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ENGLISH FOR ACADEMIC AND PROFESSIONAL PURPOSES

Basic Education Curriculum
Quarter 1 – Module 6: USE APPROPRIATE CRITICAL APPROACHES IN WRITING A CRITIQUE
SUCH AS FORMALISM, FEMINISM,ETC.

Copyright 2020

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Regional Director: Gilbert T. Sadsad

Assistant Regional Director: Jessie L. Amin

Development Team of the Module

Author: PIO T. TELEG JR.

Editors: GINA B. PANTINO

SONIA V. PRENSADER
JOSALIE T. TONIO
LORAINE T. CHIONG

Reviewers: GINA B. PANTINO and

Masbate City Division headed by JEANETTE ROMBLON

Illustrator / Layout Artist: JOHN MICHAEL SARTE, ANTONIO L. MORADA

 SHS

ENGLISH FOR ACADEMIC AND

PROFESSIONAL PURPOSES
Quarter 1 – Module 6
USE APPROPRIATE CRITICAL APPROACHES IN
WRITING A CRITIQUE SUCH AS FORMALISM,
FEMINISM,ETC

This instructional material was developed based from the Most Essential
Learning Competencies (MELC) in English for Academic and Professional Purposes
in response to the new normal scheme in learning delivery of the Department of
Education. This module was collaboratively reviewed by educators and program
specialists in the Regional Office V. We encourage teachers and other educational
stakeholders to email their feedback, comments, and recommendations to the
Department of Education at ____________________.

We value your feedback and recommendations.

Department of Education Republic of the Philippines

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 I. INTRODUCTION
In this module, you will be able to skillfully determine and employ critical writing with a
clear understanding on how a critique should be written using appropriate approaches to a specific
subject or written material.
It likewise aims for you to technically respond through an evaluation of the structure of
the thought in a content whether the author, the piece itself, or the subject of your critique for you
to provide credible arguments or creative thoughts for further reason or appreciation.

II. LEARNING COMPETENCY

At the end of the lesson you will be able to:
use appropriate critical approaches in writing a critique such as formalism, feminism, etc.

III. MY VOCABULARY LIST

a. Paradox- made up of two opposite things and that seems impossible but is
actually or may be true or possible
b. Evaluation- to judge the value or condition of something in a careful and
thoughtful way; to determine significance or worth
c. Demography-statistical study of human population with reference to size and
density, distribution and vital statistics
d. Patriarchy- a family, group or government controlled or led by man or group
of men
e. Tripartite- involving three people, groups or parts

IV. WHAT DO I KNOW (Pre-Test)

Using the hinted questions below, write the critical approach used to a certain
content or piece of writing. Take your answer/s from your concept box provided below.
The first one is done for you.

“MY CONCEPT BOX”

Feminism Reader Response Biographical Archetypal
Formalism Marxist Historical Psychological

__Formalism__ 1. What is the theme of the poem?

_____________ 2. What are women’s roles that are apparent or observable in the piece?
_____________ 3. How does time transitions before affects the perceived culture of today?
_____________ 4. To what extent the main character’s actuations are molded by author’s
experiences herself?
_____________ 5. What do you feel the moment you have read lines 1, 2, and 3?

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 V. LEARNING CONCEPTS AND ACTIVITIES
In this part of your module, you will step-by-step take your ride towards learning on
how to write a critique, make sure to read and do every step ahead for a more noteworthy and fun
learning.

A. TAKE THE JOYRIDE (Preliminaries)

TASK 1. WRITING WARM UP
“My Emoji, My thoughts”

DRAW YOUR EMOJI!!

Choose at least two items/pictures of your choice. All you have to do is to weigh your
thoughts and draw the feeling towards the picture/s by making your own emoji style. After which,
write and share why you have drawn/chosen such emoji. Whether your thoughts are positive or
negative provide your reasons/arguments. One to five sentences would be enough. (Note: A space
below is provided for you to write your chosen item correspondingly with your thought/s. Observe
proper writing norms as much as possible. The first one is done for you.)

1. 2. 3.

4. 5.

6.

5.

7.

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Sample Answer:
I have chosen item 1
My emoji is __(___) happy

Stephen Curry of Golden State Warriors is my favorite NBA Basketball player. I admire
him so much because I am a basketball player and a fan too. For me, he is the best. Simply because,
I know that he has been a six-time NBA All Star and a most valuable player twice. He has been
dubbed the greatest shooter of all time. More than that, personality wise, he is also kind of a person
you will respect. I can’t say anything bad about him but a mere admiration.

My answer:
I have chosen item _______
My emoji for this item is _______
________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________

TASK 2. Find the truth

Individual Activity:

Inspired by your thoughts above, write at least three sentences which explain
facts about the item of your choice above. If possible, indicate below your source of
information backing up the correctness of information you have provided.

1.____________________________________________________________________________

2.____________________________________________________________________________

3.____________________________________________________________________________

Source of information:_____________________________________________________

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 A. Group Activity (Optional)
Get on in a
Direction/Procedure:
team
1. With your classmates and friends whom you can talk on-line, compare your answers with
them. From their answers, try to copy information which you did not include in your output.
Make sure that their answers are facts and must have been backed-up with credible sources.
Then include their answers to yours to enrich your claims or arguments of the writing you did for
Task I. A space for you to rewrite is hereunder provided.
________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________

B. LEARNING CONCEPTS AND ACTIVITIES

(KNOWING ON-POINT AND BEYOND)

Since you have initially warmed up, let us go farther in understanding the concepts and
principles focusing on critical approaches you should be familiar with necessary for you to write
a critique. A step-by-step procedure will be modeled from simple to a much complex structure
depending on the required number of paragraphs or words your teacher allows you to do so.

WHAT IS A CRITIQUE?
Critique is derived from ancient Greek (“kritike”). It is defined as a careful judgment in
which you shape your opinion about the strengths and weaknesses of a piece of writing or work
of art.
Depending on the instruction of your teacher, its length may vary from 100 to 750 words
or more. It is not a summary of the piece, rather, it is the critical evaluation to further
understand validity, worth, effect, use of the material that interests readers, and/or the
recommendation or appeal for further appreciation.
This could be possible by way of subjecting the piece of writing on the critical approaches
in analyzing the piece using appropriate evidences and arguments. Proper and acceptable reasons
or proofs are necessary to ensure quality and substance of the opinions you have cited which
reinforces relevant persuasion.
After all, writing a critique paves to a better understanding and for you to respond in a
more analytic, balanced, and convincing manner.

Critical Approaches in Writing a Critique

Since writing a critique requires a thorough, careful presentation, and weighing of

arguments, it is necessary to use a lens or a systematic and critical analysis to serve your purpose
in writing. One approach may be enough, however, it is not merely exclusive with other
approaches. You may use one or a mixture of approaches depending on the length and depth of
your critique. However, it is still easier for a beginner to simply focus with one approach.
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 Hereunder are critical writing approaches you may choose from depending on your
interests and needs.

1. FORMALISM OR NEW CRITICSM

This approach claims that all that are important in analyzing and understanding the text can
be found in the piece of writing or text itself. Outside information regarding the author, society of
the time, politics or any other external context are no longer needed. The text is independent. It
has a fixed meaning. It is timeless and universal.
On the aforesaid principles, formalism requires a close and intent reading of the text
concentrating on the relationships within the text that showcases its distinct characteristics or form.
As you write your working outline framing your critique’s main points, you may include
as much as you could or whatever necessary using the following guide questions:
1. What is the title, setting, other elements etc. and to what extent it is symbolic?
2. What kind of language does the author use?
3. How is the work’s structure unified?
4. How do various elements of the work reinforce its meaning?
5. What recurring patterns (repeated or related words, images, etc.) can you find? What is the
effect of these patterns or motifs?
6. How does repetition reinforce the theme(s)?
7. How does the writer’s diction reveal or reflect the work’s meaning?
8. What is the effect of the plot, and what parts specifically produce that effect?
9. What figures of speech are used? (metaphors, similes, etc.)
10. Note the writer’s use of paradox, irony, symbol, plot, characterization, and style of
narration.
11. What effects are produced? Do any of these relate to one another or to the theme?
12. Is there a relationship between the beginning and the end of the story?
13. What tone and mood are created at various parts of the work?
14. How does the author create tone and mood? What relationship is there between tone and
mood and the effect of the story?
15. How do the various elements interact to create a unified whole?
16. What is the argument or thesis?
17. Who is telling the story in the piece?

Try to intently read the sample critique below. You will notice that the critique written
embodies some of the questions cited above.

Sample of Formalist Critique of “Dead Stars by Paz Marquez Benitez”

The title of the work already gives an idea as to what it means. In physics, it is stated that
the light and energy of the stars have to travel light years to reach us. Since they are millions of
miles away and light has to travel this large distance, it is highly possible that the star has already

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exploded while its light is still travelling towards us. Therefore it is possible that a bright light we
see at night actually comes from a dead star.
In the story, this metaphor is used to refer to Alfredo’s love for Julia, a woman he meets
and falls for one fateful summer. Not only is the title an indicator of what is to come, even the fate
of the characters in the story can already be seen through their names.
Alfredo’s name means counselor of elves in Spanish and suggests someone who is wise.
In the story, it is indicated that Alfredo is a lawyer, a person who counsels. Still, his name denotes
a certain irony; despite his supposed wisdom, Alfredo’s actions, especially his covert courtship
with Julia while being engaged to another, are anything but sensible. Julia’s name, on the other
hand, refers to someone who is youthful, which is how Alfredo sees her for eight years until he is
confronted by reality.

Barrot & Sipacio. (2017). Communicate Today ENGLISH for Academic

& Professional Purposes for SHS. Quezon City: C&E Publishing, Inc.

2. FEMINISM

This approach emphasizes the importance or relevance of women as subjects and how
gender been perceived in the piece. The images of women and the underlying concepts of
femininity including economic, societal, psychological and archetypal nature of women are
examined. This approach likewise stresses equality for a male dominated society.
The following guide questions are helpful in framing you’re working outline using the
feministic point of view:
1. How are women’s lives portrayed in the work?
2. Is the form and content of the work influenced by the writer’s gender?
3. How do male and female characters relate to one another? Are these relationships sources
of conflict? Are these conflicts resolved?
4. Does the work challenge or affirm traditional views of women?
5. How do the images of women in the story reflect patriarchal social forces that have
impeded women’s efforts to achieve full equality with men?
6. What marital expectations are imposed on the characters? What effect do these
expectations have?
7. What behavioral expectations are imposed on the characters? What effect do these
expectations have?
8. If a female character were male, how would the story be different (and vice versa)?
9. How does the marital status of a character affect her decisions or happiness?
10. How does culture view women vs. men?
11. How is the relationship between men and women portrayed?
12. What are the power relationships between men and women (or characters assuming
male/female roles)?
13. Do characters take on traits from opposite genders? How so? How does this change
others’ reactions to them?
14. What does the work reveal about the operations (economically, politically, socially, or
psychologically) of patriarchy?
15. What does the work imply about the possibilities of sisterhood as a mode of resisting
patriarchy?

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 16. What role does the work play in terms of women's literary history and literary tradition?

Sample of Feminist Critique of “Dead Stars” by Paz Marquez Benitez”

The story is a study of power imbalance brought about by gender. In the beginning, Dead
Stars already clearly illustrates the gender roles ingrained in Filipino Society: Don Julian and the
judge are portrayed as the male leaders of the household, taking up lofty professions such as
business and law while the women are portrayed accomplishing domestic tasks such as tending
the children and preparing food.
The most note-worthy display of imbalance in power, however, lies on the central theme
of Alfredo’s love for Julia as simply a dead star. Eight years after their forbidden love and after
getting married to another woman. Alfredo still holds Julia as an object of affection, thus creating
a distance between him and his wife, Esperanza.
In their relationship as a wedded couple, the power lies in Alfredo , not only because
patriarchal society designates him as the head of the household, but also because he remains
unreachable to his wife by harboring feelings for another woman. Moreover, the realization that
his love for Julia is simply a dead star is brought about by his treatment of Julia as simply an
illusion and an object of affection, and not as a woman. This gender imbalance leads to a tragic
epiphany for the characters, but is also a reflection of how men are viewed to dominate not only
in the household but also in their relationship with women.

Barrot & Sipacio. (2017). Communicate Today ENGLISH for Academic

& Professional Purposes for SHS. Quezon City: C&E Publishing, Inc.

3. READER RESPONSE
This approach stresses the attachment or strong connectionism of an individual reader’s
mind to the piece at hand. The reader herself can put meaning and interpret every part of the text.
The text is nothing unless it has been read and interpreted by the reader.
The reader’s reaction and interaction made out of the piece recreates and develops a further
depth of meaning. The manner a poem or a short story is read or delivered strengthens and invokes
visuals and imagination to a much sought individual appreciation.
In such a case, a reader who happened to read the same text may find the experience
different from the first against the second time.

Sample of Readers Response Criticism of “Dead Stars” by Paz Marquez Benitez”

Despite being limited in length, Dead Stars manages to evoke various feelings which
ultimately build up the ending. While Alfredo is the center of the story, as a woman reader it is
hard not to feel greatly for Esperanza. Esperanza can only be seen through the perspective of
Alfredo. This does a disservice to her, as we can only know her through the description of someone

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who does not love her anymore. Still, it is also through Alfredo’s descriptions and his
unfaithfulness that Esperanza gains sympathy from the reader.
During all the moments when Alfredo and Julia are together, the thought of Esperanza
looms in the background—does she know? How will she react? What will happen now? The
sympathy only increases when they get married, for it is clear that Alfredo is detached from her
and is still harboring feelings for Julia. While the end certainly evokes a feeling of loss at Alfredo’s
epiphany, it is the feeling of betrayal for Esperanza that stays.

Barrot & Sipacio. (2017). Communicate Today ENGLISH for Academic

& Professional Purposes for SHS. Quezon City: C&E Publishing, Inc.

4. MARXIST CRITICISM

This approach tries to unfold how socioeconomic status affects hierarchy or conflicts
involving social classes in the masterpiece. This approach likewise attempts to answer the
following questions:
1. What are the differences between economic classes?
2. What conflict has arisen between the working class and the elite?
3. What implication may the socioeconomic system bring?
4. What social class has been emphasized and how was this portrayed in the piece?

Sample of Marxist Critique of “Dead Stars” by Paz Marquez Benitez”

The imbalanced societal power play is evident in the short story in the form of the treatment
of the characters based on their class. This is most easily evident in the conversation between
Alfredo and his fiancée. Esperanza, about Calixta, their note-carrier who grew up in the latter’s
family. The scene depicts a parallelism in the circumstance of Alfredo and his new love, Julia, and
Calixta and her live-in partner.
However, while no one blatantly frowns upon the budding relationship between Alfredo
and Julia, except for some whispered rumors that reached Esperanza, Calixta is dubbed
“ungrateful” to her master for doing such an act. Alfredo does not have to answer to anyone for
his unfaithfulness, but Calixta is responsible not only for what her family might think, but also for
the members of her master’s family. despite the same circumstances, the two people are regarded
differently based on their positions in life.

Barrot & Sipacio. (2017). Communicate Today ENGLISH for Academic

& Professional Purposes for SHS. Quezon City: C&E Publishing, Inc.

OTHER APPROACHES

6. Biographical Approach: Focuses on connection of work to author’s personal experiences.

Understanding authors’ life can help in comprehending the work. This aspect amplifies
meaning and relevance of the text.

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 1. What aspects of the author’s personal life are relevant to this story?
2. Which of the author’s stated beliefs are reflected in the work?
3. Does the writer challenge or support the values of her contemporaries?
4. What seem to be the author’s major concerns? Do they reflect any of the writer’s
personal experiences?
5. Do any of the events in the story correspond to events experienced by the author?
6. Do any of the characters in the story correspond to real people?

7. Historical Approach: This approach focuses on connection of work to the historical period in
which it was written; literary historians attempt to connect the historical background of the work
to specific aspects of the work.
1. How does it reflect the time in which it was written?
2. How accurately does the story depict the time in which it is set?
3. What literary or historical influences helped to shape the form and content of the work?
4. How does the story reflect the attitudes and beliefs of the time in which it was written or
set? (Consider beliefs and attitudes related to race, religion, politics, gender, society, philosophy,
etc.)
5. What other literary works may have influenced the writer?
6. What historical events or movements might have influenced this writer?
7. How would characters and events in this story have been viewed by the writer’s
contemporaries?
8. Does the story reveal or contradict the prevailing values of the time in which it was
written?
Does it provide an opposing view of the period’s prevailing values?
9. How important is it the historical context (the work’s and the reader’s) to interpreting the
work?

8. Psychological Approach: This approach focuses on the psychology of characters.

1. What forces are motivating the characters?
2. Which behaviors of the characters are conscious ones?
3. Which are unconscious?
4. What conscious or unconscious conflicts exist between the characters?
5. Given their backgrounds, how plausible is the characters’ behavior?
6. Are the theories of Freud or other psychologists applicable to this work? To what degree?
7. Do any of the characters correspond to the parts of the tripartite self? (Id, ego, superego)
8. What roles do psychological disorders and dreams play in this story?
9. Are the characters recognizable psychological types?
10. How might a psychological approach account for different responses in female and male
readers?
11. How does the work reflect the writer’s personal psychology?
12. What do the characters’ emotions and behaviors reveal about their psychological states?
13. How does the work reflect the unconscious dimensions of the writer’s mind?
14. How does the reader’s own psychology affect his response to the work?

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9. Sociological Approach: This approach focuses on man’s relationship to others in society,
politics, religion, and business.
1. What is the relationship between the characters and their society?
2. Does the story address societal issues, such as race, gender, and class?
3. How do social forces shape the power relationships between groups or classes of people
in the story? Who has the power, and who doesn’t? Why?
4. How does the story reflect the Great American Dream?
5. How does the story reflect urban, rural, or suburban values?
6. What does the work say about economic or social power? Who has it and who doesn’t?
Any Marxist leanings evident?
7. Does the story address issues of economic exploitation? What role does money play?
8. How do economic conditions determine the direction of the characters’ lives?
9. Does the work challenge or affirm the social order it depicts?
10. Can the protagonist’s struggle be seen as symbolic of a larger class struggle?
How does the microcosm (small world) of the story reflect the macrocosm (large world)
of the society in which it was composed?
11. Do any of the characters correspond to types of government, such as a dictatorship,
democracy, communism, socialism, fascism, etc.? What attitudes toward these political
structures/systems are expressed in the work?

10. Archetypal Approach: This approach focuses on connections to other literature,

mythological/biblical allusions, archetypal images, symbols, characters, and themes.
1. How does this story resemble other stories in plot, character, setting, or symbolism?
2. What universal experiences are depicted?
3. Are patterns suggested? Are seasons used to suggest a pattern or cycle?
4. Does the protagonist undergo any kind of transformation, such as movement from
innocence to experience, that seems archetypal?
5. Are the names significant?
6. Is there a Christ-like figure in the work?
7. Does the writer allude to biblical or mythological literature? For what purpose?
8. What aspects of the work create deep universal responses to it?
9. How does the work reflect the hopes, fears, and expectations of entire cultures (for
example, the ancient Greeks)?
10. How do myths attempt to explain the unexplainable: origin of man? Purpose and destiny
of human beings?
11. What common human concerns are revealed in the story?
12. How do stories from one culture correspond to those of another? (For example, creation
myths, flood myths, etc.)
13. How does the story reflect the experiences of death and rebirth?
14. What archetypal events occur in the story? (Quest? Initiation? Scapegoating? Descents
into the underworld? Ascents into heaven?)
15. What archetypal images occur? (Water, rising sun, setting sun, symbolic colors)
16. What archetypal characters appear in the story? (Mother Earth? Femme Fatal? Wise old
man? Wanderer?)
17. What archetypal settings appear? (Garden? Desert?)

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 18. How and why are these archetypes embodied in the work?

11.Philosophical Approach: This approach focuses on themes, view of the world, moral
statements, author’s philosophy, etc.
1. What view of life does the story present? Which character best articulates this viewpoint?
2. According to this work’s view of life, what is mankind’s relationship to God? To the
universe?
3. What moral statement, if any, does this story make? Is it explicit or implicit?
4. What is the author’s attitude toward his world? Toward fate? Toward God?
5. What is the author’s conception of good and evil?
6. What does the work say about the nature of good or evil?
7. What does the work say about human nature?

WRITING STRUCTURE

Since our focus is on the appropriate use of critical approaches in writing a critique, our
outputs must likewise be more on critiquing a piece of literature like a short story, a poem, a novel
and other literary genre. In this accord, let us denote salient structures and parts appropriate to
include in the output along with the outlined questions you have included.
There has been no strict rules in terms of structure for it varies depending on your
teacher’s task requirements, however, for uniformity purposes, let us generally use the
following parts below ranging from at least 100 to 750 words.
Remember that the heart of your critique shall focus on its strengths and weaknesses
and to relay how effective is the material.

A. Introduction (Short paragraph/paragraph/s - one to three sentences or more)

This must include the title of the material, the author, and your assessment of the
material.
For a short story, this part may also include the background of the piece, your
opinion and the thesis. The thesis includes the subject, your opinion and your main
point. For example:

SUBJECT: The Blind Assassin

OPINION: show’s Atwood’s skills as a writer
MAIN POINT/S: because of the visual imagery, the strong characters and the memorable
message.

B. Plot Summary/Description (Short paragraph/s – one to three sentences or more)

This involves the gist or the description of the material. For a short story, this is the
understanding of plot or summary of the piece examined.
C. Analysis and Interpretation/ Evaluation (One to three or more paragraph/s)
In this phase you will retrieve the guiding questions of your choice to include in
your outlined discussion. It does not necessarily mean that you will include all in one
but rather only those you think are needed depending on the arguments or points you
wanted to stress.

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 Likewise, though critical approaches are not exclusive and may be used at the same
time, it is better to focus and use at least one among the many approaches.
For the formalist view for example, any among the character, dialogue, setting,
conflict, suspense, ending and plot would speak by itself. Analysis of the poem for
formalists may involve imagery, sound, figurative language, language and other
elements.
D. Conclusion/Closing paragraph (One to three paragraphs)
At this point, you shall be able to link your thoughts reinforced with your
assessment in the introduction. If in any case it is possible for you to compare the
masterpiece to a similar work, the better. Your recommendation depends on how you
have perceived the material observing all fair judgment and appreciation.

Note: The length and the depth of your critique depends on the task required to you. Two
to three paragraphs could even be possible to include all the parts cited above.

For academic texts and researches the following parts may be adopted:

STRUTURE FOR CRITIQUE OF

ACADEMIC TEXTS AND RESEARCHES

A. INTRODUCTION (around 5% of the paper)

This includes the title of the book/article/work, the writer’s name and the thesis
statement which will preview your analysis.

B. SUMMARY (around 10%)

In this phase, objective or purpose must be cited. Methods used if applicable could be
included along with major finding, claims, ideas or message highlighted in the material. This also
includes arguments and findings on the material

C. REVIEW (around 75%)

In this phase, the following must be observed:
1. Appropriateness of methodology to support the arguments (for books and articles) or
appropriateness of mode of presentation (other works) must be cited.
2. Theoretical soundness, coherence of ideas
3. Sufficiency and soundness of explanation in relation to other available information and
experts. It is likewise best to ask the following questions during this part:
a. What are the assumptions mentioned in the work? Are they explicitly discussed? • What
are the contributions of the work to the field where it belongs?
b. What problems and issues are discussed or presented in the work? • What kinds of
information are presented in the work?
c. How are information used to support the arguments or thesis? • Are there other ways
of supporting the arguments or thesis aside from the information used in the work?
Is the author or creator silent about the alternative ways of explanation?
d. Discuss the article’s pros and cons and state your opinion about its clarity and accuracy.
Use the data and examples from the article to support your arguments.

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 D. CONCLUSION (around 10%)
1. Your overall impression of the work shall be stated.
2. Scholarly or literary value of the reviewed article, book, or work
3. Benefits for the intended audience or field
4. Suggestion for future direction of research
5. Clarify and summarize judgments
6. Comment about why such research matters or what else needs to be researched in the
field.

OTHER GUIDELINES in Writing a REACTION PAPER, REVIEW, & CRITIQUE

FOR ARTICLES OR JOURNALS

Show your agreement with the writer’s or creator’s ideas and present an explanation for this
agreement.
ON A GENERAL NOTE, your reaction paper’s conclusion may focus on the following
ideas. a. Did the work hold your interest? b. Did the work annoy or excite you? c. Did the work
prompt you to raise questions to the author? d. Did the work lead you to some realizations? e. Did
the work remind you of other materials that you have read, viewed or listened to in the past?

Barrot & Sipacio. (2017). Communicate Today ENGLISH for Academic

& Professional Purposes for SHS. Quezon City: C&E Publishing, Inc.

OTHER POINTS TO CONSIDER IN WRITING

1. Organization. Depending on the approach, you can arrange paragraphs by points,

strengths vs. weaknesses, or topics. Your goal isn’t just to negatively criticize a book but
also point out what the author did well.
2. Writing techniques and style. In evaluating a book, don’t forget to mention these points.
Discuss how effectively (or not) the author used stylistic devices to prove his ideas.
3. Evidence. Describe what types of arguments the author used. Were they logical and
appropriate? Don’t forget to explain why the evidence supports your point.
4. Usefulness. Discuss what the book adds to understanding its topic. Is it useful? Does it
present ideas in original and engaging ways? How does it address the core aspects of
society?
5. Examples. Support every argument of your critique with examples. You can’t just write
that the book was boring; provide a quote as evidence and explain why it does not appeal
to you.

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 VI. LET’S WORK AND LEARN (PRACTICE TASK 1, 2, 3)

TASK 1: “MY CRITICAL WRITING QUESTIONS, MY APPROACH”

Direction/s: Read and analyze the adapted sample critique below. Write the guiding
critical approach questions used by the writer and determine the approach used. Use the writing
space BELOW provided for you.
A Rose for Emily
By William Faulkner

“A Rose for Emily” is a story that sets you to difficulty at first, but to a moment of wander and
excitement as you started to go in depth on the details.

The narration of “A Rose for Emily” is written in the first person, or as if a member of the
community. Using phrases such as, “we did not say she was crazy then” made the story believable, as if
it actually happened, rather than a third person narrative most fiction stories use.

The imagery Faulkner presented in this story gives off a setting in the old south. Words such as
“tradition,” “generation, and “sort of hereditary obligation” contribute to an old southern feel. Even
though the story is written as if it were told by a member of the community, the imagery is fitting since
Faulkner himself is from Mississippi during the Civil War.

The old feel of the story is suitable, since “A Rose for Emily” begins and ends with her death. The
old-timey feel aids the reader in realizing that they are reading a story which switches back and forth
over the main characters life.

The plot of “A Rose for Emily” jumps back and forth in non-chronological order. This method of
storytelling delivers an immense element of surprise at the end of the story. The narration also ties into
the element of surprise at the end of the story.

Since the story is read as if a member of society were writing at present, there is very little way
the reader could predict the end of the story until further reading. For example, in the story Emily
purchases poison and the members of the community were certain “she will kill herself”. Later, Emily’s
cousins report to the community “that she had bought a complete outfit of men’s clothing, including a
nightshirt”. However, if the events of the story were reversed in order, it would be easier for the reader
to conclude what actually happened – that Emily murdered Herbert with rat poison.

I think that “A Rose for Emily” is indeed a piece of art. Faulkner won a Nobel Peace Prize in
literature, and I can certainly see why.

The story was at first slightly confusing as far as the plot goes, but as the story developed the
plot became more apparent. Even if the plot were understood from the beginning, Faulkner has a strong
command of English, creating wonderful scenes of imagery and I was able see everything that was being
described in the story vividly.

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 “MY CRITICAL WRITING QUESTIONS, MY APPROACH”

My answer/s: It’s writing time!

As I analyzed the example above, the critical guiding questions used by the writer are the
following:

1. ____________________________________________________________________________

2. ____________________________________________________________________________

3.____________________________________________________________________________

4. ____________________________________________________________________________

5.____________________________________________________________________________

With the questions you have written, what approach did the writer use?

_____________________________________________________________________________

1. A sample critique is hereunder written. Write the parts that are essential in
writing an article critique on the shaped signage or prompts indicated. Take
you answers from your mind box below.

“MY MIND BOX”

Title, author and main point e. Specific examples

Thesis statement f. Summarizing the key
points
Brief Summary g. Closing
Sentence
The actual critique h. Reference List

16
 Sample of an Article Critique

Graduate student enrollment has increased in recent years, but these students face many
challenges on their path to a degree. Researchers have noted that graduate students experience anxiety
and stress that may be connected to high attrition rates (Poock, 2002). In the article “Student anxiety:
Effects of a new graduate student orientation program,” Megan Hullinger and Dr. R. Lance Hogan (2014)
examined the impact of an online orientation program on student anxiety. While this article produced
significant results showing that an orientation program could reduce anxiety of new graduate students
there are limitations related to the replicability, sample, and generalizability of results.

Provide a
brief Hullinger and Hogan (2014) used a sample of 32 incoming graduate
summary students to examine the impact of an online orientation program designed
of the to connect new students with resources across the university. The
article in researchers collected demographic information of participants and used
your own the State Trait Anxiety Inventory to measure anxiety before and after the
words. orientation program. Using t-tests, Hullinger and Hogan found that the
participants experienced a significant reduction in anxiety following the
completion of the online orientation program.

The researchers discussed an important topic, as administrators continue to

attempt to improve retention efforts in higher education. The approach of an online
orientation program could be useful for students as it would allow them to have
important information at their fingertips, regardless of if they are on campus or not.
However, Hullinger and Hogan (2014) did not provide key information about the
orientation program they used in their study. This lack of detail would make it difficult to
replicate their program in order to further expand the research on this kind of program.

Significant results were noted in the results of this study, but there are limitations to these
findings. First, the sample size was small. Out of 802 incoming students who were invited to
participate, only 32 students completed the pre- and post- anxiety inventory. With such a small
sample size it is difficult to generalize these findings to the larger graduate student population.
Also, all participants in this study were from a state university in the Midwest; this also limits the
generalizability of these findings to the larger student population. While Hullinger and Hogan
(2014) stated that the study should be replicated with a larger population and at other schools,
the authors did not discuss how these factors of their study were limitations.

17
 This article focused on an important topic within higher education, as administrators need to
find solutions to improve retention. One of the barriers graduate students face is anxiety, so an online
orientation designed to reduce anxiety could be one useful tool to points of the article address this
problem. Hullinger and Hogan (2014) shared encouraging results of an online orientation program
designed to connect incoming graduate students with university resources. However, this study did
not adequately describe this orientation program so that future researchers can replicate this program
in other samples. Furthermore, the small sample size and lack of diversity among participants limits
the generalizability of these findings.

Future research on online orientation programs with a clear description of the program among
a larger more diverse sample is necessary to provide evidence of the impact of online orientation
programs.

References

Hullinger, M., & Hogan. R. L. (2014). Student anxiety: Effects of a new graduate student
orientation program. Administrative Issues Journal: Education, Practice, and

Research, 4(2), 27-34. Retrieved from http://files.eric.ed.gov/fulltext/EJ1058507.pdf

Poock, M. C. (2002). Graduate student orientation: Assessing need and methods of

delivery. Journal of College Student Development, 43(2), 231-245.
Retrieved from http://www.myacpa.org/journal-college-student-
development

-
2. A poem entitled “Caged Bird” is hereunder written. Analyze and decide on the
approach/es you will use in critiquing the piece. Draft your critical approach questions and
put them together in your critique outline. Then, write a critique not less than two
paragraphs or a hundred words. Use the rubric below in checking your critique content.
Use the space allotted for you.

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Caged Bird
BY MAYA ANGELOU
A free bird leaps
on the back of the wind
and floats downstream
till the current ends
and dips his wing
in the orange sun rays
and dares to claim the sky.

But a bird that stalks

down his narrow cage
can seldom see through My Approach:
his bars of rage _______________________________
his wings are clipped and
his feet are tied My critical approach questions:
so he opens his throat to sing.
1.______________________________
The caged bird sings 2.
with a fearful trill _______________________________
of things unknown
but longed for still 3._____________________________
and his tune is heard 4.
on the distant hill _______________________________
for the caged bird
sings of freedom. 5.______________________________

The free bird thinks of another breeze

and the trade winds soft through the sighing trees Caged Bird
and the fat worms waiting on a dawn bright lawn by Maya Angelou
and he names the sky his own

But a caged bird stands on the grave of dreams _________________________

his shadow shouts on a nightmare scream _______________________________
his wings are clipped and his feet are tied _______________________________
so he opens his throat to sing.
_________________________
_______________________________
The caged bird sings
_______________________________
with a fearful trill
_______________________
of things unknown
but longed for still
and his tune is heard
on the distant hill
for the caged bird
sings of freedom

19
 Your Critique Writing Rubric

Critique Structure: (Note: Depending on your performance, your teacher may devce a scoring
rubric suited for you.)

1. Introduction (Short paragraph/paragraph/s - one to three sentences or more)

Introduction Statement (include Title, author, your opinion) 5points

Your thesis 5points
II. Plot Summary/Description (Short paragraph/s – one to three sentences or more)

This involves the gist or the description of the material. For a short story, this is the
understanding of plot or summary of the piece examined. 10 points

III. Analysis and Interpretation/Evaluation (One to three paragraph/s) 60 points

Your Critique
For formalism may consider
Imagery, sound, language figures of speech etc.
For Biographical may consider to know the author’s experiences
For Historical may deal comparison women on her time was perceived
For Marxism may consider societal differences
For feminism the focus would be on oppression etc.

IV. Conclusion/Closing paragraph 20 points

_________________
100 points/percent/10points

Note: A specific scoring rubric may be provided by your teacher depending on your level of
understanding and the extent or quality of outputs your teacher requires you to do so.

VII. LET’ S WRITE (POST TEST)

Test I. Read the excerpt below and write on your notebook the critical approach used.

1. What critical approach is employed on the excerpt cited below?

a. Feminism c. Marxist
b. Biographical d. Readers Response

20
 Your love is like the sun,
That lights up my whole world
I feel the warmth inside;
Your love is like the river,
That flows down through my veins
I feel the chill inside;

Excerpt of a Critique:
It has a sestet stanza or six lines in a stanza, it’s lyrical because it shows strong
feelings and thoughts. It shows no rhyme (a, b, c, d, e, c). It is a hexameter consisting of
six number of feet and it shows repetition of phrases. The repetition is intently used to
evoke a strong feeling.
2. a. Psychological approach c. Historical/Marxist
b. Formalism d. Feminist

Sample excerpt critique:

The poem explores the concept of justice and how it is applied in the Philippine
Society today compared to our times in the past. Although it is about the Supreme Court in
particular, it also reflects other problems in the Philippine Government. For example the use
of money and power by government officials to cover up their mistakes in public. Evident
in the content, we can say at present that checks and balances in the Philippine Government
to some extent are still alive and well, however, there are loopholes at some circumstances
apparent or observable today.
3.
a. Biographical c. Historical
b. Formalism d. Feminist

Sample Excerpt:
The piece begins from a thought how happy life is. The experiences of the main
character the moment he was born depicts a remarkable good life. Contentment as it may seem
are repeated expressed in the piece. However, a twist seems to unfold the mask behind happy
faces, happy moments and happy life. It is an exactly opposite of reality as hinted by some
contradicting thoughts by the speaker. This I think is very much possible because the main
character it seems is the author himself.

21
MY REFLECTION

VIII. (ASSIGNMENT /ADDITIONAL ACTIVITIES)

Multiple Intelligences: “My Thought, My Feel”
Research and choose at least one of the masterpieces of Edgar Allan Poe,
Emily Dickenson or Angela Manalang Gloria. Decide the approach that you will use.
Write a short critique on a piece of bond paper and draw a background scene which
will depict your personal feel to the poem. Be guided with the rubric below in rating
your work.
Your Critique Writing Rubric

Critique Structure: (Note: Depending on your performance, your teacher may device a scoring
rubric suited for you.)
2. Introduction (Short paragraph/paragraph/s - one to three sentences or more)
Introduction Statement (include Title, author, your opinion) 5points
Your thesis 5points
II. Plot Summary/Description (Short paragraph/s – one to three sentences or more)

This involves the gist or the description of the material. For a short story, this is the
understanding of plot or summary of the piece examined. 10 points

III. Analysis and Interpretation/Evaluation (One to three paragraph/s)

Your Critique 50 points
IV. Evaluation/Conclusion/Closing paragraph (One to three paragraphs) 10 points
V. Background drawing / Relatedness/Synchronicity 20 points
_______________
100 points/percent/10 points

22
 IX. REFERENCES

Ashford Writing Center. 2020. Sample Article Critique. Ashford Writing Center.
Retrieved from https://writingcenter.ashford.edu/sites/default/files/inline-files/Sample
%20Critique_Neutral.pdf . Date Accessed: 15 July 2020.

Barrot & Sipacio. 2017. Communicate Today ENGLISH for Academic & Professional Purposes for SHS.
Quezon City: C&E Publishing, Inc.

Bid4papers.com. 2019. How to Write a Book Critique Like a Professional. Bid4papers.com. Retrieved from
https://bid4papers.com/blog/writing-critique-novel/. Date Accessed: 15 July 2020.

Geyte E. V. 2013. Writing: Learn To Write Better Academic Essays. London: Harper Collins Publishing.

Gioia’s & Kennedy, 1995. Literature: An Introduction to Fiction, Poetry, and Drama,
Sixth Edition (New York: HarperCollins.

Guerin W. et al. 2005. A Handbook of Critical Approaches to Literature, 5th Edition. New York: Oford
University Press.

Cusd80.com. Literary Criticism: Questions for a Variety of Approaches. n.d. Cusd80.com

https://www.google.com/search?biw=1350&bih=648&sxsrf=ALeKk03sEGHyFRaqGM6cEVO5J
mcKD3j8Q%3A1594539172024&ei=pLwKX6WMAciUmAWG35bgAQ&q=approaches+to+criti
cism+questions . Date Accessed: 15 July 2020.
Crossman, V. 2020. A Rose for Emily: A Formalist Approach. Victoriaj crossman.wordpress.com.
Retrieved from https://victoriajcrossmanwordpress. com/ american -literature/a-rose-for-emily-a-
formalist-approach/. Date Accessed: 15 July 2020.

Poetry Foundation. Org. 2020. “Caged Bird” by Maya Angelou. Poetry Foundation. Org. Retrieved
from https://www.poetryfoundation.org/poems/48989/caged-bird. Date Accessed: 15 July 2020.

Merriam Webster.com. 2020. Evaluation. Rtrieved from http://www.merriam-

webster.com/dictionary/evaluation. Date Accessed: 15 July 2020.

Merriam Webster.com. 2020. Patriarchy. Rtrieved from http://www.merriam-

webster.com/dictionary/patriarchy. Date Accessed: 15 July 2020.

Merriam Webster.com. 2020. Tripartite. Rtrieved from http://www.merriam-

webster.com/dictionary/tripartite. Date Accessed: 15 July 2020.

Montgomery.k12.us. Guidelines to Writing a Short Story. Montgomery.k12.us. Retrieved from

https://www.montgomery.k12.ky.us/userfiles/1501/Classes/686/shortStorycritique.pdf Date
Accessed: 15 July 2020.

Tyson L. 2006. Critical Theory Today: A User Friendly Guide, 2nd ed.

Other Sources:
https://www.youtube.com/watch?v=skEn61J6c8s

23
X. KEY TO CORRECTION
IV. 1. Formalism
2. Feminism
3. Historical

4. Biographical

5. Reader’s Response

V.

Task 1. Answers may vary

Task 2. Answers my vary
VI.
Task 1. Answers vary
Task 2.
1. Title, author, main point
2. Thesis statement
3. Brief summary
4. Actual critique
5. Specific examples
6. Closing sentences
7. References
Task 3. Answers vary

VII.

Test I

1. Formalism
2. Historical
3. Biographical

24