REPUBLIC OF THE PHILIPPINES

DEPARTMENT OF EDUCATION
REGION IX, ZAMBOANGA DEL NORTE
SCHOOLS DIVISION OF ZAMBOANGA DEL NORTE
SIRAWAI NATIONAL HIGH SCHOOL
SIRAWAI DISTRICT I

LEARNING
ACTIVITY
SHEET
2 QUARTER
ND

21 Century Literature
st

in the Philippines and of

the World

NAME OF STUDENT

GRADE/SECTION
 Republic of the Philippines
Department of Education
Region IX, Zamboanga Peninsula
SCHOOLS DIVISION OF ZAMBOANGA DEL NORTE
SIRAWAI NATIONAL HIGH SCHOOL

SIRAWAI I DISTRICT UNIFIED LEARNER’S ACTIVITY SHEET

21ST CENTURY LITERATURE FROM THE PHILIPPINES AND THE WORLD

(WEEK 1/ 2ND QUARTER)

Name of Learner : ______________________ Grade Level : ___________

Section : ______________________ Date : ___________

Learning Competency with Code:

At the end of this lesson, the learners are expected to:
 determine the representative texts and authors from North and Latin America

BACKGROUND INFORMATION FOR LEARNERS

 David L. Weatherford is a child psychologist with published poems in "Chicken Soup for the Soul". He was born on July 20, 1952 in
Mount Vernon, Jefferson County, Illinois, USA. He died on January 7, 2010 at age 57. One of his poems is entitled “Slow Dance”

 Alfred Edward Housman, known as A. E. Housman, was an English traditional researcher and writer, most popular to the overall
population for his pattern of sonnets “A Shropshire Lad”. Melodious and practically epigrammatic in structure, the sonnets
contemplatively bring out the fates and frustrations of youth in the English countryside. He was one of the premier classicists of his
age and has been positioned as probably the best researcher who ever lived. One of his works is entitled “When I Was One-and-
Twenty.”
 Kate Chopin was an American creator of short stories and books situated in Louisiana. She is currently considered by some
scholars to have been a harbinger of American twentieth century women's activist writers of Southern or Catholic foundation. One of
her works is entitled “The Story of An Hour.”
 James Grover Thurber was an American sketch artist, creator, comedian, writer, dramatist, and commended mind. He was most
popular for his kid's shows and short stories, distributed primarily in The New Yorker and gathered in his various books. Thurber was
one of the most mainstream comedians of his time and commended the comic disappointments and unconventionalities of common
individuals. His works have every now and again been adjusted into films, including The Male Animal (1942), The Battle of the
Sexes (1959, in view of Thurber's "The Catbird Seat"), and The Secret Life of Walter Mitty (adjusted twice, in 1947 and in 2013).
 Robert Charles Benchley was an American comedian most popular for his work as a paper editorialist and film entertainer.
Benchley is best associated with his commitments to The New Yorker, where his expositions, regardless of whether effective or
absurdist, impacted numerous advanced comedians. He also wrote essays. One of his works is entitled “My Face.”
 Tess Almendarez-Lojacono is an essayist, entrepreneur, and instructor. She graduated from Carnegie Mellon University. Worldwide
Family Magazine is as of now distributing stories from her assortment called Milagros in their Latin Families section. Her work has
showed up in Off Course, an artistic diary, and in The Cortland Review. One of her works is entitled “Just One Thing.”


TEST 1. Directions: Match the title of representative texts in Column A to name of the authors in Column B. Write only the letter of your
answer on the space provided before the number.
TEST II. Directions: Form words or phrases from the scrambled
letters below. Write your answer on the space provided.

1. Ntorh & Ltain Aemcria ____________________

2. Rperenseativet Txets ____________________
3. Auhtors/ Wrietrs ____________________
4. Solw Denac _____________________
5. Davdi Weathrefrod ____________________
6. Aldref Ewdadr Housnam ____________________
7. Wenh I Wsa Oen-adn-Tewnyt ____________________
8. Ktae Cohipn ____________________
9. Teh Sotyr fo na Horu ____________________
10. Jmaes Gorver Tuhrber ____________________
11. Teh Scerte Lfie fo Wlatre Mttiy ____________________
12. Rboret Cahrels Bnehclye ____________________
13. My Fcae ____________________
14. Tses Amlneadrze-Loajocno ____________________
15. Just Oen Tihgn ____________________

TEST III. Create your own slogan out of the given poem above entitled, WHEN I WAS ONE-AND-TWENTY. (10 PTS)

(WEEK 2/ 2ND QUARTER)

Learning Competency with Code:

At the end of this lesson, the learners are expected to:
 identify types of criticisms used in literature and its adaptations

BACKGROUND INFORMATION FOR LEARNERS

Literary criticism means the study and analysis of literature. This study helps identify on what perspective a critique focuses on. Literary
criticism categorizes literary works according to their genres, making it easier for readers to comprehend and interpret a work in different
viewpoints.

Some types of literary criticisms used are:

1. Mythological criticism. A type of criticism that uses archetypes or symbols through mythological creatures and occurrences drawn
from culture, history and life.
2. Sociological criticism. This is used to analyze the cultural, economic and political context of a literary work.
3. Biographical criticism. From the term itself, this method of analysis aims to determine the original theme of a certain piece from
the author’s life. This requires the reader to be familiar with the author’s biographical information. By doing so, the reader can keep
track of his analysis to be in context.
4. Psychoanalytic criticism. This emphasizes to get information about the subconscious desire or state of mind of the author based
on the theme of the work.
5. Formalist criticism. A type of criticism that analyzes the work itself, and does not claim any underlying political, sociological or
psychological concerns exist in the context.

Through the use of the above-mentioned standard and other tools for assessment, we are able to improve and modify literature in the same
genre or another medium. This is called literary adaptation. It is the process of translating a creative work from one medium to another or
getting the juices from it and crafting a new version or story

Examples of adaptation are films, stage play, and podcast which require the use of multimedia, technology and other creative innovations. In
education, teachers use these creative adaptations to stimulate students’ interest and promote effective learning.

One helpful way to assess creative adaptation of a literary text and limits discourse over the subject is by choosing one out of the following
theoretical approaches:
 • Translation theory. Evaluates the faithfulness of adaptation to the original piece. The criticism revolves around the adaptation’s
adherence to the character, setting, themes and any other highlights that make up the literary text. Users of this paradigm would
admire such producers who stick to the context.
• Pluralist theory. Focuses on the effectivity of the adaptation to convey the ‘spirit’ of the original text. The advocates of this theory
put much significance to the retention of what the text makes them feel and therefore should be preserved without the need of
modification in the mood and tone.
• Transformation theory. A theory that sees a written work and its adaptation different. The producer of the adaptation has made
significant alteration whether for artistic, uniqueness or experimental purposes. The differences made will serve as the basis for
evaluation. Alternatively, Aristotelian theory, also known as neo-classical or neo-Aristotelian, does not put emphasis on the fidelity or
sameness of adaptation to the original text. It rather focuses on the relationship between the adaptation and its audience, using the
subject, purpose and context as basis for evaluation. This theory is the one used when giving assessment prior to presentation or
production.

Considering these approaches, you will be able to make your assessment right into the core. You will state your opinion or judgment and
rationalize it using the presentation itself.

 Peer assessment. Students individually assess one another based on their level of contribution or participation in the group. The
average of the marks given by each member is usually the overall group score.

Advantages:
Develops involvement and sense of responsibility •
Develops judgment skills •
Provides more relevant feedback to improve performance

Disadvantages •
Marks given might not be reliable as affected by pressure from peers
Have tendency to mark everyone high scores to save the group
Hesitant to judge their peer’s Self-assessment.
Judging own contribution using an established criterion.

TEST I. Directions: Compare your friend’s character to one of the characters in the story. Identify what type of criticism did you apply in
justifying so.

Title of the story: ______________________________________________________________________________________

Friend’s name: ________________________________________________________________________________________

Character from the story compared from: __________________________________________________________________

Description:
________________________________________________________________________________________________________________
________________________________________________________________________________________________________________
_____________________________________________________________________________________

Type of criticism used:

________________________________________________________________________________________________________________
______________________________________________________________________________________________

TEST II. Directions: Complete the sentences below.

1. Literary adaptation is ____________________________________________________________________________________

2. Examples of literary adaptation are ________________________________________________________________________
3. There are three theoretical approaches in assessing an adaptation. These are:
1. ______________________ 2. __________________________ 3. _________________

(WEEK 3 / 2ND QUARTER)

BACKGROUND INFORMATION FOR LEARNERS

Here are some of the multimedia formats that you can use to creatively interpret various genres of literary texts.
1. Blog or a “weblog” is a website containing informational articles about a person’s own opinions, interests and experiences. These are
usually changed regularly (DepEd 2013, 9).
2. Mind mapping is a graphical technique to visualize connections of ideas and pieces of information. This tool structures information to better
analyze, comprehend, synthesize, recall and generate new ideas. You can use Microsoft Word or online mind mapping tools in creating a
mind map (Pasuello 2017).
3. Mobile phone text tula is a traditional Filipino poem. A particular example of this poem is a tanaga that consists of 4 lines with 7 syllables
each with the same rhyme at the end of each line. (DepEd 2013, 8).
4. Slideshow presentation is created with the use of Microsoft PowerPoint. It contains series of pictures or pages of information (slides)
arranged in sequence and often displayed on a large screen using a video projector (Computer Hope 2018).
5.Tag cloud is a visual, stylized arrangement of words or tags within a textual content such as websites, articles, speeches and
 databases (Techopedia 2020).
6. Video is an electronic device used to record, copy, playback, broadcast, and display moving visual media (Lexico 2020).

Directions:
1. Read the poem, “Apo On the Wall” by Bj
Patino.
2. Interview people about their experiences
during the Martial Law.
3. Create a collage of photos using
PowerPoint depicting the experiences of
people during Martial Law. Write a brief
description to your work.
.
 (WEEK 4 / 2ND QUARTER)

Read the story with comprehension and do answer the following questions.

SINIGANG (Marie Aubrey J. Villaceran)

“So, what happened?”

She had finally decided to ask the question. I had been wondering how long my Tita Loleng could contain her curiosity.
I continued to pick out tomatoes for the Sinigang we were to have for dinner. I wasn’t usually the one who assisted my aunt with the cooking.
She preferred my younger sister, Meg, for I knew far less in this area—not having the aptitude, or the interest, I guess—for remembering
recipes. That didn’t matter today, though. This time, Tita Loleng wanted more than just an extra pair of hands in the kitchen.

“Nothing much,” I answered offhandedly. “We did what people usually do during funerals.” I reminded myself to tread carefully with her.
Though I did not really feel like talking, I could not tell her off for she took offense rather easily.

I put the tomatoes in the small palanggana, careful not to bruise their delicate skin, and carried them to the sink.
“Did you meet…her?” Tita Loleng asked.
There came to me a memory of sitting in one of the smaller narra sofas in the living room in Bulacan. I faced a smooth white coffin whose
corners bore gold-plated figures of cherubs framed by elaborate swirls resembling thick, curling vines. Two golden candelabras, each
supporting three rows of high-wattage electric candles, flanked the coffin and seared the white kalachuchi in the funeral wreaths, causing the
flowers to release more of their heady scent before they wilted prematurely. Through an open doorway, I could see into the next room where
a few unfamiliar faces held murmured conversations above their coffee cups.
“Are you Liza?” A woman beside me suddenly asked.
I was surprised, for I had not heard anyone approaching. Most of the mourners preferred to stay out on the veranda for fear that the heat from
the lights might also cause them to wither.
I looked up slowly: long, slim feet with mauve-painted toenails that peeked through the opening of a pair of scruffy-looking slippers; smooth
legs unmarred by swollen veins or scars—so unlike the spider-veined legs of my mom—encased in a black, pencil-cut skirt; a white blouse
with its sleeves too long for the wearer, causing the extra fabric to bunch around the cuffs; a slim neck whose skin sagged just a little bit; and
a pale face that seemed like it had not experienced sleep in days. The woman looked to me like she was in her forties—the same age as my
mother.
“Yes,” I had answered that woman—the same answer I now gave to Tita Loleng.
I gently spilled out all the tomatoes into the sink and turned on the tap. The water, like agua bendita, cleansed each tomato of the grime from
its origins.
“What did she tell you?” Tita Loleng asked.
“Nothing much. She told me who she was.”
“What did she look like?”
“She’s pretty, I guess.”
She was. She looked like she had Indian blood with her sharp nose and deep-set eyes thickly bordered by long lashes. Just like Mom, she
still maintained a slim figure though she already had children. The woman, upon seeing my curious stare, had explained, “I am Sylvia.”
All my muscles tensed upon hearing her name. It took all my self-control to outwardly remain calm and simply raise an eyebrow.
My reaction caused a range of emotion to cross the woman’s face before it finally crumbled and gave way to tears. Suddenly, she grabbed
my hand from where it had been resting on the arm of the sofa. Her own hands were damp and sticky with sweat. She knelt in front of me—a
sinner confessing before a priest so he could wash away the dirt from her past.
But I was not a priest. I looked down at her and my face remained impassive.
When her weeping had subsided, she raised her head and looked at me. “Everyone makes mistakes, Liza.” Her eyes begged for
understanding.
It was a line straight out of a Filipino soap opera. I had a feeling that the whole situation was a scene from a very bad melodrama I was
watching.
I looked around to see if anyone had witnessed the spectacle unfolding in this living room, but it was as if an invisible director had banned all
but the actors from the set. Except for us, not a soul could be seen.
I wanted Sylvia to free my hand so I nodded and pretended to understand. Apparently convinced, she let go and, to my shock, suddenly
hugged me tight. My nose wrinkled as the pungent mix of heavy perfume and sweat assailed me. I wanted to scream at her to let go but I did
not move away.
“Hmm, I think they’re washed enough na.” Tita Loleng said.
Turning off the tap, I placed the tomatoes inside the basin once more. Then, as an afterthought, I told my Tita, “I don’t think she is as pretty as
Mom, though.”
Tita Loleng nodded understandingly. She gestured for me to place the basin on the table where she already had the knives and chopping
board ready.
“Where was your Dad when she was talking to you?”
“Oh, he was sleeping in one of the bedrooms. Mom did not want to wake him up because they told her he had not slept for two nights
straight.”
Tita Loleng snorted. “Haay, your mother talaga,” she said, shaking her head.
I had to smile at that before continuing. “When he saw me, Sylvia had already been called away to entertain some of the visitors.”
“Was he surprised to see you?” Tita knew that I had not wanted to go to the funeral. Actually, she was one of the few people who respected,
and understood, my decision.
“No.” I sliced each of the tomatoes in quarters. The blade of the knife clacked fiercely against the hard wood of the chopping board. “He
requested Mom to make me go there.” We both knew that I could never have refused my mother once she insisted that I attend. I had even
gone out and gotten drunk with some friends the night before we were to leave just so I could have an excuse not to go, but my mom was
inflexible. She had ordered my two sisters to wake me up.
Tita Loleng gave me a sympathetic look. “No choice then, huh?” She was forever baffled at the way my mother could be such a martyr when
it came to my father and such a tyrant to her children.
Clack! Clack! The knife hacked violently against the board.
“Nope.”
When my Dad had come out of the room, I remembered sensing it immediately—the same way an animal instinctively perceives when it is in
danger. I had been looking at the face of my dead half-brother, searching for any resemblance between us. Chemotherapy had sunk his
cheeks and had made his hair fall out, but even in this condition, I could see how handsome he must have been before his treatment. His
framed photograph atop the glass covering of the coffin confirmed this. Lem took after my father so much that Dad could never even hope to
deny that he was his son. I, on the other hand, had taken after my mother.
I knew my father was staring at me but I refused look at him. He approached and stood next to me. I remained silent.
“I am glad you came,” he said.
I gave him a non-committal nod, not even glancing his way. Tita Loleng interrupted my thoughts with another one of her questions.

“Did you cry?”

I shook my head vehemently as I answered, “No.”
I took the sliced tomatoes, surprised to find not even a splinter of wood with them, as well as the onions Tita Loleng had chopped and put
them in a pot. “What next?” I asked her.
“The salt.” Then she went and added a heaping tablespoonful of salt to the pot.
“Is that all?”
“Uh-huh. Your Mom and I prefer it a bit saltier, but your Dad likes it this way.” Then she gestured towards the pot, closing and opening her fist
like a baby flexing its fingers

I started crushing the onions, tomatoes, and salt together with my hand.
“He was an acolyte in church,” my father had said then, finally splintering the silence I had adamantly maintained. “Father Mario said that we
shouldn’t feel sad because Lem is assured of going to a better place because he was such a good child.” Good, I thought, unlike me whom
he always called “Sinverguenza”, the shameless daughter.
I finally turned to him. There was only one question I needed to ask. “Why?”
He met my gaze. I waited but he would not—could not— answer me. He looked away.
My mask of indifference slipped. It felt like a giant hand was rubbing salt into me, squeezing and mashing, unsatisfied until all of me had been
crushed.
“Stop it na, Liza!” Tita Loleng exclaimed. “Anymore of that mashing and you will be putting bits of your own flesh and bone in there,” my aunt
warned. She went to the refrigerator and took out plastic bags containing vegetables. She placed them in the sink. “All of these will be needed
for the sinigang,” she said. “Prepare them while you’re softening the meat.” Then she took off her apron, “You go and finish off here. I will just
go to my room and stretch my back out a bit.” With a tender pat on my head, she walked out of the kitchen.
I breathed a sigh of relief. The questions had stopped, for now.
I poured the hugas bigas into the mass of crushed onions and tomatoes and added the chunks of beef into the concoction before covering the
pot and placing it on the stove. I turned on the flame. The sinigang needed to simmer for close to an hour to tenderize the meat.
In the meantime, I started preparing all the other ingredients that will be added to the pot later on. Taking all the plastic bags, I unloaded their
contents into the sink then washed and drained each vegetable thoroughly before putting them beside my chopping board.
I reached for the bunch of kangkong and began breaking off choice sections to be included in the stew. When I was a child, before Tita
Loleng had chosen to stay with us, my mom used to do the cooking and she would have Meg and I sit beside her while she readied the
meals. I remembered that whenever it came to any dish involving kangkong, I would always insist on preparing it because I loved the crisp
popping sound the vegetable made whenever I broke off a stem. It was on one such occasion, I was in second year high school by then but
still insistent on kangkong preparation, when Mom had divulged the truth about the boy who kept calling Dad on the phone everyday at home.
Meg had also been there, breaking off string beans into two-inch sections. Neither of us had reacted much then, but between us, I knew I was
more affected by what Mom had said because right until then, I had always been Daddy’s girl.
When the kangkong was done, I threw away the tough, unwanted parts and reached for the labanos. I used a peeler to strip away the skin—
revealing the white, slightly grainy flesh—and then sliced each root diagonally. Next came the sigarilyas, and finally, the string beans.
Once, I asked Tita Loleng how she knew what type of vegetable to put into sinigang and she said, “Well, one never really knows which will
taste good until one has tried it. I mean, some people cook sinigang with guavas, some with kamias. It is a dish whose recipe would depend
mostly on the taste of those who will do the eating.”
I got a fork and went to the stove where the meat was simmering. I prodded the chunks to test whether they were tender enough—and they
were. After pouring in some more of the rice washing, I cleared the table and waited for the stew to boil.
A few minutes later, the sound of rapidly popping bubbles declared that it was now time to add the powdered tamarind mix. I poured in the
whole packet and stirred. Then I took the vegetables and added them, a fistful at a time, to the pot. As I did so, I remembered the flower
petals each of my two sisters and I had thrown, fistful by fistful, into the freshly dug grave as Lem’s casket was being lowered into it.

My dad was crying beside me and I recalled thinking, would he be the same if I was the one who had died? I glanced up at him and was
surprised to find that he was looking at me. His hand, heavy with sadness, fell on my shoulder.
“I’m sorry,” he had told me.

I let the stew boil for a few more minutes before turning off the fire.

The sinigang would be served later during dinner. I pictured myself seated in my usual place beside my father who is at the head of the table.
He would tell Mom about his day and then he would ask each of us about our own. I would answer, not in the animated way I would have
done when I was still young and his pet, but politely and without any rancor.
Then, he would complement me on the way I had cooked his favorite dish and I would give him a smile that would never quite show, not even
in my eyes.
DIRECTIONS: Study the following questions carefully and write your answers on a separate sheet of paper.
1. Where did the story happen?
2. Who were the characters in the story?
3. What do you think led to the emotional separation of Liza from her father?
4. What was the most interesting part of the story?
5. What was the story about?
6. Who narrated the story?
(WEEK 5 / 2ND QUARTER)

Name of Learner : ______________________ Grade Level : ___________

Section : ______________________ Date : ___________

Learning Competency with Code:

BACKGROUND INFORMATION FOR LEARNERS

In this module, you will learn more about the narrative arc or the plot structure of a story. You will be reading a flash
fiction entitled “Jake” by Jim Bartlett, who has written a number of stories from flash to novella which are all featured in
Fiction on different platforms such as The Web, CriemSpree Magazine, Short-Storyme, Fairlight Books and other
publications. As a flash fiction story goes, the author tells a loving, gentle story of love, loss and longing with an unexpected
ending. Read and learn more about the story and try to identify the components of a plot structure

JAKE
by Jim Bartlett

Jake’s eyes snap open, and he quickly turns to the side. But like his aching heart, the spot where Max always sat
on the couch remains empty. He takes in a long, deep breath – really more of a sigh – and squeezes his eyes closed,
hoping that by slipping into the darkness of a nap, he will temporarily mask his sorrow.
For fifteen years they were inseparable. Always side by side. The walks on the beach with the gentle waves calling,
the seagulls cawing. All those hikes on the trail where the trees canopied over like arches, wrapping them in a soft cool
shade on a hot sunny day. Even just a ride to the grocery store for something Martha may have forgotten, they always went
together.
Though he knows that in some ways he should be thankful for just having their time together – those moments
forever etched in his heart – and that the sickness took Max quickly rather than dragging out the pain for weeks, maybe
even months, he still feels cheated. That somehow, he is missing years that could have been.
Unable to sleep, he looks around the all too empty room, letting his gaze fall upon the leash, which still hangs from
the peg by the door. It seems to wait patiently, ever ready for that next big adventure. As his eyes well up, he realizes for the
first time how much his grief weighs, how hard it is to even rise with such a heaviness inside
It is then he hears a shuffle from behind and turns to see Martha standing in the doorway, her shoulder resting
against the frame.
“I thought you might be in here,” she says. She looks down at him for only a moment before her stare drifts to the
couch. “I miss him, too, Jake. More than you’ll ever know.”
There’s a faraway melancholy tone to her voice, but he knows that her heart, like his, has a hole too big to fill. His
head drops and he gives off another long sigh, which seems to prompt her to come over and kneel down onto the carpet
beside him. She slides a hand under his chin and lifts it up, then tucks back his long, floppy ears, such that their teary eyes
can meet.
“I guess you do know, don’t you, Jake.”

Directions: Reflect on and answer the questions below. Write your answer on a separate sheet of paper. (5 pts each)
1. What did you feel after reading the story? Expound your answer.
2. Based on the story, who is Jake and is he in a state of loneliness?
3. What words were used to help you figure out Jake’s identity?
4. Who was Max and what happened to him?
5. Do you believe in the adage, ‘A dog is man’s best friend’? Elaborate on your answer
 (WEEK 6 / 2ND QUARTER)

Name of Learner : ______________________ Grade Level : ___________

Section : ______________________ Date : ___________

Learning Competency with Code:

At the end of this lesson, the learners are expected to:
 show appreciation of different representative literary texts

BACKGROUND INFORMATION FOR LEARNERS

Reading Approach
Teachers use reading approach as one of the methods in teaching English. This approach is one way of solving student’s reading problems.
Students are demanded to read more to improve their knowledge and get new ideas. Inferencing, guessing and predicting are important skills
developed in reading. By reading, students will know about the different of culture by reading across cultural understanding, and they will
learn how to pronounce the words correctly. In reading approach, students are expected to improve their English skills.
Skimming
In skimming, the main idea of a text is quickly identified. The goal is to read shorter texts to extract accurate detailed information. Skimming is
done at speed three to four times faster than regular reading. People often skim when they have lots of material to read in a limited amount of
time. Some students will read the first and last paragraphs using headings, summarizes and other organizers as they move down the page or
screen. Some might also read the title, subtitles, subheadings, and illustrations. Other people consider reading the first sentence of each
paragraph. Skimming works well to find dates, names, and places. It might be used to review graphs, tables, and charts. This technique is
useful when you are seeking specific information rather than reading for comprehension.
Scanning
Scanning is quickly reading a text to get the summary of it. It is a technique wherein students search for keywords or ideas. Scanning involves
moving eyes quickly down the page seeking specific words and phrases. Scanning is also used for the reader to find answers to questions.
Once a student scanned the document, they will go back and skim it.
Extensive reading
Extensive reading is an approach to language learning, including foreign language learning, by means of a large amount of reading. The
readers view and review of unfamiliar words in a specific context will allow the reader to infer the word’s meaning, to learn unknown words.
Extensive Reading is the free reading of books and other written material that is not too difficult for readers. Extensive Reading is sometimes
called Free Voluntary Reading.

I. The story was quite interesting. Now answer the questions that follow to test your understanding.

1. Shimenawa is rice straw or hemp. It is festooned in some sacred landmark. The short story is entitled that way because
___________________________ ___________________________________________________________________________
_______________________________________________________________________________________________________
2. Onigiri may be wrapped with seaweed and could be similar to sandwich by the West. Onigiri is a
_______________________________________________________________________________________________________
_______________________________________________________________________________________________________

3. The main characters in the story were

______________________________________________________________________________________________________.

4. “E tadaki mas,” my uncle said. Jiro picked up onigiri, a rice ball, with his hands and mashed it into his mouth. The one telling the story was
_________________________________________________________________________.

5. The setting of the story was in East Asia. Specifically, the setting was in Japan because (prove your answer by extracting the text to justify
your answer)
________________________________________________________________________________________________________________
______________________________________________________________________________________________
6. Asia is known for having a closed family ties. The family tradition being presented in the story was
________________________________________________________________________________________________________________
______________________________________________________________________________________________

7. The story shared a specific culture in the country. The culture shared was
________________________________________________________________________________________________________________
______________________________________________________________________________________________

8. In the story, Jiro was not eating properly, so Kazuya stood up and roughly pulled Jiro. Write what Kazuya did to Jiro.
________________________________________________________________________________________________________________
______________________________________________________________________________________________

9. Kazuya did something hard to Jiro. Write the reason why Kazuya did that kind of punishment to Jiro.
________________________________________________________________________________________________________________
______________________________________________________________________________________________

II.

(WEEK 7 / 2ND QUARTER)

Learning Competency with Code:

At the end of this lesson, the learners are expected to:
 appreciate the use of multimedia to enhance ICT skills

BACKGROUND INFORMATION FOR LEARNERS

Uses of Multimedia and its Formats

There are many uses of multimedia for a deeper understanding of a lesson. Audiobooks are ideal for second-language learners. Song files
and music videos can be used to compare social norms in different eras. Multimedia can offer students a better understanding of the lesson.
The multimedia formats from various media includes: text and graphics for slideshows, presentations, diagrams and infographics. Audio has
podcasts and recordings. Screen captures, lecture captures and animation are examples of video components of multimedia. Other
multimedia components include blogs, vlogs, webinars and other interactive content.
Multimedia applications include the interaction of different media types like animation, video, text and sound. It has become a part of our lives
as soon as we entered the digital age. Before the modern technology, there are tools helping us appreciate some of the types of multimedia
such as videos on television. There are various components of multimedia such as:
Directions: What word from the word Art image the description may suggest?

________________________1. relating to an audio recording method in which sound waves are represented

________________________2. the preparation of animated cartoons

________________________3. connected to, served by, or available through a system

________________________4. programs for a computer

________________________5. to send message from one cellphone to another

 (WEEK 8 / 2ND QUARTER)

Learning Competency with Code:

At the end of this lesson, the learners are expected to:
 describe a flash fiction and plot of a story

BACKGROUND INFORMATION FOR LEARNERS

Characteristics of Flash Fiction

When writing a flash fiction story, it is important to know how they are similar and different to longer stories. Flash fiction is shorter, but it
should not feel too short. Here are some traits of strong flash fiction stories.
1. Story Structure: A flash fiction story is not the shortened version of a longer story; it still follows the elements of plot, including a beginning,
middle and end, as well as a conflict and satisfying resolution.
2. Setting: Most flash fiction stories take place in one setting, as moving between locations uses up too much space. It allows the writer and
reader to focus on the plot.
3. Characters and Backstory: Flash fiction pieces are plot-driven and include no more than three or four characters. They may include some
character development, but too much backstory can use valuable space.
4. Description: One may think that flash fiction stories are short on description to save space. However, a strong piece can balance vivid
descriptions with a quick moving plot. Stories that lack description are not satisfying to read, and a flash fiction piece should feel complete.
The PLOT
Every written story has a plot- the series of events and characters’ actions that includes a beginning, a middle and an end. Also, every written
story has a plot structure or a narrative arc. Although it is important for a story to have all its essential elements, the plot is the major element
of all as it is what the story is all about. The plot is the actual story. Without it, a writer has not penned anything.
Two types of plot
A writer can create a story using one of the two types of plot- a unified plot or an episodic plot. A unified plot has a story that is realistic with a
central character and action and the story happens in one place during a short span of time- a day, several hours or even just for an hour. An
episodic plot, on the other hand, has a story that happens in a much-extended period of time. A writer who employs the episodic plot
frequently uses the technique of ‘flashback’ to lay out background details of the story. But similar to the unified plot, an episodic plot also has
a central character, setting and action.
There are three other ways to write a plot. A plot may be written as a movement in casualty, a movement in time and a movement in dramatic
tension.
PLOT – a movement in time
The plot is a movement in time when the story transpires on a particular period of time such as an hour, a day, a week, a month or even a
year.
PLOT - movement in casualty
The plot is a movement in casualty when the story is established on a series of casual events that happen one after another. Here, the writer
is to create a story based on the principle of cause and effect that is, the first event sets off the second and the second event sets off the third
and so on. Hence, every new event has a causal relationship to the old ones.
PLOT - a movement in dramatic tension
The plot is a movement in dramatic tension when the story has dialogue, action, details, descriptions and scenes that amplify the tension and
persuade the reader to turn the page and continue reading. The techniques of foreshadowing, flashback and epiphany are oftentimes
employed in this type of plot.
The following are the components of a plot structure or parts of the narrative.
a. Exposition – This is the beginning of the story, also known as the inciting incident. This is where the author introduces the characters,
identifies where the story is happening, and establishes the main conflict. This includes events, actions or even decisions that build conflict,
pressure or disturbance to the main character.
b. Rising Action – This is also known as the plot complication where the writer fully introduces the conflict or the obstacle that will prevent the
main character, the protagonist, to achieve his goal.
c. Climax – This part is considered as the most exciting part of a story. This part has the most tension or most exciting event compared to all
other events in the story. Also, this is where important decisions are made or important things are discovered.
d. Falling Action – This point occurs after the climax as the problems in the story start to work themselves out. The excitement becomes less
and less as the conflict is resolved.
e. Resolution/End – This is the solution to the problem in a story. When a writer brings resolution to end the story, he can end the story with
either an open or closed ending. When a writer uses a closed ending, the resolution is done by answering all unanswered questions that were
implied or explicitly stated. A death is an example of a closed ending. When a writer uses an open ending, he leaves the readers to think,
wonder or speculate what happens after the story has ended.