My Translation and Editing Text Reviewer

Translation: Communication of the meaning of a source-language text by means of an equivalent target-language text.
- from Latin “translation” meaning to carry across or to bring across
- Alternative Latin “traduco” which means to lead across
- Ancient Greek “metaphrasis” which means a speaking across

Metaphrase: literal or word-for-word translation (formal equivalence)
Paraphrase: Saying in other words (dynamic equivalence)

History of Translation:

-Septuagint: a collection of Jewish Scriptures translated into Koine Greek
-Lingua Franca: Latin (Middle Ages)
-Alfred the Great: commissioned vernacular Anglo-Saxon translations of Bede’s Ecclasiastical History and Borthius’ Consolation of Philosophy
-The Christian Church frowned on even partial adaptations of St. Jerome’s Vulgate, The Standard Latin Bible

Asia:
-Spread of Buddhism led to large-scale translation efforts
-Tangut Empire-exploited block printing

Arabs: undertook large-scale efforts at translation
-Made Arabic versions of the Greeks’ philosophical and scientific works
-Some Arabic translations of these works were made into Latin (Middle Ages)
-Development of European Scholasticism

Western:
-14th century, Geoffrey Chaucer adapted from the Italian of Giovanni Boccaccio his own Knight’s Tale and Troilus and Criseyde, French Roman dela Rose and completed Borthius from Latin; founded an English poetic tradition on adaptations and translations from earlier established literary languages
-First great English Translation: Wycliffe Bible: showed weaknesses of underdeveloped English prose
-Great Age of English Prose Translation: Thomas Malory’s Le Morte Darthur – a free adaptation of Arthurian Romances
-First great Tudor translations: Tyndale New Testament, its Authorized Version and Lord Berners’ version of Jean Froissart’s Chronicles

Renaissance Italy
-Cosimo de’ Medici of Georgius Gemistus Pletho (Florence)
-Latin translation of Plato’s works by Marsilio Ficino
-Erasmus’ Latin edition of the New Testament
-Readers demanded rigor of rendering
-Non-scholarly Literature continued to rely on adaptation.
-France’s Pleiade, England’s Tudor poets and Elizabethan translators adapted themes by Horace, Ovid, Petrarch and modern Latin Writers
-Rise of Middle Class
-Development of Printing

Elizabethan Period of Translation:
-stylistic equivalence
-no concern for verbal accuracy

Second Half of 17th Century:
-John Dryden sought to make Virgil speak in words such as he would have written if he were living and an Englishman
-Homer suffered from Alexander Pope’s endeavor to reduce the Greek Poet’s “Wild Paradise” to order

18th Century:
-the watchword of translators was ease of reading; whatever they did not understand in a text, or thought might bore readers, they omitted
-James Macpherson’s translations of Ossian

19th Century:
-The policy became the text, the whole text, and nothing but the text except for bawdy passages and the addition of copious explanatory footnotes
-Style: far-reaching metaphrase to constantly remind readers that they were reading a foreign classic
-Exception: Outstanding translation of Edward Fitzgerald’s Rubaiyat of Omar Khayyan

20th Century:
-A new pattern was set in 1871 by Benjamin Jowett who translated Plato into simple yet straightforward language.





Types of Translation:
1. Legal – field of law
2. Literal – word-for-word
3. Technical – specific profession
4. Interpreting
a. Simultaneous
b. Consecutive
c. Whispered
d. Gestural
e. Conference
f. Escort
g. Community
h. Legal
i. Medical
5. Machine
a. Rule-based
i. Transfer-based
ii. Interlingual
iii. Dictionary-based
b. Statistical
c. Example-based
d. Hybrid

Direct Translation:
1. Borrowing: no translation
2. Calque: word-for-word (phrase)
3. Literal: word-for-word

Oblique Translation Techniques:
1. Transposition: change sequence
2. Modulations: different phrase
3. Equivalency: different way
4. Adaptation: different, familiar way
5. Compensation: lost meaning is expressed somewhere else in the text
6. Transliteration: Converting to phonetic equivalent

Disambiguation: finding a suitable translation when a word can have more than one meaning (first raised by Yehoshua Bar-Hillel

Qualities of a Competent Translator:
1. good knowledge of source language (spoken and written)
2. excellent command of target language
3. familiar with the subject matter
4. profound understanding of etymological and idiomatic correlates between two languages
5. finely tuned sense of when to metaphrase and paraphrase

Malapropism: the substitution of a word for a word with a similar sound, in which the resulting phrase makes no sense but often creates a comic effect.

Official List of Winners: ACCian’s Choice Awards 2010

Tinkerbell: Ms. Ann Portia T. Robado

Peter Pan: Mr. Ernesto B. Templo

Ms. Sunshine: Ms. Ramonette Cordero
Ms. Kristel A. Saligumba

Mr. Sunshine: Mr. Edward Gumban

Fit N’ Right: Ms. Ma. Anuncaciacion E. Pampliega

Prima Ballerina: Ms. Grace V. Delos Reyes
Ms. Jodamay L. Raz

Most Promising Teacher: Mr. Ronel R. Advincula
Ms. Cyre Milloroso

Ms. Pure Energy: Ms. Mhargie G. Morales

Mr. Pure Energy: Engr. Leo N. Patacsil

Dressed to Kill: Mr. Rommel J. Constantino

ACC’s Next Top Model: Ms. Santa Renea Crisostomo
Mr. June B. Mijares

Ms. Champagne: Ms. Ann M. Templonuevo

Mr. Champagne: Mr. Galileo E. Borces

Campus Heartthrob: Mr. Peter R. Arboleda
Mr. Rhino Nicodemus
Mr. Artemio Nosotros

Total Performer: Ms. Luchelyn A. Beltran
Bro. Lean Fernandez

Bright Mind: Mr. Jeffrey Clarin
Mr. Noli Resterio

Timekeeper: Mr. Adrian Jonas Cordova
Ms. Syldy T. Villegas

Ma’am Techie: Ms. Profetiza Maatubang
Ms. Richele Domingo

Sir Techie: Mr. Richard H. Diocena
Mr. Cris Melric . Palanog

Walking Dictionary: Ms. Divina M. Muyargas
Mr. Juler A. Fernandez

Walking Encyclopedia: Mr. Rey V. De Los Reyes
Ms. Evelina G. Gayo
Engr. Joel Zapico

Ms. Resourceful: Ms. Mary R. Repedro
Mr. Daniel S. Deloso

Ms. Congeniality: Dr. Maria Neiy E. Mucho
Ms. Aiza O. Nahil

Mr. Congeniality: Mr. Julius R. Dela Cruz

Tree Hugger: Mr. Julius V. Saluta
Ms. Lufelle A. Carel

Silent Water: Engr. Agnes D.C. Perez
Ms. Lara B. Albacino

Ms. Interactive: Dr. Antonia S. Escalona
Ms. Anita C. Tuayon

Helping Hand: Mr. Marlon T. Niňonuevo
Mr. Jocel Rata

Great Philosopher: Ms. Fe V. Tafalla
Ms. Eleonor R. Teopy

Fairy Godmother: Ms. Erlinda B. Albito
Engr. Alica Coching

Best Supporting Teacher: Ms. Richie B. De Mateo
Ms. Anita S. Cioco

Soaring Eagle: Engr. Cecilia S. Calizo

Unsung Hero: Mr. Arvin Kim A. Arnilla

Reflection

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.

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

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.

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	SPECIFIC ACTIVITY
1. Use visual aids such as charts and illustrations and	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.
2. Use well-organized materials that offer step by step explanations
3. Provide students opportunities to discuss social issues	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.
4. Provide consideration of hypothetical “other worlds”	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.
5. Make sure that at least some of the tests ask for more than rote memory or one final answer.	I will ask the students to write a composition about the pros and cons of living in the city and living in the barrio.
6. Use lyrics from popular music to teach poetic devices, to reflect on social problems, and so on.	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.

Example Weekly Lesson Plan

A lesson plan that I made:

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.

Reading

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:

1. predict possible continuation of the story.
2. to derive needed information from the story according to the task assigned to them
3. differentiate people living in the city and in the barrio.
4. discuss their opinions on how the father treated Maria, his daughter-in-law.
5. 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

1. 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: A pre-recorded narration of the story will be played.

III. INTEGRATION

1. Post pictures of the important scenes in the story and ask the students to tell the class what was happening on that specific picture.
2. 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.
3. 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:

1. to identify characters of the story through given description.
2. to share their own experiences in the city or barrio.
3. 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

1. 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.
2. 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.
3. 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:

1. to explain why the characters do what they did in different scenes in the story.
2. to discuss how they felt about the different actions that a specific character did in the story.
3. 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

1. Read out different lines about actions that the characters in the story did and have them explain why they think the characters did it.
2. Ask them if they think that specific action was right or wrong and why.
3. Homework – Ask them to write another possible ending of the story.

Session 5

OBJECTIVES

The students are expected to:

1. to identify values that the characters displayed in the story
2. to select a character whom they like the most because of their values.
3. 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

1. Ask the students about the other ways on how to show the values that they have given.
2. What would they do if they were the ones who were in those situations or scenes in the story?
3. 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

1. Ask them to select the character that they think shown more values than the others.
2. 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.