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Eed323 Module in Contemporary Popular and Emergent Literature
Eed323 Module in Contemporary Popular and Emergent Literature
C EED
ONTEMPORARY,
323
P OPULAR
AND
E MERGENT
L ITERATURE
LEARNING MODULE
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PREFACE
THE
RESEARCHERS
TABLE OF CONTENTS
Introduction……………………………………………………………..…… iii–iv
Module Description
The K to 12 Transition Program has brought about significant changes
in the English Education courses of the Higher Education Institutions (HEI). ii
This learning module entitled “Contemporary, Popular and Emergent
Literature” is in accordance with the provision of Commission on Higher
Education Memorandum Order (CMO) No. 75, series of 2017.
This course provides pre-service English teachers with opportunities
to acquire extensive reading backgrounds in literature and allied fields
needed in the understanding and evaluation of critical issues in
contemporary and popular literature and genres. This course allows them to
demonstrate their research-based content knowledge and its relevance in
the teaching learning process using various methods of literary analysis.
Assessment Strategies
Students will be assessed using a combination of rubrics and guide iii
questions, written examination, recitation, group activities, assignments and
exercises.
Disclaimer:
This learning module is a compilation of works written by other
writers. The researchers of this module do not claim originality of all the
works presented.
CHAPTER I:
CONTEMPORARY
LITERATURE
Introduction
Contemporary literature reflects existing developments in
society and culture. This chapter will tackle about fiction and how
it can be interpreted and evaluated. It will also discuss the
different types and elements of fiction. The students will develop
a sense of comprehension about the issues and challenges in
contemporary literature.
will know about a girl named Cinderella or about pigs who built houses. The
stories have deeper, unstated meanings: virtue rewarded (Cinderella) or the
folly of a lack of industry (The Three Little Pigs). We respond to both the
story and an underlying message.
On the surface, Melville's Moby Dick, for instance, might be seen as an
adventure story about a man hunting a whale. On closer analysis and
interpretation, the novel might be seen as a depiction of man's battle to
subdue nature or of a battle between good and evil. Since fiction is indirect,
fiction can require a significant degree of analysis and interpretation if one
is to get beyond simply following the story.
Fiction is Subjective
Fiction is, by definition, subjective. A novel, story, drama, or poem is the
expression of an author's imagination. The characters and situations are
"made up." Readers expect fiction to reflect the real world; they do not
expect it to portray the real world. And yet fiction can seem very real
without being factual. Poems can capture feelings or images to perfection.
Events depicted in movies such as Schindler's List , Amistad , or Titanic can
appear just as they might have in real life.
Fiction can be true, however, only in the sense that the actions or behaviors
"ring true" with what we know of the world. The sentiment may be real, but
the characters and incidents are the fruits of the author's imagination. And
author and directors—as in the movies referred to above—often use
"dramatic license" to distort history for dramatic effect.
reason. In Willa Cather's short story "Death Comes to the Archbishop" the
development of the Bishop's garden is a metaphor for the expansion of
Catholicism in the New World. And then there is the politically incorrect use
of white and black for good and bad, as in old Western movies.
Readers must be open to associations and reflection, creative in their
understanding and interpretation. They must recognize a richness of
figurative language and concomitant element of ambiguity. The more
evocative a text, the more the reader must do the work of finding meaning
within the text.
Commercial Fiction
Intended solely to entertain
Legal thrillers, romance novels
Escapist
Formulaic 4
Literary Fiction
Written with serious artistic intentions by someone who hopes to
enable readers to broaden understanding of life and to empathize with
others
Literary writers are more like explorers who take us out into the midst
of life, show us the props and mirrors and seek to dispel the illusions.
Provides keener awareness of our humanity in a friendly and hostile
world.
Usually need to read twice.
Plot: the sequence of events through which an author constructs a
story.
Structure: usually chronological or cause/effect, however, a complex
structure is often required to convey complex meanings, so it may be more
experimental and unpredictable.
….
EXERCISES!
5
Direction: Read the story below and answer the following questions
in order to critically analyze the story.
“The Necklace”
Guy de
Maupassant
She was one of those pretty and
charming girls born, as if by an
error of fate, into a family of
clerks. She had no dowry, no
expectations, no means of
becoming known, understood,
loved or wedded by a man of
wealth and distinction; and so she
let herself be married to a minor
official at the Ministry of
Education.
She suffered endlessly, feeling she was entitled to all the delicacies and
luxuries of life. She suffered because of the poorness of her house as she
looked at the dirty walls, the worn-out chairs and the ugly curtains. All these
things that another woman of her class would not even have noticed,
tormented her and made her resentful. The sight of the little Brenton girl
who did her housework filled her with terrible regrets and hopeless
fantasies. She dreamed of silent antechambers hung with Oriental
tapestries, lit from above by torches in bronze holders, while two tall
footmen in knee-length breeches napped in huge armchairs, sleepy from
the stove's oppressive warmth. She dreamed of vast living rooms furnished
in rare old silks, elegant furniture loaded with priceless ornaments, and
inviting smaller rooms, perfumed, made for afternoon chats with close
friends - famous, sought after men, who all women envy and desire.
When she sat down to dinner at a round table covered with a three-day-
old cloth opposite her husband who, lifting the lid off the soup, shouted
excitedly, "Ah! Beef stew! What could be better," she dreamed of fine 6
dinners, of shining silverware, of tapestries which peopled the walls with
figures from another time and strange birds in fairy forests; she dreamed of
delicious dishes served on wonderful plates, of whispered gallantries
listened to with an inscrutable smile as one ate the pink flesh of a trout or
the wings of a quail.
She had no dresses, no jewels, nothing; and these were the only things
she loved. She felt she was made for them alone. She wanted so much to
charm, to be envied, to be desired and sought after.
She had a rich friend, a former schoolmate at the convent, whom she no
longer wanted to visit because she suffered so much when she came home.
For whole days afterwards she would weep with sorrow, regret, despair and
misery.
One evening her husband came home with an air of triumph, holding a large
envelope in his hand.
"Look," he said, "here's something for you."
She tore open the paper and drew out a card, on which was printed the
words:
"The Minister of Education and Mme. Georges Rampouneau request the
pleasure of M. and Mme. Loisel's company at the Ministry, on the evening of
Monday January 18th."
Instead of being delighted, as her husband had hoped, she threw the
invitation on the table resentfully, and muttered:
The day of the party drew near, and Madame Loisel seemed sad, restless,
anxious. Her dress was ready, however. One evening her husband said to
her:
"What's the matter? You've been acting strange these last three days."
She replied: "I'm upset that I have no jewels, not a single stone to wear. I
will look cheap. I would almost rather not go to the party."
"You could wear flowers, " he said, "They are very fashionable at this
time of year. For ten francs you could get two or three magnificent roses."
She was not convinced.
"No; there is nothing more humiliating than looking poor in the middle of
a lot of rich women."
"How stupid you are!" her husband cried. "Go and see your friend
Madame Forestier and ask her to lend you some jewels. You know her well
enough for that."
She uttered a cry of joy.
"Of course. I had not thought of that."
The next day she went to her friend's house and told her of her distress. 8
Madame Forestier went to her mirrored wardrobe, took out a large box,
brought it back, opened it, and said to Madame Loisel:
"Choose, my dear."
First, she saw some bracelets, then a pearl necklace, then a gold Venetian
cross set with precious stones, of exquisite craftsmanship. She tried on the
jewelry in the mirror, hesitated, could not bear to part with them, to give
them back. She kept asking:
"You have nothing else?"
"Why, yes. But I don't know what you like."
Suddenly she discovered, in a black satin box, a superb diamond
necklace, and her heart began to beat with uncontrolled desire. Her hands
trembled as she took it. She fastened it around her neck, over her high-
necked dress, and stood lost in ecstasy as she looked at herself.
Then she asked anxiously, hesitating:
"Would you lend me this, just this?"
"Why, yes, of course."
She threw her arms around her friend's neck, embraced her rapturously,
then fled with her treasure.
The day of the party arrived. Madame Loisel was a success. She was prettier
than all the other women, elegant, gracious, smiling, and full of joy. All the
men stared at her, asked her name, tried to be introduced. All the cabinet
officials wanted to waltz with her. The minister noticed her.
She danced wildly, with passion, drunk on pleasure, forgetting
everything in the triumph of her beauty, in the glory of her success, in a sort
of cloud of happiness, made up of all this respect, all this admiration, all
these awakened desires, of that sense of triumph that is so sweet to a
woman's heart.
She left at about four o'clock in the morning. Her husband had been
dozing since midnight in a little deserted anteroom with three other
gentlemen whose wives were having a good time.
He threw over her shoulders the clothes he had brought for her to go
outside in, the modest clothes of an ordinary life, whose poverty contrasted
sharply with the elegance of the ball dress. She felt this and wanted to run
away, so she wouldn't be noticed by the other women who were wrapping
themselves in expensive furs. 9
Loisel held her back.
"Wait a moment, you'll catch a cold outside. I'll go and find a cab."
But she would not listen to him, and ran down the stairs. When they
were finally in the street, they could not find a cab, and began to look for
one, shouting at the cabmen they saw passing in the distance.
They walked down toward the Seine in despair, shivering with cold. At
last they found on the quay one of those old night cabs that one sees in
Paris only after dark, as if they were ashamed to show their shabbiness
during the day.
They were dropped off at their door in the Rue des Martyrs, and sadly
walked up the steps to their apartment. It was all over, for her. And he was
remembering that he had to be back at his office at ten o'clock.
In front of the mirror, she took off the clothes around her shoulders,
taking a final look at herself in all her glory. But suddenly she uttered a cry.
She no longer had the necklace round her neck!
"What is the matter?" asked her husband, already half undressed.
She turned towards him, panic-stricken.
"I have ... I have ... I no longer have Madame Forestier's necklace."
He stood up, distraught.
"What! ... how! ... That's impossible!"
They looked in the folds of her dress, in the folds of her cloak, in her
pockets, everywhere. But they could not find it.
"Are you sure you still had it on when you left the ball?" he asked.
"Yes. I touched it in the hall at the Ministry."
"But if you had lost it in the street we would have heard it fall. It must be
in the cab."
"Yes. That's probably it. Did you take his number?"
"No. And you, didn't you notice it?"
"No."
They stared at each other, stunned. At last Loisel put his clothes on
again.
"I'm going back," he said, "over the whole route we walked, see if I can
find it." 10
He left. She remained in her ball dress all evening, without the strength
to go to bed, sitting on a chair, with no fire, her mind blank.
Her husband returned at about seven o'clock. He had found nothing.
He went to the police, to the newspapers to offer a reward, to the cab
companies, everywhere the tiniest glimmer of hope led him.
She waited all day, in the same state of blank despair from before this
frightful disaster.
Loisel returned in the evening, a hollow, pale figure; he had found
nothing.
"You must write to your friend," he said, "tell her you have broken the
clasp of her necklace and that you are having it mended. It will give us time
to look some more."
She wrote as he dictated.
At the end of one week they had lost all hope.
And Loisel, who had aged five years, declared:
the bottoms of pans. She washed the dirty linen, the shirts and the
dishcloths, which she hung to dry on a line; she carried the garbage down to
the street every morning, and carried up the water, stopping at each
landing to catch her breath. And, dressed like a commoner, she went to the
fruiterer's, the grocer's, the butcher's, her basket on her arm, bargaining,
insulted, fighting over every miserable sou.
Each month they had to pay some notes, renew others, get more time.
Her husband worked every evening, doing accounts for a tradesman,
and often, late into the night, he sat copying a manuscript at five sous a
page.
And this life lasted ten years.
At the end of ten years they had paid off everything, everything, at
usurer's rates and with the accumulations of compound interest.
Madame Loisel looked old now. She had become strong, hard and rough
like all women of impoverished households. With hair half combed, with
skirts awry, and reddened hands, she talked loudly as she washed the floor
with great swishes of water. But sometimes, when her husband was at the
office, she sat down near the window and thought of that evening at the ball
so long ago, when she had been so beautiful and so admired.
What would have happened if she had not lost that necklace? Who
knows, who knows? How strange life is, how fickle! How little is needed for
one to be ruined or saved!
One Sunday, as she was walking in the Champs Élysées to refresh herself
after the week's work, suddenly she saw a woman walking with a child. It
was Madame Forestier, still young, still beautiful, still charming. 12
Madame Loisel felt emotional. Should she speak to her? Yes, of course.
And now that she had paid, she would tell her all. Why not?
She went up to her.
"Good morning, Jeanne."
The other, astonished to be addressed so familiarly by this common
woman, did not recognize her. She stammered:
"But - madame - I don't know. You must have made a mistake."
"No, I am Mathilde Loisel."
Her friend uttered a cry.
…..
_____________________________________________________________________________
_____
ACTIVITY 1.2
Direction: Make a summary and write interpretation and analysis of
the story “The Necklace” by Guy de Maupassant. A minimum of 300
words is required for the summary. For the review/analysis, 400-
500 words.
Summary________________________________________________________________
_________________________________________________________________________
_________________________________________________________________________
_________________________________________________________________________
_________________________________________________________________________I
nterpretation____________________________________________________________
_________________________________________________________________________
_________________________________________________________________________
_________________________________________________________________________
_________________________________________________________________________
_________________________________________________________________________
Analysis_________________________________________________________________
_________________________________________________________________________
_________________________________________________________________________
_________________________________________________________________________
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_________________________________________________________________________ 15
LESSON 2: Types and Elements of Fiction
At the end of the lesson, the students should be able to:
a. Explain the characteristics, types and elements of fiction; and
b. Interpret and evaluate fiction.
ELEMENTS OF FICTION
Conflict: a clash of actions, ideas, desires, or will.
Man vs. Himself
Man vs. Man
Man vs. External Force (physical nature, society, or “fate”)
Artistic Unity
There must be nothing in the story that is irrelevant. 16
Nothing that does not advance the central intention of the story.
Plot Manipulation: unjustified turn in the plot by the situation or the
characters.
Deus ex machina: Latin for “god from a machine”—the protagonist is
rescued at the last moment from some impossible situation by a god
descending from heaven.
Chance: the occurrence of an event that has no apparent cause in previous
events or in predisposition of character.
story.
Example: focus on its central conflict or examine the way incidents and
scenes are connected as a way of testing the story’s plausibility and unity.
Characterization
Direct Presentation: readers are told straight out what the characters are
like, or they have another character in the story describe them. Little
emotional impact
Indirect Presentation: the author shows us the characters through their
actions; we determine what they are like by what they say or do. In good
fiction, characters are dramatized.
Principles of Characterization
1. Characters are consistent in their behavior unless there is a clear reason 17
for the change
2. Character’s words and actions spring from motivations the reader can
understand and believe
3. Characters must be plausible or lifelike, not perfectly virtuous or
monsters of evil; nor can they have some impossible combination of
Example:
Motherhood sometimes has more frustrations than rewards.
Loyalty to country often inspires heroic self-sacrifice.
audience. Mainstream books deal with such myriad topics as family issues,
coming of age initiations, courtroom dramas, career matters, physical and
mental disabilities, social pressures, political intrigue, and more. Regardless
of original genre or category, most of the novels that appear on the
bestseller list are considered mainstream, whether the author is Sue
Grafton, Arundhati Roy, Michael Crichton, or David Guterson.
Mystery
Mystery is a popular genre, boasting a huge established audience. All
mysteries focus on a crime, usually murder. The action tends to center on
the attempts of a wily detective-type to solve the crime. And the climax
usually occurs near the end, in a leisurely setting where all the elements of
the mystery are neatly assembled for the reader’s convenience. The
solution, complete with surprises, is then delivered to the characters and
the reader alike.
Mystery subgenres include spy, detective, and crime stories. You can
find a vast network of mystery writers associations, conventions, and
conferences, as well as publications to help mystery writers pursue their
craft. For information, contact Mystery Writers of America.
Great practitioners in this genre include Arthur Conan Doyle,
Raymond Chandler, Dashiell Hammett, and Earle Stanley Gardner, creator
of Perry Mason. Present day giants include Carl Hiaason, James Ellroy,
Robert Parker, James Lee Burke, and Elmore Leonard.
Romance
Romance is a huge category aimed at diverting and entertaining
women. In romance novels, you have elements of fantasy, love, naïveté,
extravagance, adventure, and always the heroic lover overcoming
impossible odds to be with his true love. Many romances, especially the
gothic romance, have an easy-to-follow formula — a young, inexperienced
girl living a somewhat remote existence is courted or threatened by an evil
man and then rescued by a valiant one.
Other subgenres include historical, contemporary, fantasy romance,
and romantic suspense. If historical detail and settings interest you, try
writing a regency or historical romance. If you enjoy a dash of mystery or
intrigue, then romantic suspense novels are for you. However, if you’re
interested in more modern stories with sexual candor, then consider writing
a contemporary romance.
22
Women’s fiction
It’s common knowledge in the publishing industry that women
constitute the biggest book-buying segment. So, it’s certainly no accident
that most mainstream as well as genre fiction is popular among women. For
that reason, publishers and booksellers have identified a category within
the mainstream that they classify as Women’s Fiction. And its no surprise
that virtually all the selections of Oprah’s Book Club are in this genre.
From a writer’s perspective, some key characteristics of these books
include a focus on relationships, one or more strong female protagonists,
women triumphing over unbearable circumstances, and the experiences of
women unified in some way. The field includes such diverse writers as
Barbara Taylor Bradford, Anne Rivers Siddons, Alice McDermott, Judith
Krantz, Anne Tyler, Rebecca Wells, and Alice Hoffman.
Science fiction/fantasy
Science fiction/fantasy novels depict distant worlds and futuristic
technologies that whirl readers far away from the here and now and yet
provoke contemplation of contemporary issues. Imaginative, thoughtful, and
other-worldly, this robust category is made even more popular by the Star
Wars and Star Trek series. Leading science fiction and fantasy writers
include Ray Bradbury, Arthur Clarke, Isaac Asimov, C.S. Lewis, and J.R.R.
Tolkien, as well as the current, multi-best-selling, young adult author J.K.
Rowling.
To obtain professional assistance in this genre, contact the Science
Fiction and Fantasy Writers of America.
Suspense/thriller
Young adult
This genre includes any type of novel with a protagonist in the 12 to 24
16 age range that speaks to the concerns of teenagers. Currently, J.K.
Rowling and her amazing Harry Potter (Scholastic Press) books are
dominating the field. Rowling’s accomplishment — a truly universal story,
brimming with magic and fantasy as well as likable characters that readers
identify with — is an amazing feat.
Watch out for all the Harry Potter wannabes in the coming year.
Success stories in this genre share many of the qualities evident in the
Harry Potter books: a memorable voice (J.D. Salinger’s Catcher in the Rye,
Little Brown, 1951), believable characters (Golding’s Lord of the Flies,
Perigee, 1959), and a willingness to write about the disturbing subjects that
preoccupy teens and preteens (Are You There God, It’s Me, Margaret by Judy
Blume, Dell Yearling, 1972, or Holes by Louis Sachar, FSG, 1998).
…..
EXERCISES!
ACTIVITY 2.1 25
Direction: Divide the class into five (5) groups and discuss within
the group the story of “Silence - A Fable” by Edgar Allan Poe
(published 1838). Interpret and evaluate the story and present it.
Ours is a world of words: Quiet we call
Silence -- which is the merest word of all"
-Al Aaraaf.
"Listen to me," said the Demon, as he
placed his hand upon my head. "There is a
spot upon this accursed earth which thou
hast never yet beheld And if by any chance
thou hast beheld it, it must have been in
one of those vigorous dreams which come
like the Simoon upon the brain of the
sleeper who hath lain down to sleep among
the forbidden sunbeams --among the
sunbeams, I say, which slide from off the
solemn columns of the melancholy temples
in the wilderness. The region of which I
speak is a dreary region in Libya, by the
borders of the river Zaire. And there is no
quiet there, nor silence.
"The waters of the river have a saffron
and sickly hue --and they flow not onwards
to the sea, but palpitate forever and
forever beneath the red eye of the sun with a tumultuous and convulsive
motion. For many miles on either side of the river's oozy bed is a pale
desert of gigantic water-lilies. They sigh one unto the other in that solitude,
and stretch towards the heaven their long ghastly necks, and nod to and fro
their everlasting heads. And there is an indistinct murmur which cometh out
from among them like the rushing of subterrene water. And they sigh one
unto the other.
"It was night, and the rain fell; and, falling, it was rain, but, having fallen,
it was blood. And I stood in the morass among the tall lilies, and the rain fell
upon my head --and the lilies sighed one unto the other in the solemnity of
their desolation.
"And, all at once, the moon arose through the thin ghastly mist, and was
crimson in color. And mine eyes fell upon a huge grey rock which stood by
the shore of the river, and was litten by the light of the moon. And the rock
was grey, and ghastly, and tall, --and the rock was grey. Upon its front were
characters engraven in the stone; and I walked through the morass of
water-lilies, until I came close unto the shore, that I might read the
characters upon the stone. But I could not decypher the characters. And I
was going back into the morass, when the moon shone with a fuller red, and
I turned and looked again upon the rock, and upon the characters --and the
characters were DESOLATION.
"And I looked upwards, and there stood a man upon the summit of the
rock, and I hid myself among the water-lilies that I might discover the
actions of the man. And the man was tall and stately in form, and was
wrapped up from his shoulders to his feet in the toga of old Rome. And the
outlines of his figure were indistinct --but his features were the features of a
Deity; for the mantle of the night, and of the mist, and of the moon, and of
the dew, had left uncovered the features of his face. And his brow was lofty
with thought, and his eye wild with care; and, in the few furrows upon his
cheek I read the fables of sorrow, and weariness, and disgust with mankind,
and a longing after solitude. And the moon shone upon his face, and upon
the features of his face, and oh! they were more beautiful than the airy
dreams which hovered about the souls of the daughters of Delos!
"And the man sat down upon the rock, and leaned his head upon his
hand, and looked out upon the desolation. He looked down into the low
unquiet shrubbery, and up into the tall primeval trees, and up higher at the
rustling heaven, and into the crimson moon. And I lay close within shelter of
the lilies, and observed the actions of the man. And the man trembled in the
solitude --but the night waned and he sat upon the rock.
"And the man turned his attention from the heaven, and looked out upon
the dreary river Zaire, and upon the yellow ghastly waters, and upon the
pale legions of the water-lilies. And the man listened to the sighs of the
27
water-lilies, and of the murmur that came up from among them. And I lay
close within my covert and observed the actions of the man. And the man
trembled in the solitude --but the night waned and he sat upon the rock.
"Then I went down into the recesses of the morass, and waded afar in
among the wilderness of the lilies, and called unto the hippopotami which
dwelt among the fens in the recesses of the morass. And the hippopotami
heard my call, and came, with the behemoth, unto the foot of the rock, and
roared loudly and fearfully beneath the moon. And I lay close within my
covert and observed the actions of the man. And the man trembled in the
solitude --but the night waned and he sat upon the rock.
"Then I cursed the elements with the curse of tumult; and a frightful
tempest gathered in the heaven where before there had been no wind. And
the heaven became livid with the violence of the tempest --and the rain
beat upon the head of the man --and the floods of the river came down
--and the river was tormented into foam --and the water-lilies shrieked
within their beds --and the forest crumbled before the wind --and the
thunder rolled, --and the lightning fell --and the rock rocked to its
foundation. And I lay close within my covert and observed the actions of the
man. And the man trembled in the solitude -- but the night waned and he
sat upon the rock.
"Then I grew angry and cursed, with the curse of silence, the river, and
the lilies, and the wind, and the forest, and the heaven, and the thunder,
and the sighs of the water-lilies. And they became accursed and were still.
And the moon ceased to totter in its pathway up the heaven --and the
thunder died away --and the lightning did not flash --and the clouds hung
motionless --and the waters sunk to their level and remained --and the trees
ceased to rock --and the water-lilies sighed no more --and the murmur was
heard no longer from among them, nor any shadow of sound throughout the
vast illimitable desert. And I looked upon the characters of the rock, and
they were changed --and the characters were SILENCE.
"And mine eyes fell upon the countenance of the man, and his
countenance was wan with terror. And, hurriedly, he raised his head from
his hand, and stood forth upon the rock, and listened. But there was no
voice throughout the vast illimitable desert, and the characters upon the
rock were SILENCE. And the man shuddered, and turned his face away, and
fled afar off, and I beheld him no more."
Now there are fine tales in the volumes of the Magi --in the iron-bound, 28
melancholy volumes of the Magi. Therein, I say, are glorious histories of the
Heaven, and of the Earth, and of the mighty Sea --and of the Genii that
over-ruled the sea, and the earth, and the lofty heaven. There was much
lore too in the sayings which were said by the sybils; and holy, holy things
were heard of old by the dim leaves that trembled around Dodona --but, as
Allah liveth, that fable which the Demon told me as he sat by my side in the
shadow of the tomb, I hold to be the most wonderful of all! And as the
Demon made an end of his story, he fell back within the cavity of the tomb
and laughed. And I could not laugh with the Demon, and he cursed me
because I could not laugh. And the lynx which dwelleth forever in the tomb,
came out therefrom, and lay down at the feet of the Demon, and looked at
him steadily in the face.
NOTES:
This story was originally published in 1838 as
"Siope - A Fable".
Reference: https://poestories.com/read/silence
…..
1950- PRESENT
“This literary era defines a time period but it also describes particular style
and quality of writing.”
What is Contemporary Literature?
The literature of the contemporary period not only refers to a
quality/style of writing but also to poetry and prose, which includes works of
fiction such as: novels, novellas, essays, and dramatic works.
Characteristics of the Contemporary Style
Reality-based stories
Believable story-line, sometimes portraying a harsher reality or
degradation of society
Current, modern setting
“Well-defined, realistic, highly developed” and strong character (s).
Well-structured
Writing is “more character driven than plot driven”
Historical Events during this period
January 1, 1953- The national Library is established in Ottawa.
September 3, 1962- The Trans-Canada Highway opens.
February 15, 1965- Canada gets a new red-and-white maple leaf flag.
April 2, 1975- The CN Tower in Toronto becomes the world’s tallest free-
standing structure.
July 17, 1976- The Olympic Games are held in Montreal.
June 27, 1980- O Canada is officially adopted as Canada’s national anthem.
April 12, 1980- Terry Fox begins his “Marathon of Hope”, cross country run.
1989- One dollar bills stop being produced and are fully replaced by the
loonie.
June 25, 1993- Kim Campbell becomes the first female prime minister of
Canada.
January 4-9, 1998- The most destructive and disruptive ice storm in
Canadian history occurs.
30
Genres of the period, and topics that were written about in literature were
largely influenced by the historical events which were taking place at the
current time. A notable genre of the contemporary period, which is still
popular today is Young Adult or YA.
GENRES OF CONTEMPORARY LITERATURE
Genres of this time included novels and poetry. Flash fiction, short
stories, slam poetry, plays, memoirs, and autobiographies were also
popular.
Authors found inspiration in the events of the time period. They often wrote
about the realities and experiences that had occurred, no matter how brutal
they may have been.
“The literary innovations of this period were largely influenced by the
surroundings and the changes that were occurring in it…”
I. STORY
At the end of the lesson, the students should be able to:
a. Acquaint themselves with styles and concerns of contemporary
stories.
WHAT IS A STORY?
A story or narrative is a connected series of events told through words
(written or spoken), imagery (still and moving), body language,
EXAMPLES OF STORY
Here are a few examples of the same story told different ways.
You can sometimes tell a story in just one line:
The girl met the love of her life and lived happily until the day she died.
Or, it could be more detailed:
When the girl was 22, she met the love of her life. It was her last day
of college, and when she saw him, she knew he was the one she was going
to be with forever—and the boy knew the same. After graduation, the boy
and the girl ran away together to elope. They lived together happily for the
rest of their days.
Now really, even the second example is just a tiny story. We can tell it in
all kinds of ways and of all different lengths, from one line to a series of
novels. After all, if the couple lived an entire lifetime together, there would
be countless events that together make up the story of their life.
TYPES OF STORIES
The range of types of stories is pretty much endless. For that reason, this
article will divide stories into two very broad categories—fiction and
nonfiction. Within each there are a huge number of possibilities in terms of
subject matter, genre, type of delivery (oral, written, performance),
narrative style, and so on.
Fiction stories
Fiction stories are based on made-up or imaginary events. There are
dozens upon dozens of types of fiction stories and genres, including but not
at all limited to:
Fairy tales Historical fiction
Folklore Fantasy
Mythology Science-fiction
Legends Love stories
Epics Horror stories
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Dramas Ghost stories
Adventure stories Bedtime stories
Non-fiction stories
Non-fiction stories can cover any kind of real-life event or experience.
But, they often fall into these kinds of categories:
Historical events Science
News and current events Love
Biographies and Family
autobiographies
Travel stories
Memories and experiences
Survivor stories
Cultural history
War stories
Crime and justice
IMPORTANCE OF STORY
Stories are, have been, and always will be an absolutely essential part of
human culture. Stories are how we learn about each other, our past, and our
cultures. Whether they are created for entertainment or to recount a real-
life event—new stories are literally being lived, told, and created every
second of every day. So, even if there was only one story for every person
who ever lived, that would still be billions of stories in the world; it would be
impossible to measure how many have existed.
Example 1
Author Shel Silverstein is known for the quirky and memorable stories 33
he tells through poetry. Here is “Masks” from his collection of poems
Everything On It:
She had blue skin.
And so did he.
He kept it hid
And so did she.
They searched for blue
Their whole life through,
Then passed right by—
And never knew.
As you’ve just read, Silverstein tells a whole story in just eight short
lines of poetry. Tons of poems do the same in even fewer lines. Either way,
you can see that a story definitely doesn’t have to be lengthy.
Example 2
A fairy tale is a classic type of story about imaginary events. When we
want to tell a fairy tale, we often start with the famous words “Once upon a
time,” which adds a more whimsical feel to what we are about to share.
Here’s an example from Rapunzel of Grimm’s Fairy Tales:
Once upon a time there was a man and a woman who had long, but to
no avail, wished for a child. Finally, the woman came to believe that the
good Lord would fulfill her wish. Through the small rear window of these
people’s house they could see into a splendid garden that was filled with
the most beautiful flowers and herbs. The garden was surrounded by a high
wall, and no one dared enter, because it belonged to a sorceress who
possessed great power and was feared by everyone.
The fairy tale’s intro is just a small part of the story, telling us about
the beginning and a bit about the characters who will be the focus.
Example 3
Of course, newspapers and magazines are filled with stories. As you
know, a news story reports on real events that have happened. Here’s a
passage from a CNN Tech article:
There’s no other shopping bonanza quite like Alibaba’s Singles Day,
which has once again smashed records. The tech giant reported $17.8
billion in sales during this year’s frenzy, breaking the record of $14.3 billion
set in 2015. That’s more than Black Friday and Cyber Monday combined. 34
Reading a news story gives you an update on events that are
happening throughout the world. Here, Tech Crunch writes about China’s
11.11 Singles’ Day, the world’s biggest shopping event. The story
specifically reports on the money that Alibaba made in their latest Singles’
Day event.
CONCLUSION
Stories are a major part of every aspect of our lives, from what we
read to what we do to what we talk and think about. They’re also crucial to
our understanding of history and culture, and have been recorded and
passed on since man’s earliest days. Stories have always been and will
always be at the core of not only literature, but life!
…..
ACTIVITY 3.1
36
Direction: Read and analyze the story of “All Summer in a Day” by
Ray Bradbury. Write your interpretation and analysis about the
story, use the rubric to be guided for making the given task.
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RUBRICS
4 3
Criteria 2 1
Exceeding Meeting
Somewhat
Poorly
Organized. organized.
Cohesive and organized.
Can easily The flow of the
well-organized Ideas are
Organization understand the content
order scattered and
flow of sometimes cut
structured confusion take
content. in or
place.
interrupted.
Portrays
Present poor
appropriate Present the
Indicates understanding of
information to information
Content information the content
the relation and that is easy to
accurately. relating to the
related follow.
other concepts.
concepts.
forests had been crushed under the rain and grown up a thousand times to
be crushed again. And this was the way life was forever on the planet
Venus, and this was the schoolroom of the children of the rocket men and
women who had come to a raining world to set up civilization and live out
their lives.
"It's stopping, it's stopping!"
"Yes, yes!"
Margot stood apart from them, from these children who could never
remember a time when there wasn't rain and rain and rain. They were all
nine years old, and if there had been a day, seven years ago, when the sun
came out for an hour and showed its face to the stunned world, they could
not recall. Sometimes, at night, she heard them stir, in remembrance, and
she knew they were dreaming and remembering gold or a yellow crayon or
a coin large enough to buy the world with. She knew they thought they
remembered a warmness, like a blushing in the face, in the body, in the
arms and legs and trembling hands. But then they always awoke to the
tatting drum, the endless shaking down of clear bead necklaces upon the
roof, the walk, the gardens, the forests, and their dreams were gone.
All day yesterday they had read in class about the sun. About how like a
lemon it was, and how hot. And they had written small stories or essays or
poems about it:
I think the sun is a flower that blooms for just one hour.
38
That was Margot's poem, read in a quiet voice in the still classroom while
the rain was falling outside.
"Aw, you didn't write that!" protested one of the boys.
"I did," said Margot. "I did."
"William!" said the teacher.
But that was yesterday. Now the rain was slackening, and the children were
crushed in the great
thick windows.
Where's teacher?"
"She'll be back."
"She'd better hurry, we'll
miss it!"
hated her for all these reasons of big and little consequence. They hated her
pale snow face, her waiting silence, her thinness, and her possible future.
"Get away!" The boy gave her another push. "What're you waiting for?"
Then, for the first time, she turned and looked at him. And what she was
waiting for was in her eyes.
"Well, don't wait around here!" cried the boy savagely. "You won't see
nothing!"
Her lips moved.
"Nothing!" he cried. "It was all a joke, wasn't it?" He turned to the other
children. "Nothing's happening today. Is it?"
They all blinked at him and then, understanding, laughed and shook their
heads.
"Nothing, nothing!"
"Oh, but," Margot whispered, her eyes helpless. "But this is the day, the
scientists predict, they say, they know, the sun..."
"All a joke!" said the boy, and seized her roughly. "Hey, everyone, let's put
her in a closet before the teacher comes!"
"No," said Margot, falling back.
They surged about her, caught her up and bore her, protesting, and then
pleading, and then crying, back into a tunnel, a room, a closet, where they
slammed and locked the door. They stood looking at the door and saw it 40
tremble from her beating and throwing herself against it. They heard her
muffled cries. Then, smiling, the turned and went out and back down the
tunnel, just as the teacher arrived.
"Ready, children?" She glanced at her watch.
"Yes!" said everyone.
"Are we all here?"
"Yes!"
The rain slacked still more. They crowded to the huge door. The rain
stopped.
It was as if, in the midst of a film concerning an avalanche, a tornado, a
hurricane, a volcanic eruption, something had, first, gone wrong with the
sound apparatus, thus muffling and finally cutting off all noise, all of the
blasts and repercussions and thunders, and then, second, ripped the film
from the projector and inserted in its place a beautiful tropical slide which
did not move or tremor. The world ground to a standstill. The silence was so
immense and unbelievable that you felt your ears had been stuffed or you
had lost your hearing altogether. The children put their hands to their ears.
They stood apart. The door slid back and the smell of the silent, waiting
world came in to them.
The sun came out.
It was the color of flaming bronze and it was very large. And the sky around
it was a blazing blue tile color. And the jungle burned with sunlight as the
children, released from their spell, rushed out, yelling into the springtime.
"Now, don't go too far," called the teacher after them. "You've only two
hours, you know. You wouldn't want to get caught out!"
But they were running and turning their faces up to the sky and feeling the
sun on their cheeks like a warm iron; they were taking off their jackets and
letting the sun burn their arms.
"Oh, it's better than the sun lamps, isn't it?"
"Much, much better!"
They stopped running and stood in the great jungle that covered Venus that
grew and never stopped growing, tumultuously, even as you watched it. It
was a nest of octopi, clustering up great arms of flesh like weed, wavering,
flowering in this brief spring. It was the color of rubber and ash, this jungle,
from the many years without sun. It was the color of stones and white
cheeses and ink, and it was the color of the moon.
The children lay out, laughing, on the jungle mattress, and heard it sigh and 41
squeak under them resilient and alive. They ran among the trees, they
slipped and fell, they pushed each other, they played hide-and-seek and
tag, but most of all they squinted at the sun until the tears ran down their
faces; they put their hands up to that yellowness and that amazing blueness
and they breathed of the fresh, fresh air and listened to the silence which
suspended them in a blessed sea of no sound and no motion. They looked
at everything and savored everything. Then, wildly, like animals escaped from
their caves, they ran and ran in shouting circles. They ran for an hour and did not stop
running.
And then -in the midst of their running one of the girls wailed. Everyone
stopped.
The girl, standing in the open, held out her hand.
They walked slowly down the hall in the sound of cold rain. They turned
through the doorway to the room in the sound of the storm and thunder,
lightning on their faces, blue and terrible. They walked over to the closet
door slowly and stood by it.
Behind the closet door was only silence.
They unlocked the door, even more slowly, and let Margot out.
II. POETRY
Objectives:
At the end of the lesson, the students should be able to:
a. Analyze elements of contemporary poetry; and
b. Trace the history, characteristics, and famous personality in
contemporary poetry.
WHAT IS A POETRY?
ELEMENTS OF POETRY
STRUCTURE
1-. Poetic Line – the words that form a single line of poetry.
Example: “‘Twas the night before Christmas, when all through the house”
is the wellknown first poetic line of “A Visit from Saint Nicholas” by Clement
Clarke Moore.
4. Placement – the way words and poetic lines are placed on the page of a
poem.
Example: The following are creatively-placed lines from a poem by E.E.
Cummings: in Justspring when the world is mudluscious the little lame
ballonman whistles far and wee.
SOUNDS
1. Rhythm – the basic beat in a line of a poem.
Example: “Whose woods these are, I think I know” is the first line from
“Stopping by Woods on a Snowy Evening” by Robert Frost. Notice that the
accented words (underlined) give the line a distinctive beat.
3. End Rhyme – same or similar sounds at the end of words that finish
different lines.
Example: The following are the first two rhyming lines from “The King of
Cats Sends a Postcard to His Wife” by Nancy Willard: Keep your whiskers
crisp and clean, Do not let the mice grow lean,
11. Refrain – a line or stanza repeated over and over in a poem or song.
Example: In “Jingle Bells,” the following refrain is repeated after every
stanza:
46
12. Word Play – to play with the sounds and meanings of real or invented
words.
Example: Two lines from the poem “Synonyms” by Susan Moger:
Claptrap, bombast, rodomontade,
Hogwash, jargon, and rant
Two lines from the poem “Antonio” by Laura E. Richards:
Antonio, Antonio,
Was tired of living alonio.
FIGURATIVE LANGUAGE
1. Simile – a comparison of two unlike things, using the words like or as. 47
2. Metaphor – a comparison of two unlike things, not using the words like
or as.
Example: “Ribbons of sea foam / wrap the emerald island.”
6. Verbal Irony or Sarcasm – when you mean the opposite of what you
say.
Example: “My darling brother is the sweetest boy on Earth,” she muttered
sarcastically.
Example: After many years of trying, Mr. Smith won the lottery -- and
immediately died of a heart attack.
8. Pun – a humorous phrase that plays with the double meaning or the
similar sounds of words.
Examples: “Tomorrow you shall find me a grave man,” said the duke on his
deathbed. The cookbook Lunch on the Run by Sam Witch is awesome.
48
10. Mood – the feelings and emotions the writer wants the reader to
experience.
11. Theme and Message – the main topic of a story or poem, and the
message the author or poet wants to convey about that topic.
8- Free Verse – a poem that does not follow a predictable form or rhyme
scheme or metric pattern.
Example: “Mother to Son” by Langston Hughes.
9- List or Catalog Poem – a poem in the form of a list, that uses sensory
details and precise language to persuade the reader to take notice of what
is being listed.
Example: “Things To Do If You Are a Subway” by Robbi Katz.
10- Villanelle – a challenging poetic form that includes five tercets (aba
rhyme) followed by a quatrain (abaa rhyme) and a pattern of repetition of
lines 1 and 3 of the first stanza.
Example: “Is There a Villain in Your Villanelle?” by Joan Bransfield Graham.
14- Blues Poem – poems that – like blues songs – deal with personal or
world issues.
51
Example: “Evening Air Blues” by Langston Hughes.
15- Nonsense Poem – a fun, usually rhyming poem that makes no sense,
focusing instead on the sounds and the rhythm of the poem.
Example: “The Jumblies” by Edward Lear.
16- Concrete Poem – a poem that uses words to form the shape of the
subject of the poem (also known as a “shape poem”).
Example: “Concrete Cat” by Dorth Charles.
18- Ballad – a poem that tells a story, usually written in four-line stanzas.
Example: “The Wreck of the Hesperus” by Henry Wadsworth Longfellow.
IMPORTANCE OF POETRY
Poetry is probably the oldest form of literature, and probably predates the
origin of writing itself. The oldest written manuscripts we have are poems,
mostly epic poems telling the stories of ancient mythology. Examples
include the Epic of Gilgamesh and the Vedas (sacred texts of Hinduism).
This style of writing may have developed to help people memorize long
chains of information in the days before writing. Rhythm and rhyme can
make the text more memorable, and thus easier to preserve for cultures
that do not have a written language.
Poetry can be written with all the same purposes as any other kind of
literature – beauty, humor, storytelling, political messages, etc.
53
This is an excerpt from Joyce Kilmer’s famous short poem. The poem
employs a fairly standard rhyme scheme (AABB, lines 1 and 2 rhymes
together and lines 3 and 4 rhymes together), and a meter called “iambic
tetrameter,” which is commonly employed in children’s rhymes.
Example 2
I saw the best minds of my generation destroyed by madness,
starving hysterical naked,
dragging themselves through the negro streets at dawn looking
for an angry fix,
angelheaded hipsters burning for the ancient heavenly
connection to the starry dynamo in the machinery of night,
who poverty and tatters and hollow-eyed and high sat up smoking…
(Alan Ginsberg, Howl)
These are the first few lines of Howl, one of the most famous examples of
modern “free verse” poetry. It has no rhyme, and no particular meter. But its
words still have a distinct, rhythmic quality, and the line breaks encapsulate
the meaning of the poem. Notice how the last word of each line contributes
to the imagery of a corrupt, ravaged city (“madness, naked, smoking”), with
one exception: “heavenly.” This powerful juxtaposition goes to the heart of
Ginsburg’s intent in writing the poem – though what that intent is, you’ll
have to decide for yourself.
Example 3
In the twilight rain,
these brilliant-hued hibiscus –
A lovely sunset
This poem by the Japanese poet Basho is a haiku. This highly influential
Japanese style has no rhymes, but it does have a very specific meter – five
syllables in the first line, seven in the second line, and five in the third line.
54
EXAMPLES OF POETRY IN POPULAR CULTURE
Example 1
Rapping originated as a kind of performance poetry. In the 1960s and 70s,
spoken word artists like Gil Scott-Heron began performing their poems over
live or synthesized drumbeats, a practice that sparked all of modern hip
hop. Even earlier, the beat poets of the 1950s sometimes employed drums
in their readings.
Example 2
Some of the most famous historical poems have been turned into movies or
inspired episodes of television shows. Beowulf, for example, is an Anglo-
Saxon epic poem that has spawned at least 8 film adaptations, most
recently a 2007 animated film starring Angelina Jolie and Anthony Hopkins.
Edgar Allen Poe’s The Raven has also inspired many pop culture spinoffs
with its famous line, “Nevermore.”
…..
Stay, I said
to the cut flowers.
They bowed
their heads lower.
Stay, leaf.
It reddened,
embarrassed for me and itself.
Stay, I said to my body.
It sat as a dog does,
Essential Questions:
1. What are the elements of poetry present in the poem read?
2. How was the poem different from the traditional poem you know?
3. What are its characteristics?
4. Name some famous contemporary poets
III. DRAMA
Objectives:
At the end of the lesson, the students should be able to:
a. Examine theatrical structures of contemporary drama; and
b. Trace the changes and development of contemporary drama.
DRAMA
TYPES OF DRAMA
Let us consider a few popular types of drama:
• Comedy – Comedies are lighter in tone than ordinary works, and
provide a happy conclusion. The intention of dramatists in comedies is to
make their audience laugh. Hence, they use quaint circumstances, unusual
characters, and witty remarks.
• Tragedy – Tragic dramas use darker themes, such as disaster, pain, 57
and death. Protagonists often have a tragic flaw — a characteristic that
leads them to their downfall.
• Farce – Generally, a farce is a nonsensical genre of drama, which often
overacts or engages slapstick humor.
• Melodrama – Melodrama is an exaggerated drama, which is
sensational and appeals directly to the senses of the audience. Just like the
farce, the characters are of a single dimension and simple, or may be
stereotyped.
• Musical Drama – In musical dramas, dramatists not only tell their
stories through acting and dialogue, but through dance as well as music.
Often the story may be comedic, though it may also involve serious
subjects.
DRAMATIC STRUCTURE
The structure is how the plot or story of a play is laid out, including a
beginning, a middle and an end. Plays may also include subplots, which are
smaller stories that allow the audience to follow the journey of different
characters and events within the plot. Plays also feature an element of
conflict, which does not necessarily mean a fight or argument but instead
an obstacle that needs to be overcome.
Melodrama:
FUNCTION OF DRAMA
Drama is one of the best literary forms through which dramatists can
directly speak to their readers, or the audience, and they can receive
instant feedback of audiences. A few dramatists use their characters as a
vehicle to convey their thoughts and values, such as poets do with
personas, and novelists do with narrators. Since drama uses spoken words
and dialogues, thus language of characters plays a vital role, as it may give
clues to their feelings, personalities, backgrounds, and change in feelings. In
dramas the characters live out a story without any comments of the author,
providing the audience a direct presentation of characters’ life experiences.
…..
ACTIVITY 3.3
60
ACTIVITY 3.4
Direction: After watching the contemporary drama/play, map the
story out using the story mountain planner below.
CLIMAX
RISING FALLING
ACTION ACTION
EXPOSI RESOLU
TION TION
Objectives:
At the end of the lesson, the students should be able to:
a. Identify issues and challenges in contemporary
literature; and
b. Explain the development in genres in contemporary literature.
…..
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RUBRICS 63
TRAIT EXCEEDS MEET BELOW
64
CHAPTER TEST!
Column A Column B
_____ 1. It is a poem that tells a
story.
A. Plot Manipulation
_____ 2. It is the repetition of
consonant sounds within words in
a line. B. Fiction Stories
_____ 3. It is a stanza made up of
four lines, often containing a
C. Consonance
rhyme scheme.
_____ 4. It is written with serious
artistic intentions by someone who D. Plot
hopes to enable readers to
broaden understanding of life and
to empathize with others. E. Narrative Poem
_____ 5. It is an unjustified turn in
the plot by the situation or the
characters. F. Fantasy
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CHAPTER II:
POPULAR
LITERATURE
Introduction
Popular literature contains writings that are intended for the
masses and those that find favour with large audiences. In this
chapter, the students must acquaint themselves with the nature,
appeal and social functions of popular literature. It will also talk
about the characteristics and the different issues and challenges
of popular literature.
67
I. NATURE
WHAT IS THE NATURE OF LITERATURE?
Literature can be defined as an expression of human feelings,
thoughts, and ideas whose medium is language, oral and written.
It is not only about human ideas, thoughts, and feelings but also
about experiences of the authors.
It can be medium for human to communicate what they feel, think,
experience to the readers.
‘LITERATURE’ BASED ON DIFFERENT POINT OF VIEWS
Literature is art,
Literature is language,
Literature is aesthetic,
Literature is fictional,
68
II. APPEAL
Something that makes the viewers or readers attracted and interested
in the literary piece.
MORAL FUNCTION
Literature may impart moral values to its readers. The morals 70
contained in a literary text, whether good or bad are absorbed by whoever
reads it, thus helps in shaping their personality.
LINGUISTIC FUNCTION
Literature preserves the language of every civilization from
where it originated. They are also evidences that a certain civilization has
existed by recording the language and preserving it through wide spans of
time.
CULTURAL FUNCTION
Literature orients us to the traditions, folklore and the arts of
our ethnic group’s heritage. It preserves entire cultures and creates an
imprint of the people’s way of living for others to read, hear and learn.
EDUCATIONAL FUNCTION
Literature teaches us of many things about the human
experience. It is used to portray the facets of life that we see, and those
that we would never dream of seeing. Literature therefore, is a conduct for
the chance to experience and feel things where we can learn things about
life.
HISTORICAL FUNCTION
Ancient texts, illuminated scripts, stone tablets etc. keeps a
record of events that happened in the place where they originated. Thus,
they serve as time capsules of letters that are studies by scholars and
researchers of today.
IMPORTANCE OF LITERATURE
It entertains you and provides useful occupation in your free time.
It makes you a wiser and more experienced person by forcing you to
judge, sympathize with, or criticize the characters you read about.
Literature improves your command of language.
…..
EXERCISES!
76
ACTIVITY 5.1: READ! READ! READ!
The summary of…
“FRANKENSTEIN”
By: Mary Shelley
Back in Geneva, Victor's father expresses his wish that Victor marry
Elizabeth. Victor says he first must travel to England. On the way to
England, Victor meets up with Clerval. Soon, though, Victor leaves Clerval at
the house of a friend in Scotland and moves to a remote island to make his
second, female, monster. But one-night Victor begins to worry that the
female monster might turn out more destructive than the first. At the same
moment, Victor sees the first monster watching him work through a window.
78
The horrifying sight pushes Victor to destroy the female monster. The
monster vows revenge, warning Victor that it will "be with him on [his]
wedding night." Victor takes the remains of the female monster and dumps
them in the ocean. But when he returns to shore, he is accused of a murder
that was committed that same night. When Victor discovers that the victim
is Clerval, he collapses and remains delusional for two months. When he
wakes his father has arrived, and he is cleared of the criminal charges
against him.
Walton writes another series of letters to his sister. He tells her about
his failure to reach the North Pole and to restore Victor, who died soon after
his rescue. Walton's final letter describes his discovery of the monster
grieving over Victor's corpse. He accuses the monster of having no remorse,
but the monster says it has suffered more than anyone. With Victor dead,
the monster has its revenge and plans to end its own life.
ACTIVITY 5.2
Direction: Read the summary of the novel entitled 79
“FRANKENSTEIN” and determine its nature, appeal and the social
function.
“Frankenstein”
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I. ROMANCE
WHAT IS A ROMANCE?
EXAMPLES OF ROMANCE
In the academic sense, an example of a romance is a story in which
the main character is a hero who must conquer various challenges as part
of a quest. Each challenge could be its own story and can be taken out of
the overall story without harming the plot.
Example 1
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A knight who wishes to prove himself by recovering a stolen heirloom
from an enemy may find himself attempting to make his way through a
dangerous wood filled with thieves.
Once he has accomplished this challenge, he may find himself
climbing a tall mountain on which a group of people are in trouble. He would
save the group somehow, and then move on.
Then the final stage: the enemy’s kingdom. There may be a fair
maiden whom he meets and somehow helps or rescues, or perhaps she
helps him.
But the fair maiden is not the focus of the story – his quest is the focus.
Each story can be taken out, yet each builds the hero’s strength to face his
final quest. These stories tend to be serious rather than humorous and
touch on strong values.
Example 2
A modern romance would include:
The story of a character who keeps meeting the wrong type of people
in his or her relationships or has run into a problem with a current love
relationship.
The story would focus on the struggles the character faces while
finding Mr. or Mrs. Right. The whole focus would be the relationship,
although the character may also be dealing with other struggles, such as
losing a job, handling difficult parents, etc.
These stories may be funny, sad, tragic, serious, or a mix. The obvious
resolution to the conflict would be finding the right person or saving the
present relationship.
TYPES OF ROMANCE
a. GOTHIC
In Gothic romance, the settings are usually in distant regions and the
stories feature dark and compelling characters. They became popular in the
late 19th century and usually had a sense of transcendence, supernatural,
and irrationality. Popular Gothic novels still read by many high school
students today are classics such as:
Jane Eyre by Charlotte Bronte
Wuthering Heights by Emily Bronte
Frankenstein by Mary Shelley
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The Scarlet Letter by Nathaniel Hawthorne.
b. HISTORICAL
Historical romance takes place in times long past and appears
romantic due to the adventure and wildness of the time. This also provides
value and meaning to the lifestyle of the characters. The following novels fit
in this sub-genre:
The Last of the Mohicans by James Fenimore Cooper
Rob Roy by Sir Walter Scott.
c. CONTEMPORARY/MODERN
Contemporary romance focuses on a love relationship and has a
happy ending. There are two ways these romance novels are written: as a
series or category romance (the author writes a succession of books that fit
a theme or follow a storyline) or as a single-title romance.
Even more so, within the sub-genre romance, and as seen in many movies,
there can be:
comedy-romance
tragic-romance
satire-romance
serious romance
Playwrights and poets also treat romance with various tones.
genre, with a particularly large presence in film and television—in fact, the
TV network “SciFi” is completely devoted to science fiction media. It is a
particularly fascinating and mind-bending genre for audiences because of
its connection to reality.
aspect of ratiocination was earlier. The Thin Man (1934), with Nick and Nora
Charles, was more in the conventional vein, with the added fillip of
detection by a witty married couple. Successors to Hammett included
Raymond Chandler and Ross Macdonald, who also emphasized the
characters of their tough but humane detectives Philip Marlowe and Lew
Archer, respectively. At the end of the 1940s, Mickey Spillane preserved the
hard-boiled crime fiction approach of Hammett and others, but his emphasis
on sex and sadism became a formula that brought him amazing commercial
success beginning with I, the Jury (1947).
Writing
Many students read fluently, but find it difficult to write. They
complain that they don’t know what to write. They have ideas, but they lack
the written language skills to create a beginning, follow a sequence of ideas
and then draw their writing to a logical conclusion.
Students frequently ask if they may draw a picture when they’re
writing. They are reaching for images to support their language ideas.
Allowed to use words and images they will resolve problems of storytelling
which they would not otherwise experience using words alone. Like reading,
comics provide a scaffolding so that students experience success in their
writing. Students transfer specific elements directly into text-only writing.
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For example, students learn that whatever text found in a word balloon is
put inside quotes in their text-only writing.
Using Comic Life students have a new publishing medium. Comic Life
documents can be printed, emailed to parents or posted as a website very
easily.
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…..
EXERCISES!
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ACTIVITY 6.1:
Direction: Write the characteristics of popular literature, use the
graphic organizer below.
ACTIVITY 6.2
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Direction: Use the Venn Diagram to differentiate popular from
contemporary literature genres.
POPULAR CONTEMPORARY
LITERATURE LITERATURE
7. Overly-academic language.
This is the sister of problem #6. Academics have invented
complicated terminology for everything. This is not necessarily something
bad–terminology often aids specificity and education; however, when
academic vocabulary gets out of hand (and it can), then a piece loses its
utility. I find this all the time in literary criticism. Yes, one must write
intelligently and engage the concepts, but what I too frequently find is
pedanticism run wild. Critics like to condescend to their readers. The
arrogance of this is outrageous and wrong-headed. Critics, your very job is
to educate those few who bother to read the meager words you put 96
down; make it worth their while. Make your points, enlighten where
you can, and shut up.
8. Death of aesthetics.
This problem became glaringly obvious thanks to Kyle’s post on the
Washington Post story about Joshua Bell playing in a Metro station. People–
or should I say Americans?–do not appreciate art. We are business people.
Straight-forward, earn a buck, get it done, work on the weekends, open 24
hours, overtime, few holidays, work till you die people. Why does art of any
kind matter? Well, what else aside from art slows us down? What else shows
us beauty, beauty so amazing and alarming that we have to appreciate it?
From where do we gain insight into existence? Art does all these things, and
its decline will mean the decline of America in one way or many.
Is there a solution to all these problems? Yes, and it’s quite simple, as
most good answers are: literature itself. The very best thing a literary
scholar or professor can do is get out of the way of the works. So many
books I’ve read have changed my life. There are multitudes of brilliant
novels, short stories, and poems out there to be read, and not all of them
are long or complex. The purpose of the literati is to make literature clearer,
more profound, and more able to be grasped.
And for heaven’s sake, we ought to make literature fun because…
(gasp!)…the reason we like to read is IT’S FUN! It’s enjoyable! If it’s not
these things, one can just as easily find something else that is fun. Perhaps
this too is what is happening to literature, but the cure is only one book,
story, poem (or even painting, sculpture, musical piece, or song) away.
…..
EXERCISES!
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ACTIVITY 7.1
Direction: Write a reaction paper about the issues and challenges
in popular literature. Use the rubric to be guided for making the
given task.
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RUBRICS
FAILS TO MEET NEEDS MEETS EXCEEDS
CRITERIA EXPECTATIONS IMPROVEMENT EXPECTATIONS EXPECTATIONS
0 5 8 10
Clearly Fails to meet this Disorganized, Paper has intro, Easy to read, topic
ACTIVTY 7.2
Direction: Create a digital story telling using story board. Use the
rubric to be guided for making the given task.
RUBRICS
CRITERIA 5 4 3 2
Creativity Complete 1 Element 2 Elements 3 or more
originality in is not are not elements are
composition original in original in not original
and delivery. compositio compositio in
Strong n and n and composition
evidence of delivery, delivery, and delivery,
critical thinking some little no evidence
skills. evidence of evidence of of critical 99
critical critical thinking
thinking thinking skills.
skills. skills.
Story Board Complete and Evidence if Evidence of Little no
detailed planning planning evidence of
evidence of through 2/3 through up planning
planning of to 1/3 of including
throughout storyboard storyboard minimally
entire including including completed
storyboard sketches, sketches., sketches,
including sequencing sequencing sequencing,
sketches, , pacing , pacing pacing, and
sequencing, and and storytelling.
pacing, and storytelling. storytelling
consistent story .
telling.
Content and Content is Content Content Content has
Theme clearly relevant has some has little no relevance
to story and relevance relevance to story and
theme, to the story to story theme, there
message is and theme, and theme, is no
distinctly clear. message is message is message.
clear with not clear.
some
confusing
points.
Illustrations Story board Story is Story board Story board
contains one missing 1 is missing 2 is missing 3
illustration for required required or more
each required illustration. illustration. required
elements. illustration.
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CHAPTER TEST!
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lOMoARcPSD|19958467
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CHAPTER III:
EMERGING
LITERATURE
Introduction
Emerging literature is an integration of a traditional and
technological driven form of literature. This chapter will tackle
about the different emerging genres of literature in the 21 st
century, the issues and challenges in emerging literature and the
interrelationship of contemporary, popular and emergent
literature.
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Objectives:
At the end of the lesson, the students should be able to:
a. Determine new emerging genres of literature; and
b. Discuss the elements and characteristics of these genres.
I. CREATIVE NON-FICTION
The New Emerging Genres of Literature
I. Creative Nonfiction
Also known as literary non-fiction or narrative non-
fiction. It is a genre of writing that uses literary
styles and techniques to create factually accurate
narratives. Contrasts with other non-fiction, such as
technical writing or journalism, which is also rooted
in accurate fact, but is not primarily written in
service to its craft. As a genre, creative non-fiction is
still relatively young, and is only beginning to be
scrutinized with the same critical
analysis given to fiction and
poetry. It is a rich mix of flavors,
ideas and techniques, some of which are newly
invented and others as old as writing itself. Creative
nonfiction can be an essay, a journal article, a research
paper, a memoir, or a poem; it can be personal or not.
The creative nonfiction writer produces a personal
essay, memoir, travel piece, and so forth, with a
variety of techniques, writing tools, and methods.
He/she is required to use the elements of nonfiction,
literary devices of fiction, and what Lee Gutkind called “the 5 Rs of Creative
nonfiction.” The following is a brief explanation of each:
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1. Fact. The writing must be based on fact, rather than fiction. It cannot
be made up.
2. Extensive research. The piece of writing is based on primary
research, such as an interview or personal experience, and often
secondary research, such as gathering information from books,
magazines, and newspapers.
3. Reportage/reporting. The writer must be able to document events
or personal experiences.
4. Personal experience and personal opinion. Often, the writer
includes personal experience, feelings, thoughts, and opinions. For
instance, when writing a personal essay or memoir.
5. Explanation/Exposition. The writer is required to explain the
personal experience or topic to the reader.
6. Essay format. Creative nonfiction is often written in essay format.
Example: Personal Essay, Literary Journalistic essay, brief essay.
1. Setting
Each story has a setting. The setting is the place where the story
takes place. Usually, an effective story establishes its setting early in the
story: otherwise readers will have a difficult time visualizing the action of
the story. Below is an example of how a writer might establish setting in a
way which immerses the reader: by showing rather than telling.
Example:
I went to the lake. It was cool. My breath escaped in ragged bursts, my
quadriceps burning as I crested the summit. The lake stretched before me,
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2. Descriptive Imagery
You have probably encountered descriptive imagery before. Basically,
it is the way the writer paints the scene, or image, in the mind of the reader.
It usually involves descriptions of one or more of the five senses: sight,
sound, smell, touch, or taste. For example, how would you describe a lemon
to a person who has never seen one before?
Example:
Imagine you are describing a lemon to someone who has never seen one
before. How would you describe it using all five senses?
Sight Touch
Sound Taste
Smell
One might describe a lemon as yellow, sour-smelling and tasting, and
with a smooth, bumpy skin. They might describe the sound of the lemon as
a thump on the table if it is dropped, or squelching if it is squished
3. Plot
Plot is one of the basic elements of every story: put simply, plot refers
to the actual events that take place within the bounds of your narrative.
Using our rhetorical situation vocabulary, we can identify “plot” as the
primary subject of a descriptive personal narrative. Three related elements
to consider are scope, sequence, and pacing.
4. Scope
The term scope refers to the boundaries of plot. Where and when
does the story begins and ends? What is its focus? What background
information and details does the story requires? I often think about narrative
scope as the edges of a photograph: a photo, whether of a vast landscape
or a microscopic organism, has boundaries. Those boundaries inform the
viewer’s perception.
The way we determine scope varies based on rhetorical situation, but
I can say generally that many developing writers struggle with a scope that
is too broad: writers often find it challenging to zero in on the events that
drive a story and prune out extraneous information.
Consider, as an example, how you might respond if your friend asked what
you did last weekend. If you began with, “I woke up on Saturday morning,
rolled over, checked my phone, fell back asleep, woke up, pulled my feet
out from under the covers, put my feet on the floor, stood up, stretched…”
then your friend might have stopped listening by the time you get to the
really good stuff. Your scope is too broad, so you’re including details that
distract or bore your reader. Instead, focus on the most exciting or
meaningful moment(s) of your day: "I woke up face-down to the crunch of
shattered glass underneath me. When I wobbled to my feet, I realized I was
in a large, marble room with large windows overlooking the flashing neon
lights of the Las Vegas strip. I had no idea how I got there!" Readers can
expect this story will focus on how the storyteller arrived in Las Vegas, and
it is much more interesting than including every single detail of the day.
5. Sequence
The sequence of your plot—the order of the events—will determine
your reader’s experience. There are an infinite number of ways you might
structure your story, and the shape of your story is worth deep
consideration. Although the traditional forms for a narrative sequence are
not your only options, let’s take a look at a few tried-and-true shapes your 107
plot might take.
Freytag's Pyramid: Chronological
A. Exposition: Here, you’re setting the scene, introducing characters, and
preparing the reader for the journey.
B. Rising action: In this part, things start to happen. You (or your
characters) encounter conflict, set out on a journey, meet people, etc.
C. Climax: This is the peak of the action, the main showdown, the central
event toward which your story has been building.
D. Falling action: Now things start to wind down. You (or your characters)
come away from the climactic experience changed—at the very least, you
are wiser for having had that experience.
E. Resolution: Also known as dénouement, this is where all the loose ends
get tied up. The central conflict has been resolved, and everything is back
to normal, but perhaps a bit different.
6. Nonlinear Narrative
A nonlinear narrative may be told in a series of flashbacks or
vignettes. It might jump back and forth in time. Stories about trauma are
often told in this fashion. If using this plot form, be sure to make clear to
readers how/why the jumps in time are occurring. A writer might clarify
jumps in time by adding time-stamps or dates or by using symbolic images
to connect different vignettes.
7. Pacing
While scope determines the boundaries of plot, and sequencing
determines where the plot goes, pacing determines how quickly readers
move through the story. In short, it is the amount of time you dedicate to
describing each event in the story.
I include pacing with sequence because a change to one often
influences the other. Put simply, pacing refers to the speed and fluidity with 108
which a reader moves through your story. You can play with pacing by
moving more quickly through events, or even by experimenting with
sentence and paragraph length. Consider how the “flow” of the following
examples differ:
The train screeched to a halt. A flock of pigeons took flight as the conductor
announced, “We’ll be stuck here for a few minutes.”
Lost in my thoughts, I shuddered as the train ground to a full stop in the
middle of an intersection. I was surprised, jarred by the unannounced and
abrupt jerking of the car. I sought clues for our stop outside the window. All I
saw were pigeons as startled and clueless as I.
8. Characters
A major requirement of any story is the use of characters. Characters
bring life to the story. Keep in mind that while human characters are most
frequently featured in stories, sometimes there are non-human characters
in a story such as animals or even the environment itself. Consider, for
example, the ways in which the desert itself might be considered a
character in "Bajadas" by Francisco Cantú.
Characterization
Whether a story is fiction or nonfiction, writers should spend some
time thinking about characterization: the development of characters
through actions, descriptions, and dialogue. Your audience will be more
engaged with and sympathetic toward your narrative if they can vividly
imagine the characters as real people.
Types of Characters:
Round characters – are very detailed, requiring attentive description of their
traits and behaviors.
Your most important characters should be round: the added detail will help
your reader better visualize, understand, and care about them.
9. Point of View
The position from which your story is told will help shape your
reader’s experience, the language your narrator and characters use, and
even the plot itself. You might recognize this from Dear White People
Volume 1 or Arrested Development Season 4, both Netflix TV series.
Typically, each episode in these seasons explores similar plot events, but
from a different character’s perspective. Because of their unique vantage
points, characters can tell different stories about the same realities.
This is, of course, true for our lives more generally. In addition to our
differences in knowledge and experiences, we also interpret and understand
events differently. In our writing, narrative position is informed by point-of-
view and the emotional valences I refer to here as tone and mood.
Example:
But now, a thousand empty⎯where? ⎯and she, with head shake, will
be fine⎯AHH!
Typically, you will tell your story from the first-person point-of-view,
but personal narratives can also be told from a different perspective; I
recommend “Comatose Dreams” to illustrate this at work. As you’re
developing and revising your writing, try to inhabit different authorial
positions: What would change if you used the third person POV instead of
first person? What different meanings would your reader find if you told this
story with a different tone—bitter instead of nostalgic, proud rather than
embarrassed, sarcastic rather than genuine? 111
Furthermore, there are many rhetorical situations that call for different
POVs. (For instance, you may have noticed that this book uses the second-
person very frequently.) So, as you evaluate which POV will be most
effective for your current rhetorical situation, bear in mind that the same
choice might inform your future writing.
10. Dialogue
The communication between two or more characters.
For example:
"Hate to break it to you, but your story is boring."
"What? Why do you say that?" he stuttered as his face reddened.
"Because you did not include any dialogue," she laughed.
I was that kid who has read a lot of fairy tale books
Princess with glass slippers, peter pan who fights captain hook
Fascinated, I remember each story my mom read to me
I believed one day; they will appear for me to see.
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Lastly, the cute little guy who loves a good hunting game
Colorful eggs, baskets… You know him and his name!
In the time of the year called “Easter”
He’s the first one you will remember.
2. Audience
The audience plays an interactive role in the navigating and reading a
hypertext poem. Astrid Ensslin argues hypertext poetry, which she terms
hyperpoetry, is the "most creative and trans-artistic genre" out of all the
hypertext genres because it offers the most "multisensory textual
experience." She argues this because it incorporates "nomadism" and
brings the reader away from the "verbal narrative” (Ennslin).
Hypertext Poetry is on the trend to become increasingly more popular in the
upcoming years, as more and more writers use digital media to create and
publish their works. The genre attracts users who want to be involved in the
reading experience (Picot).
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3. Content
Hypertext poems can include the traditional components of a poem
which are: words, lines, and stanzas. Most are in the form of free verse.
However, the genre also includes other multimedia components including:
sounds, visual images, and three-dimensional letters, which makes it hard
to identify most of the formal poetic conventions (Hypertext Poetry And
Fiction).
4. Formal Features
Hypertext poems include "hypertextual features" which are mostly
composed of hyperlinks that lead to a nonlinear reading of the text
(Ensslin).
Hypertext poetry also includes hypermedia poetry. It moves beyond
linking text to other websites, and adds features such as, "image, sound,
video and animation" (Millan). An example of these features could be a
sound "of a lawn mower" with words like "'mowing', 'stop', 'Sunday' and
'morning'" in succession across the readers screen (Hypertext Poetry And
Fiction). These types of features, or multimedia elements, make it hard to
link hypertext poetry to any formal poetry conventions (Hypertext Poetry
And Fiction).
5. Ancestral Genres
There are certain elements all chick lit novels have in common.
They all feature a woman in her twenties or thirties as a protagonist
The novels are mostly set in urban environments, most notably New
York or London.
The protagonists are career-women
The protagonists are often single although they usually all end up
with someone.
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Fashion often plays a big role in a chick-lit novels. The characters can
either be obsessed with it or the plot itself can be centered around
fashion industry.
The book covers often reflect this trend - they may feature articles of
clothing, martinis, parties and other symbols of a glamorous lifestyle.
V. GRAPHIC NOVEL
Graphic novels use a sequence of illustrations to tell a story. They use
the same text bubble and image panel format that
we find in comics, but unlike comics which are serialized, graphic novels are
published in book format, and usually tell a stand-alone, complete story.
This again makes them different from comic books which are usually just a
bound collection of comic strips which were previously published as a
periodical serial. Graphic novels, are also very diverse because they are a
format – so they can cover any genre and any topic.
In the past, graphic novels in any form were generally dismissed as inferior
literature – “not proper reading”! As a school librarian you may come
across teachers and parents who still feel this way about them. At best, they
regard graphic novels as something to be tolerated in the hope that
eventually their child will “move on” to more “quality literature.” But at the
end of the day reading is reading and it is a well-known fact that children
who read for fun and find pleasure in reading become lifelong readers.
In fact, graphic novels rightfully have a place alongside novels, picture
books and audiobooks as they offer a huge range of reading experiences.
Their rich and complex texts also require readers to examine, decode and
combine multiple elements to acquire meaning.
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Elements such as:
linguistic (written language)
visual (mood through colours, shading, composition etc.)
gestural (body and facial language)
spatial (panels, layout …)
symbolic (icons, balloons, visual representations and emanata).
So, it may actually be argued that the reader of a graphic novel has to
work much harder than someone reading a novel! Best of all, studies have
shown that readers benefit from greater information retention because they
have to decode so many different elements using multiple literacies. This is
why graphic novels are increasingly being used in classrooms, and even in
tertiary education.
In addition, graphic novels contain precise and rich language. They
demand the authors to be concise. They don’t have long paragraphs and
the constraints of the page demand that the dialogue is kept to a minimum.
As with a picture book no word can be wasted, which forces the writer to be
incredibly precise with the written word. This models excellent writing and
offers rich vocabulary because every word matters. As an English teacher
noted, among all the fun and silliness of Dog Man: Lord of the Fleas, just one
to support specific areas within the curriculum. In this way graphic novels
and comics have a definite educational role.
VII. MANGA
In Japan, Manga art is highly respected for
its ability to create distinctive characters and
imaginative stories. It is a pop culture
phenomenon that has spun off from simply art
and comic stories to Anime fairs, merchandise,
and movies. The characteristics of Magna
characters have made all this possible. From the
faces and hair to the clothing, accessories, and
over exaggerated emotions, Manga is in a world
all to its own.
Types of Manga
ShÔnen- Boy’s Manga (Pronounced Show-Nen)
ShÔjo- Girl’s Manga (Pronounced Show-Joe)
Seinen- Men’s Manga (Pronounced Say-Nen)
Josei- Women’s Manga (Pronounced Joe-Say)
Elements of a Manga:
1. Face
The face is the first characteristic you notice on a Manga character.
With oversized eyes, an almond-shaped face, and a very small mouth, the
face stands out over the rest of the body. With the rapid switch from
distance to close-up shots, the face is key to drawing you into the character
and keeping you in the emotion of the story.
2. Hair
A Manga character's hair is a key characteristic, and therefore needs
to be elaborate and eye-catching. It is not uncommon for the character's
hair to be long with many lines and of an abnormal color. This is the look of
traditional Japanese Magna characters and creates a visual dynamism that
separates these characters from mainstream animation that comes out of
the United States.
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4. Exaggerated Emotions
Manga characters are known for their over exaggerated emotions.
When a cartoon character cries, visible tears fall from their face, but when a
Magna character cries, it rains down in buckets. Eyes reduce in size, and the
mouth either reduces in pain or expands if the character cries out. The
same can be said for anger. Magna evokes intense color in the face and
steam coming off the body. Magna characters become consumed by
emotion.
X. FLASH FICTION
Flash fiction goes by many names,
including micro-fiction, micro-stories,
short-shorts, short-short stories, very
short stories, sudden fiction, postcard
There are four elements that every flash fiction piece needs to have if
you want it to be good. And if you mix them just right, your flash fiction
might even end up great.
1. Realistic Characters/Settings
The obvious concern in flash fiction is “how do I make my characters
and setting real in 1,000 words or less?” I have a few suggestions for you.
Show us things about your characters/settings that make them
unique. In other words, skip the boring stuff—your readers can fill that
in on their own.
Keep your number of characters and settings low. One major or
supporting character per every 300-500 words is a good metric, and
most flash fiction stories only have one setting.
Stick with one-character point of view if possible, or maybe two.
Whenever possible, write dialogue that both advances the story and
reveals character.
2. Solid Plot/Structure
“My story can only be 1,000 words long. Do I even need story
structure?” Of course, you do, perhaps now more than ever. A solid
percentage of the stories Splickety rejects are for one reason: nothing is
happening. Adding story structure and having a recognizable plot can help
you get published instead of rejected.
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Here are some ideas on how you can do that better:
Establish a recognizable beginning, middle, and end. Your story can
begin in the middle of something, but the conflict and characters have
to develop in the middle. We also need some kind of resolution at the
end, even if it’s somewhat obscure.
In your beginning, start with a gripping hook (just like in a novel) to
pull us into the story.
Your end line should also pack significant punch.
Remember: above all else, something has to happen.
3. Gripping Conflict/Tension
If you haven’t heard by now, great fiction of any length needs both
conflict and tension in order to drive the characters and the plot. There are
two kinds of conflict under which all other kinds fall: internal and external.
Both are useful tools for motivating your characters and moving the story
along by creating tension.
Here’s how:
In general, conflict means that something opposes your character.
Internal conflict means that something within your character opposes
him. Ask him questions to figure out what it is. Is it a hidden disease?
A hurt from his past? A dark secret? Self-doubt?
External conflict comes from outside the character, usually from one
of three sources: other characters (antagonists), the setting, or
events.
Combine the two types of conflict against your character and he’s in
for a rough ride—which means your readers can expect a compelling
story.
Not all conflict in your story has to be resolved in the traditional
sense. It’s okay to let the reader wonder how things worked out as long as
you plant clues that give them an indication. If you’ve ever seen the
movie Inception, you know what I mean.
4. An Excellent Editor
Yes, you need to pay your flash fiction the same respect you’d pay
your novel by ensuring that it is well-edited. Some of us are capable editors
on our own, but that doesn’t mean we shouldn’t get help here.
For example, I run a flash fiction magazine, have written six unpublished
novels, and also hawk my own services as a freelance editor. Of anyone in
the world, I should be the most likely person to not need an editor for my
own flash fiction, right? 130
Wrong. Though I combed through my most recent flash fiction piece (set to
debut in the holiday issue of Splickety Magazine) with unparalleled
obsession, I sent it to two authors whom I trust for their review as well.
Guess what? They both found errors and places where I could improve the
story.
No matter how good of a writer you think you are (or actually may be), you
need to have another set of eyes read and edit your piece before you
submit it, especially if it’s to Splickety. We even included that provision in
our submission guidelines.
Here are the practical editing strategies that will help you make sure your
piece is virtually perfect:
Remember that every word cut is to your benefit. You never know
when you may have to add more content later on.
Utilize others: critique groups and partners, test readers, or hire a
professional.
Make sure that you follow all submission guidelines. That’s something
that publishers really want you to do.
2. Allegory
Sci-fi works may be set in fantastic locations far away from where we
mere mortals live, but that doesn't mean that they have nothing to do with
us. That's because even when sci-fi writers write about distant worlds,
they're really often writing about our own world.
Sci-fi tends to be allegorical: the best sci-fi works often have a hidden
meaning, because they work as a commentary on our own world and our
own social and political systems. These sci-fi writers are a pretty sneaky
bunch. They transport us to distant worlds only to get us thinking about the
way that we live in this world.
4. Time Travel
Often, the whole plot of a Sci-fi work is set in a distant time, usually in
the future. Sci-fi writers are obsessed with exploring times that are very
different from ours. This, again, is one of the defining characteristics of the
genre. If we're reading a book where things are taking place in the distant
future, odds and good that it's a sci-fi book. And, because it's a sci-fi book,
the goods are also pretty odd.
132
5. Journey
We'll find lots and lots of journeys in sci-fi. People are traveling all over
the place. They might zip from galaxy to galaxy, or from time to time. If the
whole universe were your oyster, wouldn't you be jumping from one place
to the next too?
So, journeys are another recurring theme in sci-fi. If we pay close attention,
we'll find that there's hardly a sci-fi text that doesn't include some kind of
voyage. This is often one of the structuring devices in works of sci-fi.
6. Dystopia
Sci-fi writers like talking about our world by pretending to talk about
another world. They're sneaky and nuanced like that.
And one of sci-fi writers’ favorite ways to do this is to depict dystopia.
Some of us may have heard the word before, but for those of us who
haven't, dystopia is the opposite of utopia. A utopian society is wonderful:
people are free and happy and the sun's shining and everything's just
dandy. In a dystopia people are oppressed, they're miserable, and
everything they do is controlled by some authority.
Some of the most famous sci-fi works—like Aldous Huxley's Brave
New World and George Orwell's 1984—are futuristic depictions of dystopia.
Sci-fi writers love warning us: "If we continue down this road our society will
look like this in a hundred, or a thousand years. And it ain't pretty."
7. Age of Reason
The roots of sci-fi really go back—way back—to the Age of Reason.
That's the 18th century we're talking about, when the Enlightenment
changed the world as we know it.
During this time, philosophers and scientists emphasized the use of
reason over superstition. More and more of the world was being explored
and mapped, and it was around this time that authors began writing texts
speculating about the future, and focusing their stories on scientific
endeavor.
9. Sci-Fi Magazines
The golden age of sci-fi coincided with an explosion of magazines that
published science fiction. In fact, some of the most popular sci-fi works were
first published in magazines that released work in serial format.
2. Science Impacts
Science fiction frequently includes stories about the impact of
scientific or technological change on people. For example, H.G. Wells' "The
Time Machine" explored the consequences of building a machine that could
carry its occupant far into the future. The "Star Trek" television shows and
films portray a future "Federation of Planets" that couldn't "boldly go"
anywhere without the warp drive that allows the Enterprise to travel
between the stars.
3. Setting
Science fiction stories often take place in the future or in alternate 134
universes. The "Star Wars" films, for example, contain many futuristic
elements, even though they feature events that happened "a long time ago
in a galaxy far, far away." If they are set closer to the present day, they
include scientific speculation that differs from ordinary daily life -- as in "The
Running Man" book and film, which tell the story of a cop framed for a crime
he didn't commit who must survive a deadly TV game show.
4. Related Genres
Horror is one of the most closely related genres to science fiction.
Most people consider "Frankenstein" to be both a horror and a science
fiction story. Zombie stories are one of the most popular current types of
horror; some have a supernatural explanation, but others do not. For
example, the post-apocalyptic world of the television series "The Walking
Dead" is the result of a zombie virus. The "Alien" films include gruesome,
horrifying alien monsters alongside less-frightening science fiction elements
such as cloning and space travel.
XIII. BLOG
A blog is an online journal or
informational website displaying information
in the reverse chronological order, with the
latest posts appearing first. It is a platform
where a writer or even a group of writers
share their views on an individual subject.
Blogging Sites
WordPress
Google Blogger
TypePad Is
Movable Type
Drupal
136
1. Thought-out Design
We’ve already touched upon the topic of monotonous chunks of text and
how undesirable they are in blog posts. The reason behind this being how
quickly your readers make a judgment about your post. You have just
about 50 milliseconds to make a good first impression.
Blocks of text are often overwhelming, and if the readers cannot scan
through the text with ease, they’ll move on from your site. So, make sure to
use short paragraphs, break up the text with some interesting visuals such
as images, GIFs, videos, infographics, etc.
2. Perfect Length
One of the most common questions about blog posts is how long they
should be. The simplest answer is long enough.
Most would believe that because of the shorter attention span of readers,
the posts themselves should be shorter.
The fact of the matter is that as long as your post is informative and as
long as it answers your audience’s questions, it doesn’t matter how long it 138
is.
If you have a 500-word limit but have much more to say on the topic, go
right ahead. On the other hand, don’t spread out 500 words worth of
content to 3000 words.
The focus should be on the quality of the content. As long as the blog
post offers value to the reader, its length is unimportant.
3. Original Content
Regardless of the niche you choose for your blog, it’s more than likely
that someone has covered the topic before. Everything’s already been said
and done, but this doesn’t mean you should just copy-paste the content.
Primarily, to stand out from the crowd, you need to offer a new approach
to the covered topics. This can be done with your tone of voice, style of
writing, or point of view.
Going back to that “personal touch”, if you’ve chosen a niche that you’re
passionate about, offering your own unique approach to it shouldn’t be
difficult.
4. Great Research
Every high-quality blog post requires time and effort invested in the
research. The more you devote yourself to the research, the easier it
becomes to write the post.
Primarily, this will give you insight into other’s opinions on the topic,
you’ll dive deeper into it, making it easier to form your own unique
approach to it.
Secondly, the easiest way to lose readers is by being unreliable. Every claim
should be backed up by evidence, so links and citations from credible
sources are essential.
…..
EXERCISES!
139
ACTIVITY 8.1
Directions: Identify the new emerging genres of literature that is
being shown below and give a short description of each.
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1.
Description:
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2. ________________________________________
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3.
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4.
Description:
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Description:
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ACTIVITY 8.2
Directions: Choose three (3) new emerging genres of literature that
141
you like the most, state the reason why you like those and discuss
each elements and characteristics.
Genre
Genre of new
of new emerging
emerging literature:
literature:
___________________________________
11
__________________________________
Why do Why
youdolike
youit?
like it?
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_
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Elements and Characteristics: _______________________________________
Elements and Characteristics:
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2
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Why do you like it? _________________________________________________-
_
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Elements and Characteristics:
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3
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Why do you like it? _________________________________________________-
_
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Elements and Characteristics:
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Objectives:
At the end of the lesson, the students should be able to:
a. Examine the characteristics of new emerging genres of new
literature; and;
b. Discuss issues and challenges in emerging literature.
Another style of play writing is “Theatre of the Absurd‟ where the action
and reaction in the plot fails to deliver any proper meaning. Samuel
Becketts play Waiting for Godot projects this theatre as no one knows
anything about Godot: who he is, why others have been waiting for him,
why he has failed to come, etc.
Moral Degradation, sexuality and homosexuality are openly discussed by
authors in 20th and 21st century. They have boldness in dealing with these
topics. D.H. Lawrence skillfully deals with mother-son relationship or
Oedipus complex in his novel Sons and Lovers. T.S. Eliot’s The Wasteland is
a sermon on degrading system of moral and spiritual values. Tennessee
Williams‟ play A street Car Named Desire focuses on sexual urges. William
Golding’s novel Lord of the Flies deals with moral corruption of the society
portrayed through kids. Literary artists have become quite bold and liberal
in dealing with hetro as well as homosexuality. 147
After medievalism, in 21st century magic and mythology are again
trending. J.K. Rowling’s series Harry Potter novels, C.S. Lewis’ The Chronicles
of Narnia, Dan Brown’s Novels The Da Vinci Code, Inferno, Angles and
Demons are a few examples of use of mythology in modern literature.
Pop or popular fiction is plot-driven work written with the intention of
fitting into currently famous literary sub-genre. It is created in order to
attract majority of audiences or readers already familiar with the genre. It is
also known as Genre fiction. Famous novelist Chetan Bhagat is a pop-fiction
writer. His works are 2 States: The story of Marriage, Half Girlfriend etc. The
focus remains on becoming best seller and for that the story could be taken
to any level.
Digital or Cyber literature is the latest trend in which works of creation
are exclusively on and for digital devices. In this trend of literature, the
writer relies on cyber medium like website, blogs or social media pages. Pry
is a novella from collaboration of Danny Cannizzaro and Samantha Gorman
also known as Tender Claws. Jason Nelson is another digital poet and net-
artist. Michael Joyce’s 12 Blue and Jim Andrew’s Stir Fry Texts are some
more examples of digital literature.
Multiple trends have emerged and are emerging in 21st century. Some
are like adaptations of traditional movements and techniques while others
are the outcome of science and technology. Hence, these ages depict
modern literature through social/political/religious milieus with different
genres of poetry, novel and drama.
…..
4 3 2 1
Excellent Proficient Fair Beginning
Clearly states The main
Clearly states Main idea of
the overall idea of the
Main Idea the main idea the text is
main idea of text is not
of the text. present.
the text. present.
Includes some
Includes
Includes only relevant
important Contains
Supporting essential and details but
details but irrelevant
Details relevant critical
some might be details.
details. information is
missing.
missing.
Understanding Demonstrates Demonstrates Demonstrate Demonstra
clear adequate basic tes little or
understanding understanding understanding no
of information of information of in formation understand
in the text. in the text. in the text. ing of
information
in the text.
Marxist movement began in early 20th century with Karl Marx’s idea of
utopian world; a classless society. Many writers after Industrialization felt
Modernism which has its origin in the early 20th century. Modernists
the requirement of a society without class-struggle and clashes.
explored and experimented with literary form and expression. It was the
outcome of drastic efforts to change traditional representation styles into
new ways of expressing sensibilities of the time. Modernism has arisen
from two movements: “symbolism‟ and “imagism‟ which highly
affected the poetic creation of the time. Symbolism is a reaction against
naturalism and realism. Imagism is utilizing common speech; in creating
new rhythms and moods; infinite choice of subject matter; excessive use
of symbols and images; yet providing clarity in style.
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151
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ACTIVITY 9.2
Direction: Choose one among the emerging genres in literature and
then create your own piece (e.g. stories, poems), your work will be
graded based on the criteria below.
3 2 1 0
CRITERIA / Exceeds Meets Needs Inadequate
SCALE Expectation Expectations Improvemen
s t
• Structure • Paper is • Paper has • There is • There is no
•Organization logically a clear some level apparent
• Flow of organized organizatio of organization to
thought • Easily nal organizatio the paper.
• Transitions followed structure n though • Difficult to
• Format • Effective, with some digressions, follow
smooth, digressions, ambiguities • No or poor
and ambiguities , transitions
logical or irrelevance • No format
transitions irrelevances s are too
• • Easily many
Profession followed • Difficult
al format • Basic to follow
transitions •
• Ineffective
Structured transitions
format • Rambling
format
• Language • • • • Vocabulary
• Vocabulary; Vocabulary Vocabulary Vocabular is
use of is is varied, y is used unsophisticat
vocabulary sophisticat specific and properly ed, not used
• Tone ed and appropriate though properly in
correct • sentences very simple
as are Frequently may be sentences.
sentences uses simple • Uses
which vary subject • subject
in specific Infrequent specific
structure vocabulary ly uses vocabulary too
and correctly subject sparingly
length • Writer’s specific
• Uses and tone vocabular
manipulat emerges y
es subject and correctly
specific is • Writer’s
vocabulary generally tone
152
of evasion, he holds to the faith that he is on the right path, an invisible line
toward his own salvation as straight as a ruler’s edge.
Beloved, novel by Toni Morrison,
published in 1987. The work examines the
destructive legacy of slavery as it chronicles the life
of a Black woman named Sethe, from her pre-Civil
War days as a slave in Kentucky to her time
in Cincinnati, Ohio, in 1873. Although Sethe lives
there as a free woman, she is held prisoner by
memories of the trauma of her life as a slave.
I use these three examples to illustrate that "popular" fiction does not
necessarily mean "junk" fiction or badly written prose! On the contrary!
Much of the literature that we have loved over the years is truly fine fiction
and contains excellent writing. Of course, there are thousands of pieces of
fiction that were once popular that don't hold up so well - and may have
been rather indifferently written, as well. The sheer volume of the fiction
that has been published in the last 200 years leads us, sometimes, to
assume that if a work was enormously popular, it had to necessarily be 156
inferior, too. In this class, I will argue that key pieces of "popular" fiction are
still both fun to read and important to literary study!
So how, then, you might ask, DO we distinguish between real
"literary" fiction and "popular" fiction, if some of the popular ones are also
important literature? We can't, really; to a large extent there are overlaps
and special cases and so forth in these classifications.
But in general terms, we can always include in Popular Fiction works
that can be categorized as "Genre" works. [You will note that our study
curriculum is organized by genre.] If a novel fits the criteria of Horror,
Crime, Detective, Romance, Western, Science Fiction, or Fantasy, then we
usually can include it in Popular Fiction (even if it also has all the traits of
Literary Fiction). Beyond the large-scale genres that we easily recognize,
publishers also define genre books by very specific sub-genres. British
novels, for instance, in which we never see the murder are called "Tea Cozy
Crime Novels"
than 30 million copies worldwide. In 1961 it won a Pulitzer Prize. The novel
was praised for its sensitive treatment of a child’s awakening
to racism and prejudice in the American South.
160
ACTIVITY 10.1
Direction: As we have tackled the Contemporary, Popular and
Emergent Literature. Group the students into 5 groups and discuss
or explain what is being ask below.
CHAPTER TEST!
I. DEFINITION OF TERMS
Direction: Define the following terms based on your understanding.
Write your answer on the space provided.
1. Literature
_____________________________________________________________________________
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_____________________________________________________________________________
_____________________________________________________________________________
_____
2. Contemporary Literature
_____________________________________________________________________________
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3. Popular Literature
_____________________________________________________________________________
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_____________________________________________________________________________
_____________________________________________________________________________
_____
4. Emergent Literature
_____________________________________________________________________________
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_____
5. Interconnectedness of the three literature
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_____
II. REFLECTION 162
_____________________________________________________________________________
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_____________________
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