Time: 7:00 AM to 8:00 AM
Church: St. John Nepomucene Parish
Parish Priest: Father Ted Hilario
Gospel: Matthew 15:21-28, "The Faith of the Canaanite Woman"
Companion: Kim Francis B. Domingo
Reflection:
Sometimes, we question God about the trials that we experience. We usually feel that we don't deserve to be in those specific situations. We feel that we deserve something better.
Life is full of lessons. We were given free will so that we can make our own decisions but we should be prepared for every possible consequence. When all reasons fail, when all options end, it will all leave us with one thing - our faith in God.
As humans, we have limitations. It is something that is plain to see but there are some who refuse to admit it. With the modern times, some people feel that with sufficient resources, everything can be done. But truth will be realized later on and we will be left with the most powerful weapon of all. Like what the Canaanite Woman have, it is our faith in God - in his love and his power. His power to make what we are praying for, happen, but in His own time. His love, that He will never let us perish, that He will never give us trials that we cannot overcome, that everything happens for a reason. Reasons that only He can understand. All you have to do is to have faith in Him.
Monday, October 18, 2010
Thursday, September 23, 2010
Feminism
Feminism
Definition:
Feminist criticism is a type of literary criticism, which may study and advocate the rights of women. As Judith Fetterley says, "Feminist criticism is a political act whose aim is not simply to interpret the world but to change it by changing the consciousness of those who read and their relation to what they read." Using feminist criticism to analyze fiction may involve studying the repression of women in fiction. How do men and women differ? What is different about female heroines, and why are these characters important in literary history? In addition to many of the questions raised by a study of women in literature, feminist criticism may study stereotypes, creativity, ideology, racial issues, marginality, and more.
*Judith Fetterley: a literary scholar known for her work in feminism and women's studies. She was influential in leading a reappraisal of women's literature of the 19th and 20th centuries, and the contributions of women writing about women's experience, including their perspectives on men in the world.
Men Used to Think of Women as Lesser Beings
John Chrysostom, Greek Ecclesiast (345-407 AD): called women “a foe to friendship, an inescapable punishment, a necessary evil”.
Ecclesiasticus (a book of the Apocrypha): stated that “All wickedness is but little to the wickedness of a woman”.
Tertullian, Roman Theologian (160-230 AD): lectured women, “The judgment of God upon your sex endures even today; and with it inevitably endures your position of criminal at the bar of justice. You are the gateway to the devil”.
Alexander Pope (1688-1744): asserted, “Most women have no character”.
John Keats (1795-1821): explained, “The opinion I have of the generality of women – who appear to me as children, to whom I would rather give a sugar plum than my time, forms a barrier against matrimony which I rejoice in.
Three Phases of Feminism History According to Elaine Showalter:
1. Feminine Phase (1840-1880) – Female writers imitated the literary tradition established by men, taking additional care to avoid offensive language or subject matter.
2. Feminist Phase (1880-1921) – Women protested their lack of rights and worked to secure them. In literature, they decried the unjust depictions of women by male writers.
3. Female Phase (1920-present) – Concentrated on exploring the female experience in art and literature, reveal the misogyny and later on, focused on gynocriticism.
*misogyny: negative attitudes toward women
*Gynocriticism: a movement that examines the distinctive characteristics of the female experience in contrast to earlier methods that explained the female by using male models.
Three Major Groups of Feminist Critics:
1. Those who study difference:
• Believe that gender determines everything, including values system and language
• Look for distinctive elements in texts by men and women
2. Those who study power relationships:
• Attack both the economic and social exploitation of women
• Frequently look at writers from cultures as varied and different as the black, Hispanic, Asian-American, Jewish and lesbians
• Believe that the social organization has denied equal treatment to all its segments and that literature is a means of revealing and resisting that social order
• Art and life are fused entities, making it the duty of the critic to work against stereotyping.
3. Those who study the female experience:
• Rejecting the idea of a male norm, against which women are seen as secondary and derivative, they call for a recognition of women’s abilities that goes beyond the traditional binary oppositions such as male/female, and the parallel oppositions active/passive, intellectual/emotional.
• Examine female images in the works of female writers and the elements thought to be typical of l’ecriture feminine-such as blanks, unfinished sentences, silences and exclamations
Writing Feminist Criticism:
Prewriting (Questions to ask):
1. What stereotypes of women do you find?
2. Examine the roles women play in work. Are they minor, supportive, powerless ones? Are they independent and influential ones?
3. Is the narrator a character in the narrative? If so, how does the male or female point of view affect the reader’s perceptions?
4. How do the male characters talk about the female characters?
5. How do the male characters treat the female characters?
6. How do the female characters act toward the male characters?
7. Who are the socially and politically powerful characters?
8. What attitudes toward women are suggested by the answers to these questions?
9. Do the answers to these questions indicate that the work lends itself more naturally to a study of differences between the male and female characters, a study of power imbalances between the sexes, or a study of unique female experience?
Drafting and Revising:
Introduction:
• Point out why a feminist critique is particularly appropriate for the text you are analyzing
• Connect the characters or events of the situation with one that has actually occurred
The Body:
Study of Difference (Questions to answer):
1. Is the genre one that is traditionally associated with male or female writers?
2. Is the subject one that is of particular interest to women, perhaps one that is of importance in women’s lives?
3. What one-word label would accurately capture the voice of the narrator? Why is it appropriate?
4. Is the work sympathetic to the female characters?
5. Are the female characters and the situations in which they are placed presented with complexity and in detail?
6. How does the language differ from what you would expect from a writer of the opposite gender?
7. How does the way the female characters talk influence the reader’s perception of them?
8. What are the predominant images? Why (or why are they not) associated with women’s lives?
9. Does the implied audience of the work include or exclude women? In the case of a male writer, is it the work addressed to a mixed audience, or does it sound more like one man telling a story to another man?
10. How do the answers to these questions support a case for this work’s having been written a particularly masculine or feminine style?
Study of Power (Questions to answer):
1. Who is primarily responsible for making decisions in the world depicted: men or women?
2. Do the female characters play an overt part in decision making? Or do they work behind the scenes?
3. Who holds positions of authority and influence?
4. Who controls the finances?
5. Do the female characters play traditional female roles? Or do they assume some unusual ones?
6. Are there any instances in which women are unfairly treated or ill treated?
7. What kind of accomplishments do the female characters achieve?
8. Are they honored for their accomplishments?
9. Do the male characters consult he female characters before taking action, or merely inform them of it?
10. Does the story approve or disapprove, condemn or glorify the power structure as revealed by your answers to these questions?
11. How is the female reader co-opted into accepting or rejecting the images of women represented in the work?
Study of the Female Experience (Questions to answer):
1. Does the text reject the idea of a male norm of thinking and behavior that is stable and unchanging? If so, where?
2. Is the writer’s style characterized by blanks, gaps, silences, circularity?
3. Are images of the female body important in the text?
4. Are there references to the female body important in the text?
5. Are there references to female diseases or bodily functions?
6. Do motherhood or those attitudes and behaviors characteristic of motherhood figure significantly in the text?
7. Can you find instances in which the traditional binaries of male/female, intellectual/emotional, objective/subjective, and active/passive are reversed?
8. What new circumstances do the reversals suggest?
9. Can you find instances in which wholeness rather than otherness is associated with the female characters?
10. What generalizations about the uniqueness of the female experience can you make based on the answers to these questions?
The Conclusion:
• State generalizations and conclusions drawb from your questions
• Pull all your references to the text into a single statement about what is particularly female (or male) about the way the work was written, about the power relationships depicted in it, or about its presentation of the nature of the female experience.
References: www.feminist.org
www.uni-koeln/phil-fak/englicsh/datenbank/e_index.htm
Prepared by Ma. Angelica Domingo
BSED-III
Submitted to Mr. June B. Mijares
Literery Criticism
TTh 1:00-2:30
Definition:
Feminist criticism is a type of literary criticism, which may study and advocate the rights of women. As Judith Fetterley says, "Feminist criticism is a political act whose aim is not simply to interpret the world but to change it by changing the consciousness of those who read and their relation to what they read." Using feminist criticism to analyze fiction may involve studying the repression of women in fiction. How do men and women differ? What is different about female heroines, and why are these characters important in literary history? In addition to many of the questions raised by a study of women in literature, feminist criticism may study stereotypes, creativity, ideology, racial issues, marginality, and more.
*Judith Fetterley: a literary scholar known for her work in feminism and women's studies. She was influential in leading a reappraisal of women's literature of the 19th and 20th centuries, and the contributions of women writing about women's experience, including their perspectives on men in the world.
Men Used to Think of Women as Lesser Beings
John Chrysostom, Greek Ecclesiast (345-407 AD): called women “a foe to friendship, an inescapable punishment, a necessary evil”.
Ecclesiasticus (a book of the Apocrypha): stated that “All wickedness is but little to the wickedness of a woman”.
Tertullian, Roman Theologian (160-230 AD): lectured women, “The judgment of God upon your sex endures even today; and with it inevitably endures your position of criminal at the bar of justice. You are the gateway to the devil”.
Alexander Pope (1688-1744): asserted, “Most women have no character”.
John Keats (1795-1821): explained, “The opinion I have of the generality of women – who appear to me as children, to whom I would rather give a sugar plum than my time, forms a barrier against matrimony which I rejoice in.
Three Phases of Feminism History According to Elaine Showalter:
1. Feminine Phase (1840-1880) – Female writers imitated the literary tradition established by men, taking additional care to avoid offensive language or subject matter.
2. Feminist Phase (1880-1921) – Women protested their lack of rights and worked to secure them. In literature, they decried the unjust depictions of women by male writers.
3. Female Phase (1920-present) – Concentrated on exploring the female experience in art and literature, reveal the misogyny and later on, focused on gynocriticism.
*misogyny: negative attitudes toward women
*Gynocriticism: a movement that examines the distinctive characteristics of the female experience in contrast to earlier methods that explained the female by using male models.
Three Major Groups of Feminist Critics:
1. Those who study difference:
• Believe that gender determines everything, including values system and language
• Look for distinctive elements in texts by men and women
2. Those who study power relationships:
• Attack both the economic and social exploitation of women
• Frequently look at writers from cultures as varied and different as the black, Hispanic, Asian-American, Jewish and lesbians
• Believe that the social organization has denied equal treatment to all its segments and that literature is a means of revealing and resisting that social order
• Art and life are fused entities, making it the duty of the critic to work against stereotyping.
3. Those who study the female experience:
• Rejecting the idea of a male norm, against which women are seen as secondary and derivative, they call for a recognition of women’s abilities that goes beyond the traditional binary oppositions such as male/female, and the parallel oppositions active/passive, intellectual/emotional.
• Examine female images in the works of female writers and the elements thought to be typical of l’ecriture feminine-such as blanks, unfinished sentences, silences and exclamations
Writing Feminist Criticism:
Prewriting (Questions to ask):
1. What stereotypes of women do you find?
2. Examine the roles women play in work. Are they minor, supportive, powerless ones? Are they independent and influential ones?
3. Is the narrator a character in the narrative? If so, how does the male or female point of view affect the reader’s perceptions?
4. How do the male characters talk about the female characters?
5. How do the male characters treat the female characters?
6. How do the female characters act toward the male characters?
7. Who are the socially and politically powerful characters?
8. What attitudes toward women are suggested by the answers to these questions?
9. Do the answers to these questions indicate that the work lends itself more naturally to a study of differences between the male and female characters, a study of power imbalances between the sexes, or a study of unique female experience?
Drafting and Revising:
Introduction:
• Point out why a feminist critique is particularly appropriate for the text you are analyzing
• Connect the characters or events of the situation with one that has actually occurred
The Body:
Study of Difference (Questions to answer):
1. Is the genre one that is traditionally associated with male or female writers?
2. Is the subject one that is of particular interest to women, perhaps one that is of importance in women’s lives?
3. What one-word label would accurately capture the voice of the narrator? Why is it appropriate?
4. Is the work sympathetic to the female characters?
5. Are the female characters and the situations in which they are placed presented with complexity and in detail?
6. How does the language differ from what you would expect from a writer of the opposite gender?
7. How does the way the female characters talk influence the reader’s perception of them?
8. What are the predominant images? Why (or why are they not) associated with women’s lives?
9. Does the implied audience of the work include or exclude women? In the case of a male writer, is it the work addressed to a mixed audience, or does it sound more like one man telling a story to another man?
10. How do the answers to these questions support a case for this work’s having been written a particularly masculine or feminine style?
Study of Power (Questions to answer):
1. Who is primarily responsible for making decisions in the world depicted: men or women?
2. Do the female characters play an overt part in decision making? Or do they work behind the scenes?
3. Who holds positions of authority and influence?
4. Who controls the finances?
5. Do the female characters play traditional female roles? Or do they assume some unusual ones?
6. Are there any instances in which women are unfairly treated or ill treated?
7. What kind of accomplishments do the female characters achieve?
8. Are they honored for their accomplishments?
9. Do the male characters consult he female characters before taking action, or merely inform them of it?
10. Does the story approve or disapprove, condemn or glorify the power structure as revealed by your answers to these questions?
11. How is the female reader co-opted into accepting or rejecting the images of women represented in the work?
Study of the Female Experience (Questions to answer):
1. Does the text reject the idea of a male norm of thinking and behavior that is stable and unchanging? If so, where?
2. Is the writer’s style characterized by blanks, gaps, silences, circularity?
3. Are images of the female body important in the text?
4. Are there references to the female body important in the text?
5. Are there references to female diseases or bodily functions?
6. Do motherhood or those attitudes and behaviors characteristic of motherhood figure significantly in the text?
7. Can you find instances in which the traditional binaries of male/female, intellectual/emotional, objective/subjective, and active/passive are reversed?
8. What new circumstances do the reversals suggest?
9. Can you find instances in which wholeness rather than otherness is associated with the female characters?
10. What generalizations about the uniqueness of the female experience can you make based on the answers to these questions?
The Conclusion:
• State generalizations and conclusions drawb from your questions
• Pull all your references to the text into a single statement about what is particularly female (or male) about the way the work was written, about the power relationships depicted in it, or about its presentation of the nature of the female experience.
References: www.feminist.org
www.uni-koeln/phil-fak/englicsh/datenbank/e_index.htm
Prepared by Ma. Angelica Domingo
BSED-III
Submitted to Mr. June B. Mijares
Literery Criticism
TTh 1:00-2:30
Thursday, September 16, 2010
Ma. Angelica M. Domingo Facilitating Learning September 17, 2010
BSED-II MWF 8:00-9:00 Mrs. Teopy
Experiment Pre-conserver Transitional Thinker Conserver
1. Biscuit ☺
2. Iced Tea ☺
3. Coins ☺
Assessment (Case No. 1)
Xandie Maghinang, 4 years old, pre-schooler
On the first part of the experiment, I used “Tiger Biscuits. First, I took two pieces and gave him one. I asked him who have more biscuits between us and he said that I did. Then, I gave him another biscuit so that he then has a total of two pieces. Then, I broke one into two. Then I asked him who have more biscuit and he said that he did.
On the second part of the experiment, I poured iced tea into two glasses – one small and the other double its size. I filled the small glass and half glass to the other. I asked him which one has more content and he pointed to the bigger one.
On the last part of the experiment, I arranged coins into two lines of same length. I asked which one was longer and he said that both lines have the same length. I moved a coin one space to the right and left a gap from where it was placed before but he still said that the length is still the same.
Experiment Pre-conserver Transitional Thinker Conserver
1. Biscuit ☺
2. Iced Tea ☺
3. Coins ☺
Assessment (Case No. 2)
Francis Albert Domingo, 7 years old, Grade 2 Student
On the first part of the experiment, I used “Tiger Biscuits. First, I took two pieces and gave him one. I asked him who have more biscuits between us and he said that I did. Then, I gave him another biscuit so that he then has a total of two pieces. Then, I broke one into two. Then I asked him who have more biscuit and he said that we just have the same amount.
On the second part of the experiment, I poured iced tea into two glasses – one small and the other double its size. I filled the small glass and half glass to the other. I asked him which one has more content and he said that both glasses hold the same amount of iced tea.
On the last part of the experiment, I arranged coins into two lines of same length. I asked which one was longer and he said that both lines have the same length. I moved a coin one space to the right and left a gap from where it was placed before but he still said that the length is still the same.
Experiment Pre-conserver Transitional Thinker Conserver
1. Biscuit ☺
2. Iced Tea ☺
3. Coins ☺
Assessment (Case No. 3)
Jeff Ocay, 9 years old, Grade 4 Student
On the first part of the experiment, I used “Tiger Biscuits. First, I took two pieces and gave him one. I asked him who have more biscuits between us and he said that I did. Then, I gave him another biscuit so that he then has a total of two pieces. Then, I broke one into two. Then I asked him who have more biscuit and he said that we just have the same amount.
On the second part of the experiment, I poured iced tea into two glasses – one small and the other double its size. I filled the small glass and half glass to the other. I asked him which one has more content and he said that both glasses hold the same amount of iced tea.
On the last part of the experiment, I arranged coins into two lines of same length. I asked which one was longer and he said that both lines have the same length. I moved a coin one space to the right and left a gap from where it was placed before but he still said that the length is still the same.
BSED-II MWF 8:00-9:00 Mrs. Teopy
Experiment Pre-conserver Transitional Thinker Conserver
1. Biscuit ☺
2. Iced Tea ☺
3. Coins ☺
Assessment (Case No. 1)
Xandie Maghinang, 4 years old, pre-schooler
On the first part of the experiment, I used “Tiger Biscuits. First, I took two pieces and gave him one. I asked him who have more biscuits between us and he said that I did. Then, I gave him another biscuit so that he then has a total of two pieces. Then, I broke one into two. Then I asked him who have more biscuit and he said that he did.
On the second part of the experiment, I poured iced tea into two glasses – one small and the other double its size. I filled the small glass and half glass to the other. I asked him which one has more content and he pointed to the bigger one.
On the last part of the experiment, I arranged coins into two lines of same length. I asked which one was longer and he said that both lines have the same length. I moved a coin one space to the right and left a gap from where it was placed before but he still said that the length is still the same.
Experiment Pre-conserver Transitional Thinker Conserver
1. Biscuit ☺
2. Iced Tea ☺
3. Coins ☺
Assessment (Case No. 2)
Francis Albert Domingo, 7 years old, Grade 2 Student
On the first part of the experiment, I used “Tiger Biscuits. First, I took two pieces and gave him one. I asked him who have more biscuits between us and he said that I did. Then, I gave him another biscuit so that he then has a total of two pieces. Then, I broke one into two. Then I asked him who have more biscuit and he said that we just have the same amount.
On the second part of the experiment, I poured iced tea into two glasses – one small and the other double its size. I filled the small glass and half glass to the other. I asked him which one has more content and he said that both glasses hold the same amount of iced tea.
On the last part of the experiment, I arranged coins into two lines of same length. I asked which one was longer and he said that both lines have the same length. I moved a coin one space to the right and left a gap from where it was placed before but he still said that the length is still the same.
Experiment Pre-conserver Transitional Thinker Conserver
1. Biscuit ☺
2. Iced Tea ☺
3. Coins ☺
Assessment (Case No. 3)
Jeff Ocay, 9 years old, Grade 4 Student
On the first part of the experiment, I used “Tiger Biscuits. First, I took two pieces and gave him one. I asked him who have more biscuits between us and he said that I did. Then, I gave him another biscuit so that he then has a total of two pieces. Then, I broke one into two. Then I asked him who have more biscuit and he said that we just have the same amount.
On the second part of the experiment, I poured iced tea into two glasses – one small and the other double its size. I filled the small glass and half glass to the other. I asked him which one has more content and he said that both glasses hold the same amount of iced tea.
On the last part of the experiment, I arranged coins into two lines of same length. I asked which one was longer and he said that both lines have the same length. I moved a coin one space to the right and left a gap from where it was placed before but he still said that the length is still the same.
Tuesday, August 31, 2010
How my Brother Leon Brought Home a Wife Activities
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Topic: Literature: How my Brother Leon Brought Home a Wife by Manuel Arguilla
Age Level: Adolescence
APPLICATION
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SPECIFIC ACTIVITY
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1. Use visual aids such as charts and illustrations and
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I will prepare pictures of the different scenes in the story, ask some students to pick one, arrange the pictures chronologically and have them re-tell each scene that they picked in their own words.
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2. Use well-organized materials that offer step by step explanations
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3. Provide students opportunities to discuss social issues
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I will group the students into two. I will ask a group to list down the advantages while the other, the disadvantages of marriage between people having different culture or different economic status and have a representative from each group discuss their list in front of the class.
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4. Provide consideration of hypothetical “other worlds”
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I will ask the students to draw two pictures. One will be their vision of the life in the city of a person who grew up in the barrio and the other, their vision of the life in the barrio of a person who grew up in the city.
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5. Make sure that at least some of the tests ask for more than rote memory or one final answer.
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I will ask the students to write a composition about the pros and cons of living in the city and living in the barrio.
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6. Use lyrics from popular music to teach poetic devices, to reflect on social problems, and so on.
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I will ask the students to listen to the song “Kapaligiran” by Asin and “Manila” by Hotdog, have them list down the lines in the former that describes the barrio and the lines in the latter that describes the city and discuss the disadvantages of living in rural and urban places and how life in these places can be improved.
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Tuesday, August 17, 2010
Example Weekly Lesson Plan
A lesson plan that I made:
Reading
HOW MY BROTHER LEON BROUGHT HOME A WIFE
by Manuel E. Arguilla
A Weekly Lesson Plan in English IV
COMPETENCIES
Listening
Make use of different learning strategies according to the main purposes of listening.
Speaking
Develop the ability to verbally give information and express needs, opinions, feelings and attitudes.
Demonstrate the ability to locate and synthesize information essential to one’s understanding and interpretation of his environment.
Writing
Demonstrate imagination and creativity in written form.
Literature
Express a deeper appreciation of values in literature.
GENERAL OBJECTIVES:
At the end of the week, the students are expected to:
- predict possible continuation of the story.
- to derive needed information from the story according to the task assigned to them
- differentiate people living in the city and in the barrio.
- discuss their opinions on how the father treated Maria, his daughter-in-law.
- write a descriptive essay about a specific person who lives in the city or barrio.
Session 1
OBJECTIVES
The students are expected to:
1. to recall important events in the story
2. to commend positive values shown by the actions done by the characters
3. skillfully act out different scenes in the story
CONTENT
HOW MY BROTHER LEON BROUGHT HOME A WIFE BY MANUEL E. ARGUILLA
The story is about a young boy whose brother has become successful in the city and meets him with a cart when he returns to the barrio with his city-bred wife. The father, an old revolucionario, submits the daughter-in-law to various tests to see if she will adapt well to the ways of the barrio and the family. The young boy takes easily to the new relation, probably also thinking of himself getting a wife in the future.
INPUT
“How my Brother Leon Brought Home a Wife” by Manuel E. Arguilla
SOURCES
REFERENCES: Baul: A Collection of Philippine Literature by Leoncio P. Deriada and Isidoro M. Cruz
pp.12 – 20
MATERIALS: Tape recorder or laptop, pictures of different scenes in the story and pictures of the city
and barrio.
PRIOR KNOWLEDGE
Listening attentively to the story played using a tape recorder or laptop.
NEW KNOWLEDGE
Recalling dialogues heard and perform them using the students’ own words.
PROCESS
1. INTRODUCTION
A Ask the students about their experiences in the city. What are their favorite places or establishments in the city? What do they like most about the city and what do they like the least about it? Do you have friends in the city? What are they like? Ask them about their experiences in the barrio. What do they do in their free time in the barrio? What do they love and dislike most about it.? Do they have friends in the barrio? What are the like?
C. Divide the class into small groups of about 4 – 5 and ask them to discuss where they would like to live better, the city or the barrio? Have them write the majority’s choice in a manila paper and list down the reasons why. Have the group leader present what they wrote in front of the class afterwards.
II. INTERACTION
- Reading Activity
1. Pre-reading
a. Vocabulary Web
b. Anticipation Guide Questions
· Where did the story happen?
· Who are the characters in the story?
· Why did the father treat Maria like he did?
· What was Maria like?
2. Reading
III. INTEGRATION
- Post pictures of the important scenes in the story and ask the students to tell the class what was happening on that specific picture.
- Read specific lines from the story and ask the students to say “Yay!” when the character did something nice and say “Boo!” when they do something that was not good.
- Group the students into three and ask each group to act out one of the scenes in the story, based on the pictures posted in the board.
Session 2
OBJECTIVES
The students are expected to:
- to identify characters of the story through given description.
- to share their own experiences in the city or barrio.
- to express how they feel about certain scenes facially.
CONTENT
HOW MY BROTHER LEON BROUGHT HOME A WIFE BY MANUEL E. ARGUILLA
The story is about a young boy whose brother has become successful in the city and meets him with a cart when he returns to the barrio with his city-bred wife. The father, an old revolucionario, submits the daughter-in-law to various tests to see if she will adapt well to the ways of the barrio and the family. The young boy takes easily to the new relation, probably also thinking of himself getting a wife in the future.
SOURCES
REFERENCES: Baul: A Collection of Philippine Literature by Leoncio P. Deriada and Isidoro M. Cruz
pp.12 – 20
MATERIALS: Pictures of different scenes in the story placed inside a small box
PROCESS
1. INTRODUCTION
A. Ask the students to retell the story in their own words. One student will talk about a scene in the story and another will continue with the next scene as they chronologically took place in the story.
II. INTERACTION
A. Ask the students about how the different characters may feel in the beginning of the story, in the middle, and in the end.
B. Group the students into eight to ten members. Ask them to prepare a talk-show presentation with the character in the story as the guests. Have the talk show host ask questions about how they felt in the specific scenes in the story and have the host add questions of his or her own.
III. INTEGRATION
- With the previous groupings, ask the leaders of each group to stand in front of the class and tell them about different scenes in the story based on what they picked from the box. The leader will say how the character felt during those scenes and the members will express the emotion facially.
- Choose a few volunteers and tell them to describe each of the character in the story in front of the class without telling who they were describing. Have the class guess who the character was.
- Homework – Write a short essay about your most memorable experience in the city or in the barrio.
Session 3
OBJECTIVES
The students are expected to:
1. to rearrange scenes in the story as they happened chronologically.
2. to debate about the father’s treatment of Maria.
3. to draw from memory a friend that they have in the barrio or in the city.
CONTENT
HOW MY BROTHER LEON BROUGHT HOME A WIFE BY MANUEL E. ARGUILLA
The story is about a young boy whose brother has become successful in the city and meets him with a cart when he returns to the barrio with his city-bred wife. The father, an old revolucionario, submits the daughter-in-law to various tests to see if she will adapt well to the ways of the barrio and the family. The young boy takes easily to the new relation, probably also thinking of himself getting a wife in the future.
SOURCES
REFERENCES: Baul: A Collection of Philippine Literature by Leoncio P. Deriada and Isidoro M. Cruz
pp.12 – 20
MATERIALS: Different scenes in the story written on pre-cut cartolina separately
PROCESS
1. INTRODUCTION
A, Have the class read their homework in front.
II. INTERACTION
A. Ask questions about what they wrote. Ask the students if they had similar experiences similar to what their classmates shared.
III. INTEGRATION
A. Post the pre-cut cartolinas wherein different scenes from the story were written separately. Ask some of the students arrange them chronologically.
B. Ask volunteers to explain what happened in each picture until they finish re-telling the story based on the pictures.
C. Divide the class into two groups and have them present a debate about whether or not the father did the right thing by treating Maria the way that he did.
D. Have the students draw their friend from the barrio or city and what they love doing together.
Session 4
OBJECTIVES
The students are expected to:
- to explain why the characters do what they did in different scenes in the story.
- to discuss how they felt about the different actions that a specific character did in the story.
- to write other possible ending of the story.
SOURCES
REFERENCES: Baul: A Collection of Philippine Literature by Leoncio P. Deriada and Isidoro M. Cruz
pp.12 – 20
MATERIALS: Picture of a person living in the city and a person living in the barrio
PROCESS
I. INTRODUCTION
A. Post two pictures on the board, one with people living in the city and the other, people living in the barrio. Ask the students to describe each picture. Write the descriptive words that they say below each picture. Ask them to write about a certain person that they know who lives in the city or barrio.
B. Ask them to read what they wrote in front of the class.
II. INTERACTION
A. Ask them why most people like living in the city and why some likes living in the barrio better. Ask them to compare both through job opportunities, recreational places, technology, crime rate, education, and more.
III. INTEGRATION
- Read out different lines about actions that the characters in the story did and have them explain why they think the characters did it.
- Ask them if they think that specific action was right or wrong and why.
- Homework – Ask them to write another possible ending of the story.
Session 5
OBJECTIVES
The students are expected to:
- to identify values that the characters displayed in the story
- to select a character whom they like the most because of their values.
- to act as their favorite character in the story.
SOURCES
REFERENCES: Baul: A Collection of Philippine Literature by Leoncio P. Deriada and Isidoro M. Cruz
pp.12 – 20
I. INTRODUCTION
A. Read different scenes in the story and ask the students to identify the values that were shown in these scenes.
II. INTERACTION
- Ask the students about the other ways on how to show the values that they have given.
- What would they do if they were the ones who were in those situations or scenes in the story?
- If there was anything that they would like to change in the story, what would those be and why. What will they do instead?
III. INTEGRATION
- Ask them to select the character that they think shown more values than the others.
- Ask them to choose a specific action that the character they have chosen did or a specific line that they said and have them act it out in front of the class.
Wednesday, June 30, 2010
Aklan Catholic College Vision
We had our screening for The Aklan Collegian last month and one of the aspiring Collegians wrote about the importance of not only memorizing the school vision and mission but also embedding the meaning of these in our minds and hearts. Here's the Aklan Catholic College Vision:
We envision Aklan Catholic College as a vibrant educational institution committed to empowering stakeholders as globally competent and authentic Christians.
We envision Aklan Catholic College as a vibrant educational institution committed to empowering stakeholders as globally competent and authentic Christians.
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