Republic of the Philippines

Surigao del Sur State University

Cantilan Campus
Cantilan,Surigao del Sur
Telefax No. 086-212-5132
Website: [Link]

SELF- INSTRUCTIONAL MODULE IN

EC 3 – Great Books

Prepared by:
GERALDINE V. NAGA, PhD
Assistant Professor I
QUENNIE DAWN C. TORCULAS
 This module is a compilation of the works from

internet sources, manuals, and books from

different authors and will be used for

educational purposes only.

Due recognition is given to the authors who

are the source of some parts found in this

module. The compiler / owner does not claim

copyrights to any part taken from other

sources.

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Self- instructional module in Great Books/GV Naga/QD Torculas
 In consonance with the blended learning
applied by higher education in the New Normal, this
module serves as the basic instructional material
provided to students enrolled in Surigao del Sur State
University, Cantilan Campus this 1st Semester, AY
2021-2022.
Students officially enrolled in this course must have a copy of this
learning material which contains the University’s VMGO, school and
classroom policies, course content, lesson activities, assignments and
references/resources. However, students are not allowed to reproduce and
share this module in any form or manner without the consent of the
instructor/professor.
Class schedules reflected in the Certificate of Registration (CoR) will be
strictly followed. Inquiries and other forms of communication between the
faculty and students concerning the course will only be entertained during
the designated time and day of the said course/subject.
Students officially enrolled and have received this module is bound to
abide the learning contract/agreement set in the course/subject.

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Self- instructional module in Great Books/GV Naga/QD Torculas
 Surigao del Sur State University (SDSSU) - Cantilan is one of the seven
campuses of the University that offers Teacher Education programs. One of
these programs is the ___________________________________ in which I am
currently enrolled.
This program offers a course in_____________________________________
this 1st Semester, AY 2021-2022 which I am taking now.
My personal goals for this course/subject include the following:
1. I will abide with the university, campus, department and class
policies implemented by this institution at all times.
2. Follow the general instructions set in this module.
3. Work independently on individual task or activities specified in this
module.
4. Collaborate with the group during group activities.
5. Perform activities, answer assessments and assignments in every
lesson found in this module.
6. Submit outputs and other requirements on time.
7. Observe honesty at all times.

I, the undersigned, understand and agree to accomplish all my

personal goals which are mandatory requirements for passing the course.

________________________________
Signature over Printed Name

Date Signed _____________________

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Self- instructional module in Great Books/GV Naga/QD Torculas
 SDSSU believes that higher education is an instrument for the improvement
of life through democratized access to quality education in the development of a
well-rounded person.

A leading “glocal” University with widened academic perspectives that

focus on attaining food security, supporting poverty alleviation, developing
renewable energy, and conserving natural environment.

SDSSU shall provide competency-based higher education training

driven by relevant and responsive instruction, research, extension and
sustainable resource management.
Particularly, SDSSU is committed to:

1. Produce competent and skilled graduates prepared for gainful

employment;
2. Develop graduates who shall not only foster economic progress but
also care for the environment, adhere to positive value system, and
preserve cultural heritage;
3. Engage in high-impact research for instruction and develop
technology for food security and renewable energy;
4. Collaborate with government and non-government agencies to help
improve the lives of the marginalized groups; and
5. Promote cooperation/partnership among regional, national, and
ASEAN institutions in Higher Education.

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Self- instructional module in Great Books/GV Naga/QD Torculas
 Competence
A combination of observable and measurable knowledge, skills, abilities,
and personal attributes that contribute to enhance SDSSU employee and
student performance and ultimately result in organizational success.
Accountability
Responsibility for own actions, decisions and commitment to accomplish
work in an ethical, efficient, cost-effective and transparent manner
manifesting the value of sound stewardship in the wise use of resources
for common good.
Responsiveness
A prompt action, consistent communication, quality information, and a
focus on providing a superior experience to stakeholders.
Excellence
The quality spectrum at exceptional levels demonstrated by learning
outcomes and the development of shared culture of quality consistent
with the vision, mission and goals of University.
Service
Dedication for a continuous improvement of services, stakeholder’s
relationships and partnership which stresses interdependence and
collaboration for a sustainable success of clients and their communities in
helping build a just, peaceful, stable and progressive Filipino nation.
SDSSU CARES…
These core values are not descriptions of the work we do, nor the
strategies we employ to accomplish our University vision. They are the
core values that underlie our works and interactions as we internalize
responsibilities to fulfil our mission. They are the basic elements of how we
go about our work and how we deal with stakeholders, molds students to
become competent, innovative, globally competitive and service-
oriented.

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Self- instructional module in Great Books/GV Naga/QD Torculas
 Module Overview

Lesson 1 examines a subject from a rhetorical perspective. Identify the

intended audience, purpose, context, media, voice, tone, and persona.
Distinguish between summarizing the literary work and presenting argument.
Likewise, develop ideas by researching the work of other literary critics. How
do other critics evaluate an author’s work? What literary theories do literary
critics use to interpret texts or particular moments in history? This can help find
and adopt an appropriate voice and persona. By reading samples, can
learn how others have prioritized particular criteria.
Lesson 2 focuses on the life of Leo Tolstoy and observe how he
developed as writer. This astonishing author goes by the name
of Leo Tolstoy and is acknowledged as being the best author in
time. Tolstoy was an amazing writer for realistic fiction and he was best known
for two of his [Link] change the way our world is build is one of the
greatest impacts this author made.
Lesson 3 focuses on the tone shift in the plot of the poem to describe
the predetermined judgment that people have based on color/race. This
also refers to the burden that being African has. It is a secret over the phone
because both parties cannot see each other however it is important to the
white land lady. Being dark skinned will affect the white ladies decision, so he
must admit to the truth before can celebrate owning a house.

Module Distribution & Retrieval

The module shall be delivered, distributed, and retrieved in your

respective municipality. Please wait for further notice as to the
date and venue of these activities.

BSCrim 2A – MWF 10:00-11:00 a.m. BSCrim 2C - MWF 3:00 - 4:00 p.m.

BSCrim 2B – MWF 2:00-3:00 p.m. BSCrim 2D - TTh 2:30 - 4:00 p.m.
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 Course Requirements

Portfolio (Compilation of all activities in the module)

 Academic honesty is expected to students enrolled in this course.

Cheating on examination/activities, unauthorized collaboration,
plagiarism, and undocumented use of materials from any source
constitute academic dishonesty.
 Always write neatly and legibly especially if you’ll have your output
handwritten. For printed/computer based outputs, observe as well
neatness and clarity.
 Observe promptness in submitting the required outputs.
 Covid 19 gives us constraints in doing the usual teaching and learning
process. So, be accountable with your own learning. If you think you do
not fully understand the concepts/ideas information on the module,
research and read more about it.
 If you have questions, queries, and clarifications about the activities in
the module, feel free to ask me through our group chat. You are only
allowed to do so in our official time/during class hours.

Class Standing - 40%

Examination - 40%
Requirements - 20%
TOTAL - 100%

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 Course Code: EC 3
Course Description:
This course explores and studies the great ideas contained in the
original works by the greatest literary writer, chronologically, beginning with
the works of the Ancient Greeks, which are seminal to classical and
Western civilization. It also equips students with the timeless insights of
contemporary writers, insights that are at the heart of education. Likewise,
students will enhance their communication skills by reading, appreciating
and critiquing literary works. Moreover, they will understand deeper human
behavior by delving into the psyche of writers and characters.

Course Outcomes

When you have completed this course, you will be able to:
 Elaborate on the significance of literary criticism;
 State the essential information about the authors that are linked to the
themes of the literary works;
 Compare and contrast the various literary elements;
 List down the manifestations of magic realism in the story; and
 Summarize the principles of academic text structure.

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 Course Outline

Week No. Course Content Period Covered

1-2 Introduction to: Prelim

Literary Criticism

The Two Brothers by

Leo Tolstoy
3-4 Prelim
Telephone Conversation
by
Wole Soyinka

Aesop’s Fables

5-7 Antigone by Sophocles Midterm

He is More Than A Hero

by Sappho

8-9 Shakespeare’s Sister by Midterm

Virginia Woolf

The Masque of Red

Death by
10-12 Edgar Allan Poe Pre-final

There is Another Sky by

Emily Dickinson

13-14 If You Forget Me by Final

Paolo Neruda

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 Lesson 1
Literary Criticism

Initializing

Greeks – 5th Century inaugurated the formal study of literary Criticism

Plato – 427-347 BC morality (rationality)
Aristotle – 384-322 BC Structure (Objectives)
Horace – 65-8 BC “The best writings teach and delight”
Longinus – 1st Century A.D. First comparative critic
Dante Aligheiri language (vernacular)
Sir Philip Sidney Eclectic in criticism

Concept Grounding

 “Literary criticism” is the name given to works written by experts who

critique— analyze—an author’s work.
 It does NOT mean “to criticize” as in complain or disapprove.
 Literary criticism is often referred to as a “secondary source”.

Definition:

 Literary criticism is the study, discussion, evaluation, and interpretation of

literature.
 "Literary criticism is the evaluation of literary works. This includes the
classification by genre, analysis of structure, and judgement of value."
Let's try again …
 "Literary criticism asks what literature is, what it does, and what it is worth."
And again …
 Literary criticism is the method used to interpret any given work of
literature. The different schools of literary criticism provide us with lenses
which ultimately reveal important aspects of the literary work.

Why do we analyze everything?

 Talking about experiences enhances our enjoyment of them.

 Talking about experiences involves the search for meaning which
increases our understanding of them.
 Because Socrates said so: "The life which is unexamined is not worth
living."

Literary criticism helps us to understand what is important about the text

 its structure
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  its context: social, economic, historical
 what is written
 how the text manipulates the reader To further explain …

And there’s more…

Literary criticism helps us to understand the relationship between authors,

readers, and texts.

The act of literary criticism ultimately enhances the enjoyment of our reading
of the literary work.

Literary Criticism Literary criticism has two main functions:

1. To analyze, study, and evaluate works of literature.

2. To form general principles for the examination of works of literature.

What is literary theory?

The capacity to generalize about phenomena and to develop
concepts that form the basis for interpretation and analysis—in this instance,
of a “literary” text.

Definition and Use

 Literary criticism is often referred to as a “secondary source”, because it is
used to analyze your primary work—the work or text (novel) you are
reading.
 Literary criticism is used by people who want to use an expert’s opinion to
support their own ideas.
 Remember, literary criticism is used by readers to analyze, NOT by authors
to write.
 Therefore, when you begin to analyze your novel, you’ll make use of
expert, reliable literary criticism to support your opinion—your thesis—
which you will develop for your paper.

Difference Between Literary Criticism and Literary Theory

Literary Criticism is the study, evaluation, and interpretation of literature.

Self- instructional module in Great Books/GV Naga/QD Torculas

 Literary Theory is the different frameworks used to evaluate and interpret a
particular work.
Theoretical vs Practical
Literary Criticism is the practical application of literary theory.
Literary Theory is a combination of the nature and function of literature and
the relation of text to its author, reader, and society.

Literary Criticism and Theory

 Any piece of text can be read with a number of different sets of “glasses,”
meaning you are looking for different things within the text.
 Literary criticism helps readers understand a text in relation to the author,
culture, and other texts.
The Most Common Critical Stances for Literature
 Formalistic
 Biographical
 Historical/Cultural
 Psychological
 Mythological
 Gender
 econstructionist

Upon Seeing an Orange

 Gender Theory – What possibilities are available to a woman who eats this
orange? To a man?
 Formalism – What shape and diameter is the orange?
 Marxist Theory – Who owns this orange? Who gets to eat it?
 Postcolonial Theory – Who owns the orange? Who took it away?

Self- instructional module in Great Books/GV Naga/QD Torculas

  Reader Response Theory – What does the orange taste like? What does
the orange remind the reader of?
 Psychological/Psychoanalytical – I want this orange now! Will I get in
trouble if I eat it?

Biographical Criticism
 As the name suggests, this type of criticism reads the text looking for
the author’s influence.
 By examining the author’s life, we can have a deeper understanding
of his/her writing.
A Biographical Reading of To Build a Fire by Jack London
 London grew up in poverty and lived on the streets of San Francisco so he
likely had a negative view of city life. We also know that he found peace
and “breathing room” in Alaska.
 The settings and circumstances in “To Build a Fire” reflect the feelings
above. (ie.-the Naturalist idea that nature is indifferent = effects of his
early life on him and setting = his love of Alaska/the wilderness)
Historical/Cultural Criticism
 This critical viewpoint examines a text in relation to its historical or cultural
backdrop.
 You may examine a text’s effect on history or culture or vice versa.
 A historical/cultural analysis is often very similar to a biographical analysis,
and it’s possible to view history, culture, and biography in a single essay.

Historical/Cultural Reading of Disney’s Sleeping Beauty (1959)

 What can Sleeping Beauty reveal about 1950s society?
 How do Prince Phillip’s lines and the “Sword of Truth” reflect the ideals
of 1950s Americans?

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 Psychological Criticism
 Psychological critical theory applies the theories of psychology to a text in
order to better understand its characters.
 Based largely on the theories of neurologist Sigmund Freud, this theory
hinges on an examination of people’s (characters’) unconscious desires.

Mythological Criticism
 This stance is not about mythology.
 It is about the universal elements of human life that are common in all
cultures.
 Like ancient mythology, literature is a window to creating meaning for
human life.
 In other words, stories make us feel like our lives are more significant.

Mythological Criticism
 Central to mythological theory are archetypes.
 Remember, archetypes are those universal elements present in the
literature of all cultures.
 Mythological Criticism seeks to understand how the story constructs
meaning in the human existence through archetypes.
 For example, note the ways texts have examined betrayal.
Common Archetypes
 The Hero = Beowulf, Spiderman, Luke Skywalker, Braveheart
 The Outcast = Macbeth’s clown, Lord of the Flies, Cain
 The Quest = LOTR, Star Wars, Beowulf
 Sacrificial King = Jesus, The Lion the Witch and the Wardrobe, LOTR
 Evil Personified = Wicked Witch of the West, the Devil, the Emperor in SW

Gender Criticism
 Gender criticism analyzes literature through the lens of socially-
constructed gender roles.

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  The largest part of gender criticism is feminism, which critiques and seeks
to correct women’s subordination to men in society.
 In its most basic form, feminism is about equality.
 A newer segment of gender criticism looks for the influence of
homosexuality within texts.
 Research of this type is fairly difficult because homosexuality was largely
suppressed in Europe and America, and it hasn’t been openly discussed
until the last few decades.

A Feminist Reading of Cinderella

 As a single, young woman, Cinderella is without means or opportunity
because she is unattached to a father or a husband.
 It is only through the magic of a fairy godmother that she can be made
presentable and meet the prince AND he is the only means of her
escaping her plight.
 What skills does she have? She is beautiful, can sing well, and is kind.
These are highlighted as the desirable qualities in a woman (hence, her
UGLY, UNTALENTED, stepsisters who are portrayed as undesirable).

Marxist Criticism
 Bases approach largely on works of Karl Marx (1818-1883) German
political philosopher.
 Investigates assumptions and values associated with culture, race, class.
 For example: Are the rich always good or bad? Are the poor always good
or bad?

Formalist Criticism
 A formalist reading of a text focuses on symbol, metaphor, imagery,
characterization, and so on.
 Formalism ignores the author’s biography and focuses only on the
interaction of literary elements within the text.
 Consider the elements of plot, narrator, structure, etc.
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  It’s what you do most often in English literature.

A Formalist Reading of “The Three Little Pigs”

 What does the wolf symbolize?
 Notice the consonance/rhyme of “I’ll huff and I’ll puff…”
 How does the story foreshadow the final fate of the pigs?
 What does the wolf’s dialogue tell us about his character?

Psychological Criticism
 What governs human behavior?
 Id – the animal nature that says, “Do what feels good.”
 Ego – the reality-based part of your personality that makes decisions
to satisfy the Id and Superego
 Superego – the socialized “conscience” that tells you what’s right or
fair

 Oedipus Complex
 Every boy has the unconscious desire to please his mother;
consequently, sons are afraid of their fathers, and fathers are
threatened by their sons.
 Elektra Complex – Every daughter has the unconscious desire to please
her father; consequently, daughters are deeply afraid of their mothers,
and mothers are deeply threatened by their daughters.

Psychological Criticism
 Of course, these complexes have their origins in literature and mythology.
 Psychological criticism is a way to understand characters, not diagnose
them.

A Psychological Reading of Macbeth

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  Macbeth kills King Duncan because he unconsciously recognizes the king
as a father-figure. Hence, Duncan is a rival for power and the affections
of the people.
 In the latter acts of the play, Macbeth has indulged his id so often that his
ego has lost the ability to restrain it.

Marxist Criticism
 Explores the power struggles of those who are minorities in dominant
culture.
 Examines who has/does not have power, how they attained it/why they
don’t have it, and what they do with it/how they are manipulated by it.
 Believes that literature is essentially political; it either supports or refutes
economic oppression. In other words, the author either reinforces the
status quo or rebels against it.

Literary Criticism
 Remember, one need not be a Marxist to use a Marxist approach, any
more than one needs to be a woman to use a feminist approach.
 Any critic can take any approach that helps him/her explain what they
think the author is saying in his/her work.
 Once you have decided what you think the author of your novel is
saying—what his/her message is—you can then decide on which critical
approach you think will work best to support your opinion.

More Literary Theory

 New ways of viewing literature (and the world) continue to develop, but
these are the main theories with which you’ll come in contact.

Deconstructionist Criticism
 Deconstructionism argues that since there is no single meaning of any
word, there can be no single meaning of a text.

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  EVERY text, therefore, has multiple valid meanings because the reader
may interpret the words differently than the writer intended them.
 Much literary criticism is about construction of a larger meaning from a
text.
 Deconstructionism emphasizes the breakdown of any meaning within a
text because of the variety of different readers.

Deconstructionism
 "It depends on what the meaning of the word 'is' is."
 Bill Clinton, during his 1998 grand jury testimony on the Monica
Lewinsky affair

Deconstructionism
 Idea that because there is no concrete meaning of anything,
there is no single truth applicable to all human beings.
 Hence, everything is relative.

A Deconstructionist Reading of “The Tortoise and the Hare” (very basic)

 The homophone hare/hair could make this fable incomprehensible
without pictures.
 In Native American cultures, the tortoise is a symbol of honor, so Indians
would interpret the “race” as a contest of honor and fair play instead of
endurance.

DAY 1
LESSON NO. 1
LESSON TITLE INTRODUCTION TO LITERARY CRITICISM
DURATION/HOUR 3 hours
S
Specific Learning
Outcomes: At the end of this lesson, students should be able to:
1. define literary criticism and literary theory;

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 2. give a clear sense of the history and development of
literary criticism; and
[Link] reflective thinking about the nature of
literature and the role of the critic
TEACHING LEARNING ACTIVITIES

Task 1:

A. Spring board Activity:

Using the given organizer, identify the difference between literary

criticism and literary theory.

Literary criticism

Literary theory

B. Comprehension Questions:
Check your understanding of the input by answering the following
questions.
1. How is a work evaluated in literary criticism?
2. Which is the most important part of literary theory and criticism?
3. What is literary criticism, and why would anyone want to write or read
it?

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 Task 2: Place The Face

Place a picture of a famous writer in different literary works, at least 10 pictures.

Indicate the name, literary work, and literary approach.

_________________________ ___________________________

__________________________ ___________________________

_________________________ ___________________________

__________________________ __________________________

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 PROCESSING:

What have you realized from the activities?

In task 1, you analyzed your apprehension in certain author, culture, and

other texts when you differentiate literary criticism and theory.
In task 2, you internalized the various features of writers according to genre
by identifying Critical Stances for Literature.

SYNTHESIS:

1. Literary criticism and literary theory are two important terms that we encounter
in literary studies. There are varying views on the difference between literary
criticism and literary theory; some scholars use these two terms to describe the
same concept whereas some other scholars consider literary criticism as the
practical application of the literary theories. In this article, we are considering the
latter perspective.
2. Literary criticism is the study, analysis, evaluation and interpretation of
literature. In other words, it judges the value of a work. In literary criticism, a
particular work or a body of work is evaluated according to its aesthetic value,
historical/cultural/social significance of the work, use of language, and insights
and insights of the work. These qualities are often mutually dependent or
inflective.
3. Literary theory is understanding the nature, and function of literature and the
relation of text to its author, reader, and society. It can be described as the
frame that supports literary criticism. Literary theory consists of a variety of
scholarly approaches to evaluate a study. In simple terms, they can be
described as the different perspectives or angles scholars use to evaluate
literature.

ASSESSMENT
A. Answer the following statements below.

1. All of the following are types of literary criticism EXCEPT

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 a. Psychoanalytic b. Structuralist
c. Archetypal d. Historical
2. Feminist Criticism includes all these except for
_________________.
a. how to make feminist readings visible to readers
b. how to make feminist readings visible to readers
c. how women read about themselves
d. how women do not like male writers
3. One of the strengths of Feminist Criticism is ___________.
a. it only examines one element of the text
b. it examines how women are represented
c. it ignores the author's intentions
d. it divorces literature from its larger cultural context
4. Reader Response Theory includes the belief that
______________________________.
a. interpretation changes each time that the text is read
the text due to experiences
b. interpretation depends on the structure of the text
c. meaning is in the text itself
d. meaning is not emotionally charged
5. Reader Response Theory charges that readers are likely to
read and interpret a text _________________.
a. Differently b. critically c. quickly d. similarly
6. Formalist Criticism studies all of the following elements
except for ________________________.
A. reader's emotions b. point of view
C. character development d. character's motivations
7. Formalism is sometimes analyzed and written as
________________________.
a. a focus on inter-textual connections
b. a study of patterns
c. a gender study
d. a close reading
8. Archetypal Criticism examines _______________________.
a. how texts rely on patterns for their meanings
b. how texts are an isolated unit
c. how readers use history to analyze text
d. how readers emotionally respond to the text
9. A weakness of Archetypal Criticism is that
_____________________.
A. it requires a careful reading
B. it only analyzes one aspect
C. it is based on emotions
D. it does only relies on the text alone
10. Psychoanalytical theory often uses which psychologist's
theories to interpret literature?
a. Freud b. Karl Marx c. Dr. Seuss d. Jung

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 11. Which literary theory uses an author's life and experience
to analyze his works?
a. Historical c. biographical
c. social d. psychoanalytical
12. Which of the following items in King Arthur represent an
archetype?
a. Excalibur b. damsel in distress
c. the quest d. all of the above
13. If I analyze Wealtheow's power in Beowulf, I am using
which type of literary criticism?
A. Feminism b. historical c. archetypal [Link]
14. If I analyze Hamlet examining his relationship with his
mother, I am using which literary criticism?
A. Feminist b. biographical
c. Psychoanalytical d. historical
15. if I write a paper about rhyme and rhythm in a sonnet, I
am using which type of literary criticism?
a. Psychoanalytical b. biological
c. Formalism d. feminism

B. DISCUSSION QUESTIONS:

1. Which is at the root of all criticism?

2. What is the feminist approach to literary criticism?
3. What do you need to know about literary criticism?
4. Who are literary critics and what do they do?
5. Why does literary criticism need a feminine perspective?

Rubric Essay

Criteria
Focus/Main The essay is The essay is The essay
Point focused, focused on focused on
35% purposeful, the topic topic and
and reflects and includes few
clear in sight
includes loosely related
and ideas. relevant ideas.
ideas.
Support Persuasively Supports Supports main
35% supports main point point with some
main point with underdevelope
well- developed d reason and/or
developed reason examples.
reason and/or

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 and/or examples.
examples.
Language Effective Appropriate Some use of
Use, Style & and use of elements of style
Convention creative use elements of with frequent
s of elements style to and errors in
30% of style to uses correct grammar,
enhance grammar, spelling, and
meaning spelling, and punctuation.
and uses punctuation
correct .
grammar,
spelling, and
punctuation
.

ASSIGNMENT READ any piece of text. As you read, answer the following
questions:

1. Why did the author write this?

2. What is the theme or themes?
3. How is the style relevant to the content?
4. How are the characters developed?
5. What do the characters learn?
6. How are the characters connected to the themes?
7. What does the format and style suggest about the story?

RESOURCES:
Electronic sources:

1. ChamiePapersty. October 2018.

[Link]
toliterarycriticismJoshua
2. [Link] 3, 2016
[Link]
criticism-and-literary-theory/
3. Aug 4, 2021 4:02 PM
[Link]

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Self- instructional module in Great Books/GV Naga/QD Torculas
 Lesson 2

DAY 2
LESSON NO. 2
LESSON TITLE The Two Brothers by Leo Tolstoy
DURATION/HOUR 3 hours
S
Specific Learning
Outcomes: At the end of this lesson, students should be able to:
1. identify the lesson of the story;
2. connect the message of the story in real-life situation;
and
[Link] a literary critic on the Two Brothers
TEACHING LEARNING ACTIVITIES

Task 1:

A. Picture Me Out!
Describe what you saw on the picture below.

_________________________________
_________________________________
_________________________________
_________________________________

_________________________________
_________________________________
_________________________________
_________________________________

_________________________________
_________________________________
_________________________________
_________________________________

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Self- instructional module in Great Books/GV Naga/QD Torculas
 B. Comprehension Check:
Check your understanding of the input by answering the following questions.
1. Do you have a sibling? If yes, what qualities of him/her do you love the most?
2. What are the things that you are willing to give-up for the sake of your love ones?
3. If you have misunderstanding, how did you solve it?

Task 2: Fill Me Up!

Research who is Leo Tolstoy and fill up the information being asked.

I am Leo Tolstoy also known

as _______. I was born in ____
at _____. I started writing
when ________. Because of
_________ it ends my life at
the age of _________.

PROCESSING:

What have you realized from the activities?

In task 1, you analyzed the picture about brotherly love, sacrifice and
conflict.
In task 2, you discover who is Leo Tolstoy.

SYNTHESIS:

The Two Brothers and the Gold

by Leo Tolstoy

T wo brothers set out on a journey together. At noon they lay down in forest
to rest. When they woke up they saw a stone lying next to them. There was
something written on the stone, and they tried to make out what it was.

“Whoever finds this stone,” they read, “let him go straight into the forest at
sunrise. In the forest a river will appear; let him swim across the river to the

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Self- instructional module in Great Books/GV Naga/QD Torculas
 other side. There he will find a she-bear and her cubs. Let him take the
cubs from her and run up the mountain with them, without once looking
back. On the top of the mountain he will see a house, and in that house
will he find happiness.”

When they had read what was written on the stone, the younger brother
said: “Let us go together. We can swim across the river, carry off the bear
cubs, take them to the house on the mountain, and together find
happiness.”

“I am not going into the forest after bear cubs,” said the elder brother,
“and I advise you not to go. In the first place, no one can know whether
what is written on this stone is the truth—perhaps it was written in jest. It is
even possible that we have not read it correctly. In the second place,
even if what is written here is the truth—suppose we go into the forest and
night comes, and we cannot find the river. We shall be lost. And if we do
find the river, how are we going to swim across it? It may be broad and
swift. In the third place, even if we swim across the river, do you think it is
an easy thing to take her cubs away from a she-bear? She will seize us,
and, instead of finding happiness, we shall perish, and all for nothing. In the
fourth place, even if we succeeded in carrying off the bear cubs, we
could not run up a mountain without stopping to rest. And, most important
of all, the stone does not tell us what kind of happiness we should find in
that house. It may be that the happiness awaiting us there is not at all the
sort of happiness we would want.”

“In my opinion,” said the younger brother, “you are wrong. What is written
on the stone could not have been put there without reason. And it is all
perfectly clear. In the first place, no harm will come to us if we try. In the
second place, if we do not go, someone else will read the inscription on
the stone and find happiness, and we shall have lost it. In the third place: if
you do not make an effort and try hard, nothing in the world will succeed.
In the fourth place: I should not want it thought that I was afraid of
anything.”

The elder brother answered him by saying: “The proverb says: In seeking
great happiness small pleasures may be lost.’ And also: ‘A bird in the hand
is worth two in the bush.’”
The younger brother replied: “I have heard: ‘He who is afraid of the leaves
must not go into the forest.’ And also: ‘Beneath a stone no water flows.”
Then the younger brother set off, and the elder remained behind.

No sooner had the younger brother gone into the forest than he found the
river, swam across it, and there on the other side was the she-bear, fast
asleep. He took her cubs, and ran up the mountain without looking back.
When he reached the top of the maintain the people came out to meet
him with a carriage to take him into the city, where they made him their

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Self- instructional module in Great Books/GV Naga/QD Torculas
 king.

He ruled for five years. In the sixth year, another king, who was stronger
than he, waged war against him. The city was conquered, and he was
driven out.

Again the younger brother became a wanderer, and he arrived one day
at the house of the elder brother. The elder brother was living in a village
and had grown neither rich nor poor. The two brothers rejoiced at seeing
each other, and at once began telling of all that had happened to them.

“You see,” said the elder brother, “I was right. Here I have lived quietly and
well, while you, though you may have been a king, have seen a great
deal of trouble.”
“I do not regret having gone into the forest and up the mountain,” replied
the younger brother. “I have nothing now, but I shall always have
something to remember, while you have no memories at all.”

ASSESSMENT
A.

ASSIGNMENT
Instruction: You are directed to do the given task below

Make an essay applying literary criticism on the Two Brothers.

Rubric Essay
Criteria
Focus/Main The essay is The essay is The essay
Point focused, focused on focused on
35% purposeful, the topic topic and
and reflects and includes few
clear in sight includes loosely related
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 and ideas. relevant ideas.
ideas.
Support Persuasively Supports Supports main
35% supports main point point with some
main point with underdevelope
well- developed d reason and/or
developed reason examples.
reason and/or
and/or examples.
examples.
Language Effective Appropriate Some use of
Use, Style & and use of elements of style
Convention creative use elements of with frequent
s of elements style to and errors in
30% of style to uses correct grammar,
enhance grammar, spelling, and
meaning spelling, and punctuation.
and uses punctuation
correct .
grammar,
spelling, and
punctuation
.

RESOURCES:
Electronic sources:

[Link]
[Link]

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Self- instructional module in Great Books/GV Naga/QD Torculas
 Lesson 3 Telephone Conversation
by Wole Soyinka

Initializing

“Your Face Looks Familiar!”

Concept Grounding

A Nigerian poet - Winner of Nobel Prize in

Literature in 1986 - First African to be so
honored - among his works are:
1. Civilian and Soldier,
2. I Think it Rains, Night, and
3. Telephone Conversation
Some African contemporary writers:

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Self- instructional module in Great Books/GV Naga/QD Torculas
 1. Chinua Achebe (Things Fall Apart,
1958)
2. Ayi Kweih Armah (The Beautiful Ones
are Not yet Born,1968)
3. Nuruddin Farah (From A Crooked Rib,
1970)

TELEPHONE CONVERSATION
By
Wole Soyinka

The price seemed reasonable,

location Indifferent. The landlady swore she lived
Off premises. Nothing remained
But self-confession. “Madam,” I warned,
“I hate a wasted journey—I am African.
” Silence. Silenced transmission of
Pressurized good-breeding. Voice, when it came,
Lipstick coated, long gold-rolled
Cigarette-holder pipped. Caught I was, foully.
“HOW DARK?” . . . I had not misheard . . . “ARE YOU LIGHT
OR VERY DARK?” Button B. Button A. Stench
Of rancid breath of public hide-and-speak.
Red booth. Red pillar-box. Red double-tiered
Omnibus squelching tar. It was real! Shamed
By ill-mannered silence, surrender
Pushed dumbfounded to beg simplification.
Considerate she was, varying the emphasis—
“You mean—like plain or milk chocolate?”
Her assent was clinical, crushing in its light
Impersonality. Rapidly, wavelength adjusted,
I chose. “West African sepia”—and as an afterthought,
“Down in my passport.” Silence for spectroscopic
Flight of fancy, till truthfulness clanged her accent
Hard on the mouthpiece. “WHAT’S THAT?” conceding,
“DON’T KNOW WHAT THAT IS.” “Like brunette.”
“THAT’S DARK, ISN’T IT?” “Not altogether.
Facially, I am brunette, but madam, you should see
The rest of me. Palm of my hand, soles of my feet
Are a peroxide blonde. Friction, caused—
Foolishly, madam—by sitting down, has turned
My bottom raven black—One moment madam!”—sensing
Her receiver rearing on the thunderclap
About my ears—“Madam,” I pleaded, “wouldn’t you rather
See for yourself?”

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 UNLOCKING OF DIFFICULTIES

PERSONA is almost invariably distinct from the author; it is the voice chosen by
the author for a particular artistic purpose. The persona may be a character
in the work or merely an unnamed narrator; but, insofar as the manner and
style of expression in the work exhibit taste, prejudice, emotion, or other
characteristics of a human personality, the work may be said to be in the
voice of a persona.

SETTING/SITUATION is the time and place in which the story takes place. Also,
include social statuses, weather, historical period, and details about
immediate surroundings. Settings can be real or fictional, or a combination of
both real and fictional elements.

LITERARY ELEMENTS is an essential characteristic of all works of written and

spoken narrative fiction.
MOOD Also known as atmosphere It is the overall feeling for the
audience an author creates in his writing.

TONE - The general character or attitude of a place, piece of writing,

situation, etc.

THEME - The main subject that is being discussed or described in a

piece of writing.

IMAGERY Visually descriptive or figurative language, especially in a

literary work.

DAY 3
LESSON NO. 3
LESSON TITLE Telephone Conversation by Wole Soyinka
DURATION/HOUR 3 hours
S
Specific Learning
Outcomes: At the end of this lesson, students should be able to:
1. Identify the imagery in the text the “Telephone
Conversation”;
2. Write a critical paper expressing your opinion on

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 racial discrimination; and
3. Examine issues faced by man due to racial
discrimination in the present time.
TEACHING LEARNING ACTIVITIES

Task 1:

DIRECTION: Complete the Literary Elements’ Table below. Write the answer on
the space provided.

Characters
Persona
Setting
Conflict
Mood
Tone
Theme

Task 2: Racial Discrimination

DIRECTION: Think of a situation, personal otherwise, where it shows racial

discrimination. Write the answer on the box below.

My Journal;
_______________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
_______________________.

IMAGERY

DIRECTION: Below is a complete copy of the person. Encircle lines and phrase
that shows imagery and explain its literal meaning. Write the answer on the
space available.

The price seemed reasonable,

location Indifferent. The landlady swore she lived
Off premises. Nothing remained
But self-confession. “Madam,” I warned,

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Self- instructional module in Great Books/GV Naga/QD Torculas
 “I hate a wasted journey—I am African.
” Silence. Silenced transmission of
Pressurized good-breeding. Voice, when it came,
Lipstick coated, long gold-rolled
Cigarette-holder pipped. Caught I was, foully.
“HOW DARK?” . . . I had not misheard . . . “ARE YOU LIGHT
OR VERY DARK?” Button B. Button A. Stench
Of rancid breath of public hide-and-speak.
Red booth. Red pillar-box. Red double-tiered
Omnibus squelching tar. It was real! Shamed
By ill-mannered silence, surrender
Pushed dumbfounded to beg simplification.
Considerate she was, varying the emphasis—
“You mean—like plain or milk chocolate?”
Her assent was clinical, crushing in its light
Impersonality. Rapidly, wavelength adjusted,
I chose. “West African sepia”—and as an afterthought,
“Down in my passport.” Silence for spectroscopic
Flight of fancy, till truthfulness clanged her accent
Hard on the mouthpiece. “WHAT’S THAT?” conceding,
“DON’T KNOW WHAT THAT IS.” “Like brunette.”
“THAT’S DARK, ISN’T IT?” “Not altogether.
Facially, I am brunette, but madam, you should see
The rest of me. Palm of my hand, soles of my feet
Are a peroxide blonde. Friction, caused—
Foolishly, madam—by sitting down, has turned
My bottom raven black—One moment madam!”—sensing
Her receiver rearing on the thunderclap
About my ears—“Madam,” I pleaded, “wouldn’t you rather
See for yourself?”

______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________

Task 3:
DIRECTION: Pick lines from the poem that show racial discrimination then give its
possible implications in real life situations.

LINES FROM THE POEM IMPLICATIONS

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 Task 4:
DIRECTION: Answer the question below. Write the answer on the space provided.

Question: If you are the African guy, how will you react on the landlady’s action?
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
_________________________

Task 5:
DIRECTION: Write a possible continuation of the poem “Telephone
Conversation”. Put your answer on the space provided.

Telephone Conversation (Part 2)

___________________________
______________________________
_______________________________
______________________________
_______________________________
_________________________________
__________________________________
__________________________________
________________________________
_______________________________
________________________________
______________________________

PROCESSING:

What have you realized from the activities?

In task 1, you familiarized and apprehended the importance of Literary

Elements.
In task 2, you internalized the act of being unfair treatment of a person or
persons based upon their racial identification and/or racial heritage.
In task 3, you identified implications in real situations.

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 In task 4, you digested the significance of being fair and just.
In task 5, you solicited creative ideas and practiced formulating imaginative
thoughts and concepts.

SYNTHESIS:
1. Wole Soyinka was born in Nigeria in the 1930s and studied in England in the
1950s. He became one of the most important figures in African literature during
a pivotal moment in that continent’s history. Since the 19th century, most
African countries had been ruled by Europeans under brutal and exploitative
colonialism. After the end of World War II, many African countries fought to free
themselves from colonial rule. In some cases, these struggles were peaceful. In
others, they involved violent conflict. And even when nations won
independence, the struggle wasn’t over. Some countries slid into repressive
dictatorships.
2. "Telephone Conversation" is a 1963 poem by the Nigerian writer Wole Soyinka
that satires racism. The poem describes a phone call between a landlady and
the speaker, who is black, about renting an apartment. The landlady is
pleasant until she learns that the speaker is "African," at which point she
demands to know how "light" or "dark" the speaker's skin is. In response, the
speaker cleverly mocks the landlady’s ignorance and prejudice, demonstrating
that characterizing people by their skin color diminishes their humanity.
3. The poem is a conversation between a white woman and a black man over
the telephone. The poet can capture the essence of human interaction across
racial differences. This piece of literature becomes significant as it presents both
the attitude of the white woman towards black people and the black man’s
anger towards discrimination.
ASSESSMENT

Direction: Write a critical essay focusing on the theme Racial

Discrimination

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 Rubric:

5 4 3 2
INTRODUCTIO There is a Introduction Introduction
well- creates adequately
N and developed interest. explains the
Background
details are a
CONCLUSION introduction Thesis states background random,
(Background with an the position. , but may unclear
attention Conclusion lack detail.
History/Thesis grabber effectively Thesis states
collection of
information.
Statement) that grabs summarizes the topic, Thesis is
the reader’s the topic. but key vague and
interest and elements
30% continues to are missing.
unclear.
Conclusion is
engage the not effective
reader up and does
until the not
thesis summarize
statement. main points.
The thesis
statement
should
clearly state
the
experience
or event
that will be
described
as well as
the effect
on the
writer.
Conclusion
should
effectively
wraps up
and re
stresses the
importance
of the thesis.
MAIN POINTS Well Three or Three or Less than
developed more main more main three
(Body main points relate points are ideas/main
Paragraphs) points/topic to the thesis, present, but points are
sentences but some lack details explained
that relate may lack in describing and/or they
30% directly to details. The the event. are poorly
the thesis. analysis Little developed.
Supporting shows descriptive The story
examples events from language is tells; it
are the author’s used. doesn’t
concrete point of show
and view, but
detailed. could use
The analysis more
is descriptive
developed language.
with an
effective
point of

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 view.
Logical Logical Organization Writing is not
Progression progression is clear. organized.
ORGANIZATIO of ideas of ideas. Transitions The
N (Structure with a clear Transitions are present transitions
and structure are present at times, but between
that throughout there is very ideas are
Transitions) enhances the essay, little variety. unclear or
20% the thesis. but lacks non existent.
Transitions variety.
are
effective
and vary
throughout
the
paragraph,
not just in
the topic
sentences.
STYLE Writing is Writing is Writing is Writing is
smooth, clear and clear, but confusing
(Sentence skillful, and sentences could use a and hard to
Flow, Variety, coherent. have varied little more follow.
Diction) Sentences structure, sentence Contains
are strong Diction is variety to fragments
10% and consistent. make the and/or
expressive writing more runon
with varied interesting. sentences.
structure.
Diction is
consistent
and words
are well
chosen.
MECHANICS Punctuation Punctuation There are Distracting
, spelling, , spelling, only a few errors in
(Spelling, and and (3- 4) errors punctuation,
Punctuation, capitalizatio capitalizatio in spelling, and
Capitalization n are all n are punctuation, capitalizatio
correct. No generally spelling, and n.
) errors. correct with capitalizatio
10% n.

ASSIGNMENT
Direction: In a group of 5 make a campaign materials about
racism and patriotism

RESOURCES:
Electronic sources:
LitCharts, 2021
[Link]
soyinka/telephone-conversation

[Link]

[Link]
conversation/

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 Creative English Teacher, 2021
[Link]
terms

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