Lesson Overview
Poetry or Prose?
What makes a good poem?
Form and Content
Organic Unity
Poetry or Prose?
Some questions to consider:
Does the piece make use of metaphorical or figurative language?
Does it have concreteness, particularity, sensuous shape?
Is it a piece that should not be read on its literal sense alone?
Metaphorical/Figurative Language
The use of metaphorical/figurative language is the use of the different figures of speech.
Figures of speech gives us the pleasure of recognizing similarities in the otherwise different natures of objects
Denotative Language
By concreteness, we mean poetry’s use of visuals in terms of IMAGES.
By particularity, we mean the use of specific objective reality or situation, a particular emotion, or a particular point of theme.
Literal vs Figurative
Is it a piece that should be read on the literal sense alone?
Figurative language-A form of language use in which writers and speakers convey something other than the literal meaning of their words.
Literal language -A form of language in which writers and speakers mean exactly what their words denote.
SNAIL by Conchitina Cruz
You fall behind
Because of the cloud
On your back.
It is heavy
With rainwater.
When I stop
To wait,
You hide
In the cloud,
Choosing to drown.
Literal
Figurative
FORM CONTENT
Beauty Truth
Pleasure Instruction
Artfulness Lesson
2. ORGANIC UNITY
All the parts work together. Every element in it contributes to the meaning and the beauty of the work.
Music
Architecture
Painting
Literature
Culinary Arts
Emotional/Intellectual Value
A good poem then possesses concentration and intensity that makes it memorable.
Brings an engagement of the senses, the emotional, the mind.
Poetry may be this or that, but it shouldn’t necessarily be this or that, except delirious and lucid.
Robert Desnos
ANG PUSANG ITIM
Ang pusa sa aking durungawan ay
Payat at itim gaya
Ng iyong pag-ibig
Sa akin
Labis siyang matakaw
At kahit balat ng mani ay
Hapunan sa kanya
Kagabi habang
Puso ko’y lunod sa ungol
Dahil di nagbunga ang samo ko sa’yo
At ubos na ang pulot ng aking puso
Tila ulol
Na inatake niya ang isdang tanging
Ulam ko sa papag at padambang
Tinangay ito sa palupad ng kisame
Kinalambre
Wednesday, June 24, 2009
Tuesday, June 16, 2009
Some Literary Terms
setting the time and place of the action in a story, poem, or play.
(authorial time is distinct from plot time and reader time, authorial time denotes the influence that the time in which the author was writing had upon the conception and style of the text.)
in medias res "in the midst of things"; refers to opening a story in the middle of the action, necessitating filling in past details by exposition or flashback.
flashback a plot-structuring device whereby a scene from the fictional past is inserted into the fictional present or dramatized out of order.
PLOT
plot/plot structure the arrangement of the action.
plot summary a description of the arrangement of the action in the order in which it actually appears in a story. The term is popularly used to mean the description of the history, or chronological order, of the action as it would have appeared in reality. It is important to indicate exactly in which sense you are using the term.
plot time the temporal setting in which the action takes place in a story or play.
PLOT STRUCTURE
exposition that part of the structure that sets the scene, introduces and identifies characters, and establishes the situation at the beginning of a story or play. Additional exposition is often scattered throughout the work.
rising action the second of the five parts of plot structure, in which events complicate the situation that existed at the beginning of a work, intensifying the conflict or introducing new conflict.
falling action the fourth part of plot structure, in which the complications of the rising action are untangled.
turning point the third part of plot structure, the point at which the action stops rising and begins falling or reversing. Also called climax.
conclusion the fifth part of plot structure, the point at which the situation that was destabilized at the beginning of the story becomes stable once more.
CHARACTER
character
(1) a fictional personage who acts, appears, or is referred to in a work;
(2) a combination of a person’s qualities, especially moral qualities, so that such terms as "good" and "bad," "strong" and "weak," often apply.
major (main) characters those characters whom we see and learn about the most.
minor characters those figures who fill out the story but who do not figure prominently in it.
hero/heroine the leading male/female character, usually larger than life, sometimes almost godlike.
protagonist the main character in a work, who may be male or female, heroic or not heroic. protagonist is the most neutral term.
antagonist a neutral term for a character who opposes the leading male or female character. also the villain.
CHARACTERIZATION
characterization the fictional or artistic presentation of a fictional personage. A term like "a good character" can, then, be ambig-uous—it may mean that the personage is virtuous or that he or she is well presented regardless of his or her characteristics or moral qualities.
flat character a fictional character, often but not always a minor character, who is relatively simple; who is presented as having few, though sometimes dominant, traits; and who thus does not change much in the course of a story.
round characters complex characters, often major characters, who can grow and change and "surprise convincingly"—that is, act in a way that you did not expect from what had gone before but now accept as possible, even probable, and "realistic."
stereotype a characterization based on conscious or unconscious assumptions that some one aspect—such as gender, age, ethnic or national identity, religion, occupation, marital status, and so on—is predictably accompanied by certain character traits, actions, even values.
persona and personality
persona the voice or figure of the author who tells and structures the story and who may or may not share the values of the actual author.
personality that which distinguishes or individualizes a person; its qualities are judged not so much in terms of their moral value, as in "character," but as to whether they are "pleasing" or "unpleasing."
narrator
narrator the character who "tells" the story.
first-person narrator a character, "I," who tells the story and necessarily has a limited point of view; may also be an unreliable narrator.
second-person narrator a character, "you," who tells the story and necessarily has a limited point of view; may be seen as an extension of the reader, an external figure acting out a story, or an auditor; may also be an unreliable narrator.
third-person narrator a character, "he" or "she," who "tells" the story; may have either a limited point of view or an omniscient point of view; may also be an unreliable narrator.
The unreliable narrator
unreliable narrator a speaker or voice whose vision or version of the details of a story are consciously or unconsciously deceiving; such a narrator’s version is usually subtly undermined by details in the story or the reader’s general knowledge of facts outside the story. If, for example, the narrator were to tell you that Magellan was Spanish and that he discovered Manila in the fourteenth century when his ship Victoria landed on the coast of Boracay near present-day Palawan, you might not trust other things he tells you.
implied author the guiding personality or value system behind a text; the implied author is not necessarily synonymous with the actual author
voice the acknowledged or unacknowledged source of a story’s words; the speaker; the "person" telling the story.
Focus and point of view
focus the point from which people, events, and other details in a story are viewed. This term is sometimes used to include both focus and voice.
point of view also called focus; the point from which people, events, and other details in a story are viewed.
omniscient point of view also called unlimited point of view; a perspective that can be seen from one character’s view, then another’s, then another’s, or can be moved in or out of any character’s mind at any time. Organization in which the reader has access to the perceptions and thoughts of all the characters in the story.
limited point of view or limited focus a perspective pinned to a single character, whether a first-person-or a third-person-centered consciousness, so that we cannot know for sure what is going on in the minds of other characters; thus, when the focal character leaves the room in a story we must go, too, and cannot know what is going on while our "eyes" or "camera" is gone. A variation on this, which generally has no name and is often lumped with the omniscient point of view, is the point of view that can wander like a camera from one character to another and close in or move back but cannot (or at least does not) get inside anyone’s head and does not present from the inside any character’s thoughts.
unlimited point of view also called omniscient point of view; a perspective that can be seen from one character’s view, then another’s, then another’s, or can be moved in or out of any character’s mind at any time. Organization in which the reader has access to the perceptions and thoughts of all the characters in the story.
centered (central) consciousness a limited third-person point of view, one tied to a single character throughout the story; this character often reveals his or her inner thoughts but is unable to read the thoughts of others.
theme
(1) a generalized, abstract paraphrase of the inferred central or dominant idea or concern of a work;
(2) the statement a poem makes about its subject.
subject
(1) the concrete and literal description of what a story is about;
(2) the general or specific area of concern of a poem—also called topic; (3) also used in fiction commentary to denote a character whose inner thoughts and feelings are recounted
genre the largest category for classifying literature—fiction, poetry, drama.
motif a recurrent device, formula, or situation that deliberately connects a poem with common patterns of existing thought.
canon when applied to an individual author, canon (like oeuvre) means the sum total of works written by that author. When used generally, it means the range of works that a consensus of scholars, teachers, and readers of a particular time and culture consider "great" or "major." This second sense of the word is a matter of debate since the literary canon in Europe and America has long been dominated by the works of white men. During the last several decades, the canon in the United States has expanded considerably to include more works by women and writers from various ethnic and racial backgrounds.
Tragedy a drama in which a character (usually a good and noble person of high rank) is brought to a disastrous end in his or her confrontation with a superior force (fortune, the gods, social forces, universal values), but also comes to understand the meaning of his or her deeds and to accept an appropriate punishment. Often the protagonist’s downfall is a direct result of a fatal flaw in his or her character.
high (verbal) comedy humor that employs subtlety, wit, or the representation of refined life.
low (physical) comedy humor that employs burlesque, horseplay, or the representation of unrefined life.
memory devices also called mnemonic devices; these devices—including rhyme, repetitive phrasing, and meter—when part of the structure of a longer work, make that work easier to memorize.
imagery broadly defined, any sensory detail or evocation in a work; more narrowly, the use of figurative language to evoke a feeling, to call to mind an idea, or to describe an object.
irony a situation or statement characterized by a significant difference between what is expected or understood and what actually happens or is meant. See cosmic irony, dramatic irony, and situational irony.
sourced from w.w. norton and company
(authorial time is distinct from plot time and reader time, authorial time denotes the influence that the time in which the author was writing had upon the conception and style of the text.)
in medias res "in the midst of things"; refers to opening a story in the middle of the action, necessitating filling in past details by exposition or flashback.
flashback a plot-structuring device whereby a scene from the fictional past is inserted into the fictional present or dramatized out of order.
PLOT
plot/plot structure the arrangement of the action.
plot summary a description of the arrangement of the action in the order in which it actually appears in a story. The term is popularly used to mean the description of the history, or chronological order, of the action as it would have appeared in reality. It is important to indicate exactly in which sense you are using the term.
plot time the temporal setting in which the action takes place in a story or play.
PLOT STRUCTURE
exposition that part of the structure that sets the scene, introduces and identifies characters, and establishes the situation at the beginning of a story or play. Additional exposition is often scattered throughout the work.
rising action the second of the five parts of plot structure, in which events complicate the situation that existed at the beginning of a work, intensifying the conflict or introducing new conflict.
falling action the fourth part of plot structure, in which the complications of the rising action are untangled.
turning point the third part of plot structure, the point at which the action stops rising and begins falling or reversing. Also called climax.
conclusion the fifth part of plot structure, the point at which the situation that was destabilized at the beginning of the story becomes stable once more.
CHARACTER
character
(1) a fictional personage who acts, appears, or is referred to in a work;
(2) a combination of a person’s qualities, especially moral qualities, so that such terms as "good" and "bad," "strong" and "weak," often apply.
major (main) characters those characters whom we see and learn about the most.
minor characters those figures who fill out the story but who do not figure prominently in it.
hero/heroine the leading male/female character, usually larger than life, sometimes almost godlike.
protagonist the main character in a work, who may be male or female, heroic or not heroic. protagonist is the most neutral term.
antagonist a neutral term for a character who opposes the leading male or female character. also the villain.
CHARACTERIZATION
characterization the fictional or artistic presentation of a fictional personage. A term like "a good character" can, then, be ambig-uous—it may mean that the personage is virtuous or that he or she is well presented regardless of his or her characteristics or moral qualities.
flat character a fictional character, often but not always a minor character, who is relatively simple; who is presented as having few, though sometimes dominant, traits; and who thus does not change much in the course of a story.
round characters complex characters, often major characters, who can grow and change and "surprise convincingly"—that is, act in a way that you did not expect from what had gone before but now accept as possible, even probable, and "realistic."
stereotype a characterization based on conscious or unconscious assumptions that some one aspect—such as gender, age, ethnic or national identity, religion, occupation, marital status, and so on—is predictably accompanied by certain character traits, actions, even values.
persona and personality
persona the voice or figure of the author who tells and structures the story and who may or may not share the values of the actual author.
personality that which distinguishes or individualizes a person; its qualities are judged not so much in terms of their moral value, as in "character," but as to whether they are "pleasing" or "unpleasing."
narrator
narrator the character who "tells" the story.
first-person narrator a character, "I," who tells the story and necessarily has a limited point of view; may also be an unreliable narrator.
second-person narrator a character, "you," who tells the story and necessarily has a limited point of view; may be seen as an extension of the reader, an external figure acting out a story, or an auditor; may also be an unreliable narrator.
third-person narrator a character, "he" or "she," who "tells" the story; may have either a limited point of view or an omniscient point of view; may also be an unreliable narrator.
The unreliable narrator
unreliable narrator a speaker or voice whose vision or version of the details of a story are consciously or unconsciously deceiving; such a narrator’s version is usually subtly undermined by details in the story or the reader’s general knowledge of facts outside the story. If, for example, the narrator were to tell you that Magellan was Spanish and that he discovered Manila in the fourteenth century when his ship Victoria landed on the coast of Boracay near present-day Palawan, you might not trust other things he tells you.
implied author the guiding personality or value system behind a text; the implied author is not necessarily synonymous with the actual author
voice the acknowledged or unacknowledged source of a story’s words; the speaker; the "person" telling the story.
Focus and point of view
focus the point from which people, events, and other details in a story are viewed. This term is sometimes used to include both focus and voice.
point of view also called focus; the point from which people, events, and other details in a story are viewed.
omniscient point of view also called unlimited point of view; a perspective that can be seen from one character’s view, then another’s, then another’s, or can be moved in or out of any character’s mind at any time. Organization in which the reader has access to the perceptions and thoughts of all the characters in the story.
limited point of view or limited focus a perspective pinned to a single character, whether a first-person-or a third-person-centered consciousness, so that we cannot know for sure what is going on in the minds of other characters; thus, when the focal character leaves the room in a story we must go, too, and cannot know what is going on while our "eyes" or "camera" is gone. A variation on this, which generally has no name and is often lumped with the omniscient point of view, is the point of view that can wander like a camera from one character to another and close in or move back but cannot (or at least does not) get inside anyone’s head and does not present from the inside any character’s thoughts.
unlimited point of view also called omniscient point of view; a perspective that can be seen from one character’s view, then another’s, then another’s, or can be moved in or out of any character’s mind at any time. Organization in which the reader has access to the perceptions and thoughts of all the characters in the story.
centered (central) consciousness a limited third-person point of view, one tied to a single character throughout the story; this character often reveals his or her inner thoughts but is unable to read the thoughts of others.
theme
(1) a generalized, abstract paraphrase of the inferred central or dominant idea or concern of a work;
(2) the statement a poem makes about its subject.
subject
(1) the concrete and literal description of what a story is about;
(2) the general or specific area of concern of a poem—also called topic; (3) also used in fiction commentary to denote a character whose inner thoughts and feelings are recounted
genre the largest category for classifying literature—fiction, poetry, drama.
motif a recurrent device, formula, or situation that deliberately connects a poem with common patterns of existing thought.
canon when applied to an individual author, canon (like oeuvre) means the sum total of works written by that author. When used generally, it means the range of works that a consensus of scholars, teachers, and readers of a particular time and culture consider "great" or "major." This second sense of the word is a matter of debate since the literary canon in Europe and America has long been dominated by the works of white men. During the last several decades, the canon in the United States has expanded considerably to include more works by women and writers from various ethnic and racial backgrounds.
Tragedy a drama in which a character (usually a good and noble person of high rank) is brought to a disastrous end in his or her confrontation with a superior force (fortune, the gods, social forces, universal values), but also comes to understand the meaning of his or her deeds and to accept an appropriate punishment. Often the protagonist’s downfall is a direct result of a fatal flaw in his or her character.
high (verbal) comedy humor that employs subtlety, wit, or the representation of refined life.
low (physical) comedy humor that employs burlesque, horseplay, or the representation of unrefined life.
memory devices also called mnemonic devices; these devices—including rhyme, repetitive phrasing, and meter—when part of the structure of a longer work, make that work easier to memorize.
imagery broadly defined, any sensory detail or evocation in a work; more narrowly, the use of figurative language to evoke a feeling, to call to mind an idea, or to describe an object.
irony a situation or statement characterized by a significant difference between what is expected or understood and what actually happens or is meant. See cosmic irony, dramatic irony, and situational irony.
sourced from w.w. norton and company
Monday, June 15, 2009
The Bird by Tita Lacambra Ayala
Sorry, guys. I do not have a soft copy of this story. You might want to check it in the book The Children's Hour: Stories on Childhood. Volume 1. Edited by Gemino Abad. Published by University of the Philippines Press, 2008
The story also appeared in the reader that was used by LIT102 ITHM students 1st semester of SY 2007-2008. There is also a film adaptation of this text by some Tourism students available on youtube. May I reiterate though that you should read the text and not merely watch the film.
I will bring my copy in school. A representive from your class can see me at the faculty room anytime tomorrow from 1-7PM and borrow my copy for reproduction.
Make sure you read the text when you come to my class next meeting. Bring your copies as well. I shall check for merit.
The story also appeared in the reader that was used by LIT102 ITHM students 1st semester of SY 2007-2008. There is also a film adaptation of this text by some Tourism students available on youtube. May I reiterate though that you should read the text and not merely watch the film.
I will bring my copy in school. A representive from your class can see me at the faculty room anytime tomorrow from 1-7PM and borrow my copy for reproduction.
Make sure you read the text when you come to my class next meeting. Bring your copies as well. I shall check for merit.
LIKE THE MOLAVE by Rafael Zulueta da Costa
Not yet, rizal, not yet. Sleep not in peace:
There are a thousand waters to be spanned;
There are a thousand mountains to be crossed;
There are a thousand crosses to be borne.
Our shoulders are not strong; our sinews are
Grown flaccid with dependence, smug with ease
Under another’s wing. Rest not in peace;
Not yet, Rizal, not yet. The land has need
Of young blood-and, what younger than your own,
Forever spilled in the great name of freedom,
Forever oblate on the altar of
The free? Not you alone, Rizal. O souls
And spirits of the martyred brave, arise!
Arise and scour the land! Shed once again
Your willing blood! Infuse the vibrant red
Into our thin anaemic veins; until
We pick up your Promethean tools and, strong,
Out of the depthless matrix of your of your faith
In us, and on the silent cliffs of freedom,
We carve for all time your marmoreal dream!
Until our people, seeing, are become
Like the molave, firm, resilent, staunch,
Rising on the hillside, unafraid,
Strong in its own fibre, yes, like the molave!
There are a thousand waters to be spanned;
There are a thousand mountains to be crossed;
There are a thousand crosses to be borne.
Our shoulders are not strong; our sinews are
Grown flaccid with dependence, smug with ease
Under another’s wing. Rest not in peace;
Not yet, Rizal, not yet. The land has need
Of young blood-and, what younger than your own,
Forever spilled in the great name of freedom,
Forever oblate on the altar of
The free? Not you alone, Rizal. O souls
And spirits of the martyred brave, arise!
Arise and scour the land! Shed once again
Your willing blood! Infuse the vibrant red
Into our thin anaemic veins; until
We pick up your Promethean tools and, strong,
Out of the depthless matrix of your of your faith
In us, and on the silent cliffs of freedom,
We carve for all time your marmoreal dream!
Until our people, seeing, are become
Like the molave, firm, resilent, staunch,
Rising on the hillside, unafraid,
Strong in its own fibre, yes, like the molave!
I HAVE OBSERVED PINK MONKS EATING BLUE RAISINS by Jose Garcia Villa
I have observed pink monks eating blue raisins.
And I have observed blue monks eating pink raisins.
Studiously have I observed.
Now this is the way a pink monk eats a blue raisin:
Pink is he and it is blue and the pink
swallows the blue. I swear this is true.
And the way a blue monk eats a pink raisin is this:
Blue is he and it is pink and the blue
swallows the pink. And this is also truth.
Indeed I have observed and myself have partaken
of blue and pink raisins. But my joy was different:
My joy was to see the blue and the pink counterpointing.
And I have observed blue monks eating pink raisins.
Studiously have I observed.
Now this is the way a pink monk eats a blue raisin:
Pink is he and it is blue and the pink
swallows the blue. I swear this is true.
And the way a blue monk eats a pink raisin is this:
Blue is he and it is pink and the blue
swallows the pink. And this is also truth.
Indeed I have observed and myself have partaken
of blue and pink raisins. But my joy was different:
My joy was to see the blue and the pink counterpointing.
LIT102 Course Syllabus Sem 1 AY 2009-2010
LIT102 Philippine Literature
Official website: www.ithmlit102.blogspot.com
Faculty: Timothy Sanchez
Consultation Hours TBA
Office: ITHM Faculty Room
E-mail: wowjumbo@yahoo.com
Course Objectives
This course is designed to develop among students an awareness and appreciation of the depth and breadth of our country’s literatures in order to foster among them the desire for truth, love for country and nature, which will eventually constitute a competent, compassionate and committed Thomasian.
Learning Outcomes and Competencies
Students who successfully complete this course will be able to demonstrate the following on appropriate testing/evaluation instruments:
1. Read and Analyze literary selections that exemplify the multivalent Filipino experiences and their multivocal articulations.
2. Understand how the Filipino is constituted in Philippine literary texts.
3. Appreciate the different types and forms of Filipino literatures.
4. Value cultural differences and similarities embodied in Philippine Literary outpourings.
5. Write a critique paper on a Filipino novel, epic or drama.
6. Transform and extend creatively Philippine Literary materials to other artistic expression.
Intellectual Competencies Expected of all Students Enrolled in General Education Courses in English and the Humanities
Students will find that although they are only taking this General Education course in their Senior class (General Education Course is supposed to be taken up during freshman and sophomore years), this course will afford them the opportunity to refine their existing skills in the following six areas:
Reading: Reading at the college level means the ability to analyze and interpret a variety of printed materials.
Writing: Competency in writing is the ability to produce clear, correct, and coherent prose adapted to purpose, occasion and audience.
Speaking: Competence in speaking is the ability to communicate orally in clear, coherent, and persuasive language appropriate to purpose, occasion, and audience.
Listening: Listening at the college level means the ability to analyze and interpret various forms of spoken communication.
Critical Thinking: Critical thinking embraces methods for applying both qualitative and quantitative skills analytically and creatively to subject matter in order to evaluate arguments and to construct alternative strategies.
Computer Literacy: Computer literacy at the college level means the ability to use computer-based technology in communicating, solving problems, and acquiring information.
**Since HRM students are taking this course in their Senior year, there is a much higher expectation from them especially since they have already taken up ENG1, SPEECH, LIT001, ETC. in the past.
Course Methodologies
1. Lectures
2. Report /Discussion
3. Creative/Critical Writing (see Writing Assignment)
4. Artistic Presentation/Dramatic Reading (see Final Requirement)
5. Film Viewing
6. Field Exposure (see Contingency)
Assessment Procedures
Students will listen to lectures, participate in class discussions through reporting, and write about the authors and works through activities that include essay exams and critical papers. Successful essays and papers must respond to the requirements established by the assignment prompt.
Traditional academic essays must contain a clearly stated arguable thesis, effective evidence used in support of the thesis, a clear organizational pattern, adequate paragraph development, paragraph unity and coherence, and appropriate and accurate documentation, including paraphrasing, quoting, and a "works cited" list at the end when requested by the prompt.
All essays, quizzes and papers must be written according to conventional standards of English grammar and punctuation and should not contain errors that significantly harm or diminish meaning. The following are considered major grammatical errors: sentence boundaries, subject/verb disagreement, and verb tense and form. All essays, quizzes and papers must be written for the appropriate reader and the subject, occasion, and purpose of writing. They must contain complex sentence structure and effective word choice and include a title.
Grading
Students may earn a maximum of 435 points, and grades are based on the percentage of those points a student earns. The percentage is traditional. Grades are broken down as follows:
Writing Assignments, Quizzes 135 pts., or 30% of your grade.
Midterm Examination 100 pts., or 40% of your grade.
Final Examination 100 pts., or 40% of your grade.
Attendance/Participation 100 pts., or 30% of your grade.
(Keep track of the points you have earned for the assignments listed above and convert them into a percentage to determine your grade. For more information on calculating your grade in class, see the information on Quizzes and Grade Calculation below.)
Quizzes and Grade Calculation
Quizzes will usually be worth ten points. I will not announce quizzes in advance; students should expect one at the beginning of every class period. Students will be given ample time to complete quizzes if they arrived to class on time, but if a student is late for class he/she will have less time to complete the quiz. For instance (10minute quiz), if a student arrives 8 minutes late, he/she will only have 2 minutes to complete the quiz. If the student arrives after the quiz is over or if the student is absent, he/she will not be allowed to make up the quiz. At the end of the semester I may have one make-up/replacement quiz to allow the student to improve his/her quiz score or make-up a quiz he/she has missed.
Students may prepare for quizzes by using the (1)textbook, (2)lectures from LIT102 official website (www.ithmlit102.blogspot.com) and (3) by reading taken lecture notes.
Lecture Notes
Taking notes from lecture is a required part of class and an essential habit of serious students. On any given class period I may ask the student to show me his/her notes for that class period. May earn a merit or a demerit in class participation.
Attendance and Class Participation Rules and Point Deductions
Attendance is mandatory; absences should be rare; tardiness and leaving early will be penalized; disrupting class is unacceptable. Each student will begin the term with 100 points for attendance and participation; these are the points to lose for violating class rules:
-15 points (for MWF classes) 20 points (for TTh classes) per absence
Excuse letters with corresponding medical certificate/supporting document must be duly received and noted within a week from date of the absent student’s return to class. Noted excuse letters should be filed to the instructor on the day of the midterm/final examinations. No adjustment on class participation grade will be made if excuse letters are not received on said date/s.
-10 points for arriving late or leaving early
-10 points for failing to bring your course pack and/or required materials
-10 points for failing to take lecture notes or completing homework
-10 points for disrupting class (examples are cell phones going off in class, having private conversations while class is in session, leaving your seat without permission in the middle of lecture, discussion, or other class activities, etc.)
-100 points for cheating or plagiarizing, + failure for the assignment (notice that this means that if you cheat, you will most certainly fail the course. I reserve the right to refer a student to the Prefect of Discipline as well.
If a student has accumulated more than -100 points, he/she will earn 0 points for this portion of the grade and the remaining points will be deducted from his/her overall grade. I expect active rather than passive learning. All students must be prepared for class. All students in this course must be prepared to ask and answer questions and participate in class discussion.
Reading Assignment as Homework
Essentially, the homework of students in this course is to read assigned texts. In between each class period, students are expected to review their lecture notes and the material covered in the previous class period, in addition to completing all assignments for the next class period.
Writing Assignment
Students enrolled in this course will write one paper during the term. I will provide separate assignment sheet for the writing assignment. The paper is due at the beginning of the class period on the date listed on the syllabus. Late paper will not be accepted. Writing assignments will be worth 50 points.
Exams
All exams may consist of identification, true-false, and short answer and essay sections. Exams may consist of open and closed book portions. My students will need an envelope to compile all quizzes and exams.
Academic Dishonesty
Student Responsibility: Students are expected to be above reproach in all scholastic activities. Students who engage in scholastic dishonesty are subject to disciplinary penalties, including the possibility of failure in the course and dismissal from the university. Scholastic dishonesty includes but is not limited to cheating, plagiarism, collusion, the submission for credit of any work or materials that are attributable in whole or in part to another person, taking an examination for another person, any act designed to give unfair advantage to a student or the attempt to commit such acts. Since scholastic dishonesty harms the individual, all students, and the integrity of the university, policies on scholastic dishonesty will be strictly enforced. (Refer to the Student Handbook for more information.)
Emergency Academic Continuity Program
Academic courses, partially will be available on the ELEAP Blackboard Academic Suite management starting first week of July, 2009. From time to time, I shall conduct graded quizzes using this technology. Students may also join group discussions to earn credit. I will also post official announcements in the system. Each student will also receive these announcements in their respective emails (the ones provided by UST.) Students, therefore, are responsible for the activation of their respective ELEAP accounts.
This will allow me and my students to continue my teaching and learning via UST E-Learning Access Program (ELEAP), UST BLACKBOARD Academic Suite management system, in case the university shuts down as a result of a pandemic outbreak, typhoon, or any other natural disaster. If the university is forced to shut down, I shall notify my students using Blackboard (and/or via the official website) on how to proceed with the course. To receive credit for a course, it is the student's responsibility to complete all the requirements for that course. Failure to access course materials once reasonably possible can result in a reduction of the student’s overall grade in the class. To facilitate the completion of classes, most or all of the communication between students and the institution, the faculty and fellow classmates will take place using the features in the ELEAP Blackboard and/or though the course’s website.
In the event of a disaster, disease outbreak or other disruptions of normal operations that would result to the suspension of classes, all students must make every effort to access an internet-enabled computer as often as possible to continue the learning process.
Contingency: Extra Credit
To make up for absences, failing quizzes and examinations, or poor grades in the writing activities, students may earn extra credit by participating in any Philippine-related cultural and literary activities at UST and the community; or by submitting additional written work (movie reviews; book reviews, etc.) about Philippine-related topics. This may only be resorted to after consultation with me.
From time to time, I shall announce to the class some Philippine-related cultural and literary events, which students may participate in and subsequently earn extra credit from.
REQUIRED TEXTBOOK
Antonio Aguila, Joyce Arriola, John Jack Wigley. Philippine Literatures: text, themes, approaches. Manila: UST Publishing House, 2008.
REFERENCES
Ophelia Alcantara Dimalanta and Virginia Mata. Philippine Contemporary Literature in English: Tradition and Change. From the 20’s to the Present. Manila: University of Santo Tomas Press, 1985.
Gemino Abad, Gen. Ed. The Likhaan Anthology of Philippine Literature in English from 1900 to the Present. Quezon City: University of the Philippines Press, 2002.
Official website: www.ithmlit102.blogspot.com
Faculty: Timothy Sanchez
Consultation Hours TBA
Office: ITHM Faculty Room
E-mail: wowjumbo@yahoo.com
Course Objectives
This course is designed to develop among students an awareness and appreciation of the depth and breadth of our country’s literatures in order to foster among them the desire for truth, love for country and nature, which will eventually constitute a competent, compassionate and committed Thomasian.
Learning Outcomes and Competencies
Students who successfully complete this course will be able to demonstrate the following on appropriate testing/evaluation instruments:
1. Read and Analyze literary selections that exemplify the multivalent Filipino experiences and their multivocal articulations.
2. Understand how the Filipino is constituted in Philippine literary texts.
3. Appreciate the different types and forms of Filipino literatures.
4. Value cultural differences and similarities embodied in Philippine Literary outpourings.
5. Write a critique paper on a Filipino novel, epic or drama.
6. Transform and extend creatively Philippine Literary materials to other artistic expression.
Intellectual Competencies Expected of all Students Enrolled in General Education Courses in English and the Humanities
Students will find that although they are only taking this General Education course in their Senior class (General Education Course is supposed to be taken up during freshman and sophomore years), this course will afford them the opportunity to refine their existing skills in the following six areas:
Reading: Reading at the college level means the ability to analyze and interpret a variety of printed materials.
Writing: Competency in writing is the ability to produce clear, correct, and coherent prose adapted to purpose, occasion and audience.
Speaking: Competence in speaking is the ability to communicate orally in clear, coherent, and persuasive language appropriate to purpose, occasion, and audience.
Listening: Listening at the college level means the ability to analyze and interpret various forms of spoken communication.
Critical Thinking: Critical thinking embraces methods for applying both qualitative and quantitative skills analytically and creatively to subject matter in order to evaluate arguments and to construct alternative strategies.
Computer Literacy: Computer literacy at the college level means the ability to use computer-based technology in communicating, solving problems, and acquiring information.
**Since HRM students are taking this course in their Senior year, there is a much higher expectation from them especially since they have already taken up ENG1, SPEECH, LIT001, ETC. in the past.
Course Methodologies
1. Lectures
2. Report /Discussion
3. Creative/Critical Writing (see Writing Assignment)
4. Artistic Presentation/Dramatic Reading (see Final Requirement)
5. Film Viewing
6. Field Exposure (see Contingency)
Assessment Procedures
Students will listen to lectures, participate in class discussions through reporting, and write about the authors and works through activities that include essay exams and critical papers. Successful essays and papers must respond to the requirements established by the assignment prompt.
Traditional academic essays must contain a clearly stated arguable thesis, effective evidence used in support of the thesis, a clear organizational pattern, adequate paragraph development, paragraph unity and coherence, and appropriate and accurate documentation, including paraphrasing, quoting, and a "works cited" list at the end when requested by the prompt.
All essays, quizzes and papers must be written according to conventional standards of English grammar and punctuation and should not contain errors that significantly harm or diminish meaning. The following are considered major grammatical errors: sentence boundaries, subject/verb disagreement, and verb tense and form. All essays, quizzes and papers must be written for the appropriate reader and the subject, occasion, and purpose of writing. They must contain complex sentence structure and effective word choice and include a title.
Grading
Students may earn a maximum of 435 points, and grades are based on the percentage of those points a student earns. The percentage is traditional. Grades are broken down as follows:
Writing Assignments, Quizzes 135 pts., or 30% of your grade.
Midterm Examination 100 pts., or 40% of your grade.
Final Examination 100 pts., or 40% of your grade.
Attendance/Participation 100 pts., or 30% of your grade.
(Keep track of the points you have earned for the assignments listed above and convert them into a percentage to determine your grade. For more information on calculating your grade in class, see the information on Quizzes and Grade Calculation below.)
Quizzes and Grade Calculation
Quizzes will usually be worth ten points. I will not announce quizzes in advance; students should expect one at the beginning of every class period. Students will be given ample time to complete quizzes if they arrived to class on time, but if a student is late for class he/she will have less time to complete the quiz. For instance (10minute quiz), if a student arrives 8 minutes late, he/she will only have 2 minutes to complete the quiz. If the student arrives after the quiz is over or if the student is absent, he/she will not be allowed to make up the quiz. At the end of the semester I may have one make-up/replacement quiz to allow the student to improve his/her quiz score or make-up a quiz he/she has missed.
Students may prepare for quizzes by using the (1)textbook, (2)lectures from LIT102 official website (www.ithmlit102.blogspot.com) and (3) by reading taken lecture notes.
Lecture Notes
Taking notes from lecture is a required part of class and an essential habit of serious students. On any given class period I may ask the student to show me his/her notes for that class period. May earn a merit or a demerit in class participation.
Attendance and Class Participation Rules and Point Deductions
Attendance is mandatory; absences should be rare; tardiness and leaving early will be penalized; disrupting class is unacceptable. Each student will begin the term with 100 points for attendance and participation; these are the points to lose for violating class rules:
-15 points (for MWF classes) 20 points (for TTh classes) per absence
Excuse letters with corresponding medical certificate/supporting document must be duly received and noted within a week from date of the absent student’s return to class. Noted excuse letters should be filed to the instructor on the day of the midterm/final examinations. No adjustment on class participation grade will be made if excuse letters are not received on said date/s.
-10 points for arriving late or leaving early
-10 points for failing to bring your course pack and/or required materials
-10 points for failing to take lecture notes or completing homework
-10 points for disrupting class (examples are cell phones going off in class, having private conversations while class is in session, leaving your seat without permission in the middle of lecture, discussion, or other class activities, etc.)
-100 points for cheating or plagiarizing, + failure for the assignment (notice that this means that if you cheat, you will most certainly fail the course. I reserve the right to refer a student to the Prefect of Discipline as well.
If a student has accumulated more than -100 points, he/she will earn 0 points for this portion of the grade and the remaining points will be deducted from his/her overall grade. I expect active rather than passive learning. All students must be prepared for class. All students in this course must be prepared to ask and answer questions and participate in class discussion.
Reading Assignment as Homework
Essentially, the homework of students in this course is to read assigned texts. In between each class period, students are expected to review their lecture notes and the material covered in the previous class period, in addition to completing all assignments for the next class period.
Writing Assignment
Students enrolled in this course will write one paper during the term. I will provide separate assignment sheet for the writing assignment. The paper is due at the beginning of the class period on the date listed on the syllabus. Late paper will not be accepted. Writing assignments will be worth 50 points.
Exams
All exams may consist of identification, true-false, and short answer and essay sections. Exams may consist of open and closed book portions. My students will need an envelope to compile all quizzes and exams.
Academic Dishonesty
Student Responsibility: Students are expected to be above reproach in all scholastic activities. Students who engage in scholastic dishonesty are subject to disciplinary penalties, including the possibility of failure in the course and dismissal from the university. Scholastic dishonesty includes but is not limited to cheating, plagiarism, collusion, the submission for credit of any work or materials that are attributable in whole or in part to another person, taking an examination for another person, any act designed to give unfair advantage to a student or the attempt to commit such acts. Since scholastic dishonesty harms the individual, all students, and the integrity of the university, policies on scholastic dishonesty will be strictly enforced. (Refer to the Student Handbook for more information.)
Emergency Academic Continuity Program
Academic courses, partially will be available on the ELEAP Blackboard Academic Suite management starting first week of July, 2009. From time to time, I shall conduct graded quizzes using this technology. Students may also join group discussions to earn credit. I will also post official announcements in the system. Each student will also receive these announcements in their respective emails (the ones provided by UST.) Students, therefore, are responsible for the activation of their respective ELEAP accounts.
This will allow me and my students to continue my teaching and learning via UST E-Learning Access Program (ELEAP), UST BLACKBOARD Academic Suite management system, in case the university shuts down as a result of a pandemic outbreak, typhoon, or any other natural disaster. If the university is forced to shut down, I shall notify my students using Blackboard (and/or via the official website) on how to proceed with the course. To receive credit for a course, it is the student's responsibility to complete all the requirements for that course. Failure to access course materials once reasonably possible can result in a reduction of the student’s overall grade in the class. To facilitate the completion of classes, most or all of the communication between students and the institution, the faculty and fellow classmates will take place using the features in the ELEAP Blackboard and/or though the course’s website.
In the event of a disaster, disease outbreak or other disruptions of normal operations that would result to the suspension of classes, all students must make every effort to access an internet-enabled computer as often as possible to continue the learning process.
Contingency: Extra Credit
To make up for absences, failing quizzes and examinations, or poor grades in the writing activities, students may earn extra credit by participating in any Philippine-related cultural and literary activities at UST and the community; or by submitting additional written work (movie reviews; book reviews, etc.) about Philippine-related topics. This may only be resorted to after consultation with me.
From time to time, I shall announce to the class some Philippine-related cultural and literary events, which students may participate in and subsequently earn extra credit from.
REQUIRED TEXTBOOK
Antonio Aguila, Joyce Arriola, John Jack Wigley. Philippine Literatures: text, themes, approaches. Manila: UST Publishing House, 2008.
REFERENCES
Ophelia Alcantara Dimalanta and Virginia Mata. Philippine Contemporary Literature in English: Tradition and Change. From the 20’s to the Present. Manila: University of Santo Tomas Press, 1985.
Gemino Abad, Gen. Ed. The Likhaan Anthology of Philippine Literature in English from 1900 to the Present. Quezon City: University of the Philippines Press, 2002.
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