how often the quest for wealth traditionally defines characters. So Marxists generally view literature "not as works created
in accordance with timeless artistic criteria, but as 'products' of the economic and ideological determinants specific to that
era" (Abrams 149). Literature reflects an author's own class or analysis of class relations, however piercing or shallow
that analysis may be.

The Marxist critic simply is a careful reader or viewer who keeps in mind issues of power and money, and any of the
following kinds of questions:
a) What role does class play in the work; what is the author's analysis of class relations?
b) How do characters overcome oppression?
c) In what ways does the work serve as propaganda for the status quo; or does it try to undermine it?
d) What does the work say about oppression; or are social conflicts ignored or blamed elsewhere?
e) Does the work propose some form of utopian vision as a solution to the problems encountered in the work?
5. Answer the following questions:
A. What is the significance of the term Jehovah in line 3 of the poem to the totality of its message?
B. What is the Fruit Company Inc.? How does the name “Banana Republics” came into existence?
C. Who are these personalities: Trujillo, Tacho, Carias, Martinez, and Ubico? Why were they related to flies?
D. What role does class play in the work; what is the author's analysis of class relations?
 E. What does the work say about oppression; or are social conflicts ignored or blamed elsewhere?
6. Listen to the comments of your classmates.
7. Reflect on this question: What are the immediate structures and ideology in my community which promotes class struggles?
How can I help solve if not alleviate this problem?

LEARNING COMPETENCY Gender relationships of characters

SSN SESSION OBJECTIVE/S TOPIC
Given the text, “The Story of an Hour”, and with at least 75% rating, students Feminism
must be able to: The Story of an Hour by: Kate Chopin
9-10 d. define the key concepts under feminism, Tyson, L. (2006). A Critical Theory Today (Second ed.). New York: Routledge.
e. identify the struggles of the inferior gender; and
f. relate themselves with the theme of the text.
LEARNING ACTIVITIES ASSIGNMENT
1. Answer the question: Is there something wrong with the photo below? Read about the
painting, Saint
Give your observations: George and the
A. ____________________________________ Dragon. Research
about its painter.
B. ____________________________________

C. ____________________________________

D. ____________________________________
Source: http://i2.wp.com/nakedpastor.com/wp-content/uploads/2014/08/the-
patriarchy.jpg

2. Read aloud the objectives for the day.

3. Describe a patriarchal woman.
What are her family roles? What are her societal responsibilities? What are her privileges?

4. Take note:
Feminists share several important assumptions:

1. Women are oppressed by patriarchy economically, politically, socially, and psychologically; patriarchal ideology is
the primary means by which they are kept so.
2. In every domain where patriarchy reigns, woman is other: she is objectified and marginalized, defined only by her
difference from male norms and values, defined by what she (allegedly) lacks and that men (allegedly) have.
3. All of Western (Anglo-European) civilization is deeply rooted in patriarchal ideology, as we see, for example, in the
numerous patriarchal women and female monsters of Greek and Roman literature and mythology; the patriarchal
interpretation of the biblical Eve as the origin of sin and death in the world; the representation of woman as a
nonrational creature by traditional Western philosophy; and the reliance on phallogocentric thinking (thinking that is
male oriented in its vocabulary, rules of logic, and criteria for what is considered objective knowledge) by educational,
political, legal, and business institutions. As we saw earlier, even the development of the Western canon of great
literature, including traditional fairy tales, was a product of patriarchal ideology.
4. While biology determines our sex (male or female), culture determines our gender (masculine or feminine). That is,
for most English-speaking feminists, the word gender refers not to our anatomy but to our behavior as socially
programmed men and women. I behave “like a woman” (for example, submissively) not because it is natural for me to
do so but because I was taught to do so. In fact, all the traits we associate with masculine and feminine behavior are
learned, not inborn.
5. All feminist activity, including feminist theory and literary criticism, has as its ultimate goal to change the world by
promoting women’s equality. Thus, all feminist activity can be seen as a form of activism, although the word is usually
applied to feminist activity that directly promotes social change through political activity such as public demonstrations,
boycotts, voter education and registration, the provision of hotlines for rape victims and shelters for abused women,
and the like. Although frequently falsely portrayed in opposition to “family values,” feminists continue to lead the
struggle for better family policies such as nutrition and health care for mothers and children; parental leave; and high-
quality, affordable day care.
6. Gender issues play a part in every aspect of human production and experience, including the production and
experience of literature, whether we are consciously aware of these issues or not.

5. Answer the following questions:

A. We are told that Mrs. Mallard has “heart trouble.” How might that be more than a physical ailment?
 B. Mrs. Mallard is given “veiled hints” about her husband’s death. What does this suggest about the way she is
viewed/treated by her family?
C. What does her passionate response tell us about her? Notice that this is our first real clue to her character, other
than the description of her physical ailments.
D. “There stood facing the open window a comfortable, roomy chair.” What does this description tell us about her
ordinary life? Look for other images of open/closed.
E. What time of year is it? Why is this important? What could the time of year symbolize?
F. “Patches of blue sky [were] showing here and there through the clouds.” How does this relate to her situation?
G. “She was young, with a fair, calm face.” Are you surprised by her age? What does her face tell you about her life?
H. “There was something coming to her…” What do you think is coming to her? Why is it arriving from outside, rather
than from inside her?
I. Why does she repeat “Free, free, free?” What is happening to her? How does she feel this in her body?

6. Listen to the comments of your classmates.

7. Reflect on these questions: Am I a feminist? How do I manifest it?
LEARNING COMPETENCY Gender relationships of characters
SSN SESSION OBJECTIVE/S TOPIC
Given the text, “Not My Best Side” and with at least 75% rating, students Defamiliarization
must be able to: Not My Best Side by: U.A. Fanthorpe
11-12 a. define the key concepts under Defamiliarization, Tyson, L. (2006). A Critical Theory Today (Second ed.). New York: Routledge.
b. identify the defamiliarized concepts; and
c. relate themselves with the theme of the text.
LEARNING ACTIVITIES ASSIGNMENT
1. What is the subject of the given excerpt? Answer the given
Caxtons are mechanical birds with many wings worksheet.
and some are treasured for their markings –
Read The Last
they cause the eyes to melt Flower by: James
or the body to shriek without pain. Thurber.

I have never seen one fly, but

sometimes they perch on the hand.
2. Read aloud the objectives for the day.
3. Describe the “generic” qualities of the following subject.
Damsel Knight Dragon

4. Take note
According to Viktor Shklovsky in the essay ‘Art as Technique’, defamiliarization or estrangement is defined as a
technique which aims to make us perceive everyday objects and words from a strange perspective. Our perception
becomes automatized while repeatedly perceiving objects or doing actions. Our view of objects becomes generalized,
so artists want to prompt us to observe an object for a prolonged period of time to see it clearly for what it is.
Automatization of objects in reality means that we recognize them, but don’t see them. Therefore, the point of the
technique of defamiliarization is not to return the meaning to an object, but to see an object from a different, unfamiliar
perspective.

A natural progression of this work is to analyse defamiliarization in relation to poetry. It is because poetry can make our
perception of words different. It enforces the prolonged observation of words and hence defamiliarizes them.
Formalists see poetry as something that emerges from deadened society where everything is repetitive and routine.
Our automatized life and the use of language are renewed with the act of estrangement. Poetry contrasts the
alienated society with the act of estrangement.

Furthermore, poetry uses figurative language that differs to literary, everyday language. Figurative language ‘’ has the
capacity to ‘defamiliarize’ our world – to refigure, reform, revolutionize.’’ (Bennett and Royle, ‘’Figures and tropes,’’ 83.)
It is used mostly in poetry, but we also refer to the world around us in figurative speech. The important part of it is
imagery that can’t be interpreted literally and makes poetry strange. Modern poets intensify our focus on language and
achieve defamiliarization with the use of tropes.

5. Accomplish the worksheet.

Sample Questions:
A. What does the title initially tell you about the poem? Make predictions about the subject of the piece.
B. How were the images and subjects presented by the author? How different are they from the conventional images?
C. What do these “estrangements” bring as an effect to a reader?
6. Listen to the comments of your classmates.
7. Compose a poem using defemiliarization.
 LEARNING COMPETENCY Care for God’s creation
SSN SESSION OBJECTIVE/S TOPIC
Given the text, “The Last Flower” and with at least 75% rating, students must Ecocriticism
be able to: The Last Flower by: James Thurber
11-12 a. define the key concepts under ecocriticism, Tyson, L. (2006). A Critical Theory Today (Second ed.). New York: Routledge.
http://www.oxfordbibliographies.com/view/document/obo-9780190221911/obo-9780190221911-0014.xml
b. identify the points for analysis using the eco-criticism as a lens; and
c. relate themselves with the theme of the text.
LEARNING ACTIVITIES ASSIGNMENT
1. Watch the video, Laudato Si’. Prepare for PT
2. Read aloud the objectives for the day. presentation.
3. Describe your ideal physical world/environment/home.
4. Take note
What is EcoCriticism?
In the simplest possible terms, ‘Eco Criticism is the study of the relationship between literature and the physical
environment.’ It was proposed by the pioneer or the father of this theory in the USA, Cheryll Glotfelty. And I hope, even
if this EcoCriticism or Green studies as a theory is not so popular, those who are curious in this field must be knowing it
already. The study of nature as presented in the pieces of literature is what that has been the playground of the people
concerned with this rather new movement in literary theories. As per the term Eco-Criticism, it only came into the major
play after the attempts of Cheryll Glotfelty, right since the 1989 WLA (Western Literature Association) conference.
Glotfelty urged the scholars to use this term to refer to the belt of studies which was previously popular as the study of
green writing. It was her effort in the USA that Eco Criticism became popular as a theory with this name. Scholars also
trace it back to 1978 William Rueckert’s essay and also Karl Kroeber’s back in 1974. However, the lion’s share, no
doubt, rests with Cheryll!

EcoCriticism as a literary theory

The easiest way to understand this trend in literary theories would be to learn what these people do. As you must be
aware that traditional theories in literature put emphasis either on linguistics or on the cultural and social background,
the Eco-Critics put all the weight on the ‘nature’ and believe that nature exists as a force which affects our evolution
directly as a society. For the intellectuals involved in the development of ‘green studies’ the world is not (only, if not
entirely) made of language and social ‘elements’. They tend to bring out the part which nature plays – either in writings
or in general purview. However, as it entered into the field of literary theory, a part bifurcated and established itself as
solely devoted wing concerned with the (re)reading of literary texts and bringing out the role of nature, representation of
nature and natural elements in the literature produced worldwide. It’s a fact that the major foci of green studies
intellectuals are the regional literature of different places as we know it contains a lot of fusion of nature. Nevertheless,
the well-known authors, poets and literary figures always remain the central source which feeds the thoughts and
findings of these studies.

What do the EcoCritics do?

Well, that’s a question I would always suggest my readers to turn to Peter Barry for an answer. The book Beginning
Theory by Peter Barry is a great tool, if I may say, to understand the literary theories. The chapter given in the book
that deals with EcoCriticism is way advanced and comprehensive than most of the other items I have read on the
subject. I will follow his style and would let you know what does an Ecocentric reader or the Eco-Critic do.

As an Eco-Critic, a person would:

1. Read or re-read the major as well as other works of literature with a viewfinder to trace the natural representation in
the writing.
2. Praise the authors, poets and intellectuals who put nature on a higher pedestal than other themes.
3. Give importance to the writings with an eco-centric perspective, such as, travel memoirs, essays about places,
intellectual writings containing visual landscape in text etc.
4. Not conform to the traditional notions of literary theory that suggests linguistic or the social build and thus walking
through the classic lane of ‘world beyond ourselves’.
5. Accomplish the worksheet.
Sample Questions:
A. How does the style and the genre of the text amplify the theme of the piece?
B. What does the text tell about a vicious cycle/loop?
C. How do we cut ourselves loose from this never ending dilemma?
6. Listen to the comments of your classmates.
7. Post social media status or any creative work that will promote love for nature.
The United Fruit Company
Pablo Neruda

When the trumpet sounded, it was

all prepared on the earth,
the Jehovah parcelled out the earth
to Coca Cola, Inc., Anaconda,
Ford Motors, and other entities:
The Fruit Company, Inc.
reserved for itself the most succulent,
the central coast of my own land,
the delicate waist of America.
It rechristened its territories
as the ’Banana Republics’
and over the sleeping dead,
over the restless heroes
who brought about the greatness, the liberty and the flags,
it established the comic opera:
abolished the independencies,
presented crowns of Caesar,
unsheathed envy, attracted
the dictatorship of the flies,
Trujillo flies, Tacho flies,
Carias flies, Martinez flies,
Ubico flies, damp flies
of modest blood and marmalade,
drunken flies who zoom
over the ordinary graves,
circus flies, wise flies
well trained in tyranny.

Among the blood-thirsty flies

the Fruit Company lands its ships,
taking off the coffee and the fruit;
the treasure of our submerged
territories flow as though
on plates into the ships.

Meanwhile Indians are falling

into the sugared chasms
of the harbours, wrapped
for burials in the mist of the dawn:
a body rolls, a thing
that has no name, a fallen cipher,
a cluster of the dead fruit
thrown down on the dump.
The Story of An Hour
Kate Chopin

Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her
husband's death.

It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half concealing. Her husband's friend
Richards was there, too, near her. It was he who had been in the newspaper office when intelligence of the railroad disaster was
received, with Brently Mallard's name leading the list of "killed." He had only taken the time to assure himself of its truth by a second
telegram, and had hastened to forestall any less careful, less tender friend in bearing the sad message.

She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance. She wept at once,
with sudden, wild abandonment, in her sister's arms. When the storm of grief had spent itself she went away to her room alone. She
would have no one follow her.

There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed down by a physical exhaustion that
haunted her body and seemed to reach into her soul.

She could see in the open square before her house the tops of trees that were all aquiver with the new spring life. The delicious breath
of rain was in the air. In the street below a peddler was crying his wares. The notes of a distant song which some one was singing
reached her faintly, and countless sparrows were twittering in the eaves.

There were patches of blue sky showing here and there through the clouds that had met and piled one above the other in the west
facing her window.

She sat with her head thrown back upon the cushion of the chair, quite motionless, except when a sob came up into her throat and
shook her, as a child who has cried itself to sleep continues to sob in its dreams.

She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength. But now there was a dull stare in
her eyes, whose gaze was fixed away off yonder on one of those patches of blue sky. It was not a glance of reflection, but rather
indicated a suspension of intelligent thought.

There was something coming to her and she was waiting for it, fearfully. What was it? She did not know; it was too subtle and elusive
to name. But she felt it, creeping out of the sky, reaching toward her through the sounds, the scents, the color that filled the air.

Now her bosom rose and fell tumultuously. She was beginning to recognize this thing that was approaching to possess her, and she
was striving to beat it back with her will--as powerless as her two white slender hands would have been. When she abandoned herself
a little whispered word escaped her slightly parted lips. She said it over and over under hte breath: "free, free, free!" The vacant stare
and the look of terror that had followed it went from her eyes. They stayed keen and bright. Her pulses beat fast, and the coursing
blood warmed and relaxed every inch of her body.

She did not stop to ask if it were or were not a monstrous joy that held her. A clear and exalted perception enabled her to dismiss the
suggestion as trivial. She knew that she would weep again when she saw the kind, tender hands folded in death; the face that had
never looked save with love upon her, fixed and gray and dead. But she saw beyond that bitter moment a long procession of years to
come that would belong to her absolutely. And she opened and spread her arms out to them in welcome.

There would be no one to live for during those coming years; she would live for herself. There would be no powerful will bending hers in
that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature. A kind
intention or a cruel intention made the act seem no less a crime as she looked upon it in that brief moment of illumination.

And yet she had loved him--sometimes. Often she had not. What did it matter! What could love, the unsolved mystery, count for in the
face of this possession of self-assertion which she suddenly recognized as the strongest impulse of her being!

"Free! Body and soul free!" she kept whispering.

Josephine was kneeling before the closed door with her lips to the keyhold, imploring for admission. "Louise, open the door! I beg;
open the door--you will make yourself ill. What are you doing, Louise? For heaven's sake open the door."

"Go away. I am not making myself ill." No; she was drinking in a very elixir of life through that open window.

Her fancy was running riot along those days ahead of her. Spring days, and summer days, and all sorts of days that would be her own.
She breathed a quick prayer that life might be long. It was only yesterday she had thought with a shudder that life might be long.

She arose at length and opened the door to her sister's importunities. There was a feverish triumph in her eyes, and she carried herself
unwittingly like a goddess of Victory. She clasped her sister's waist, and together they descended the stairs. Richards stood waiting for
them at the bottom.

Some one was opening the front door with a latchkey. It was Brently Mallard who entered, a little travel-stained, composedly carrying
his grip-sack and umbrella. He had been far from the scene of the accident, and did not even know there had been one. He stood
amazed at Josephine's piercing cry; at Richards' quick motion to screen him from the view of his wife.

When the doctors came they said she had died of heart disease--of the joy that kills.
Not my Best Side
U. A. Fanthorpe

I
Not my best side, I'm afraid.
The artist didn't give me a chance to
Pose properly, and as you can see,
Poor chap, he had this obsession with
Triangles, so he left off two of my
Feet. I didn't comment at the time
(What, after all, are two feet
To a monster?) but afterwards
I was sorry for the bad publicity.
Why, I said to myself, should my conqueror
Be so ostentatiously beardless, and ride
A horse with a deformed neck and square hoofs?
Why should my victim be so
Unattractive as to be inedible,
And why should she have me literally
On a string? I don't mind dying
Ritually, since I always rise again,
But I should have liked a little more blood
To show they were taking me seriously.

II
It's hard for a girl to be sure if
She wants to be rescued. I mean, I quite
Took to the dragon. It's nice to be
Liked, if you know what I mean. He was
So nicely physical, with his claws
And lovely green skin, and that sexy tail,
And the way he looked at me,
He made me feel he was all ready to
Eat me. And any girl enjoys that.
So when this boy turned up, wearing machinery,
On a really dangerous horse, to be honest
I didn't much fancy him. I mean,
What was he like underneath the hardware?
He might have acne, blackheads or even
Bad breath for all I could tell, but the dragon--
Well, you could see all his equipment
At a glance. Still, what could I do?
The dragon got himself beaten by the boy,
And a girl's got to think of her future.

III
I have diplomas in Dragon
Management and Virgin Reclamation.
My horse is the latest model, with
Automatic transmission and built-in
Obsolescence. My spear is custom-built,
And my prototype armour
Still on the secret list. You can't
Do better than me at the moment.
I'm qualified and equipped to the
Eyebrow. So why be difficult?
Don't you want to be killed and/or rescued
In the most contemporary way? Don't
You want to carry out the roles
That sociology and myth have designed for you?
Don't you realize that, by being choosy,
You are endangering job prospects
In the spear- and horse-building industries?
What, in any case, does it matter what
You want? You're in my way.

TP-CASTT Poetry Analysis

TITLE: Consider the title and make a prediction about what the poem is about.

_____________________________________________________________________________________________

PARAPHRASE: Translate the poem line by line into your own words on a literal level. Look for complete thoughts (sentences may be inverted) and
look up unfamiliar words (paraphrase one stanza of your choice).

_____________________________________________________________________________________________

CONNOTATION: Examine the poem for meaning beyond the literal. Look for figurative language, imag- ery, and sound elements.

_____________________________________________________________________________________________

ATTITUDE/TONE: Notice the speaker’s tone and attitude. Humor? Sarcasm? Awe?

_____________________________________________________________________________________________

SHIFTS: Note any shifts or changes in speaker or attitude. Look for key words, time change, punctuation.

_____________________________________________________________________________________________

TITLE: Examine the title again, this time on an interpretive level.

_____________________________________________________________________________________________

THEME: Briefly state in your own words what the poem is about (subject), then what the poet is saying about the subject (theme).

_____________________________________________________________________________________________