Considerations in Appreciating Literature

Unit I – Considerations in Appreciating Literature
Novel, short story, poem and essay are printed matters with an artistic
element. They are made of art, which mean that there is something in them
that humanity must see. When a writer pulls out his pen and picks up and
empty piece of paper, there is something in his heart and mind that he wants
humanity to understand.
Learning Outcomes
At the end of this unit, you will be able to:
 Distinguish between directly functional and indirectly function art;
 Explain and discuss the basic philosophical perspectives on the art.
Pretest
Directions: identify the writer of the following quotations. Write your answer in the space
provided.
_________________________ 1. Don’t tell me the moon is shining; show me the
glint of light on broken glass.
_________________________ 2. “I have written a great many stories and I still don’t
know how to go about it except to write it and take my chances.”
_________________________ 3. It is better to fail in originality than to succeed in
imitation.”
_________________________ 4. I love writing. I love the swirl and swing of words
as they tangle with human emotion.
_________________________ 5. Writing is nothing more than a guided dream.”
Prodigal Son
From Luke: Chapter 15:10 – 32
Luke (c. 1st century CE)
ISRAEL
10: Likewise, I say unto you, there is joy in the presence of the angels of God over
one sinner that repent.
11: And he said, “There was a man who had two sons.
12: And the younger of them said to his father, ‘Father, give me the share of property
that is coming to me.’ And he divided his property between them.
13: Not many days later, the younger son gathered all he had and took a journey into
a far country, and there he squandered his property in reckless living.
14: And when he had spent everything, a severe famine arose in that country, and
he began to be in need.
15: So he went and hired himself out to[a] one of the citizens of that country, who
sent him into his fields to feed pigs.
16: And he was longing to be fed with the pods that the pigs ate, and no one gave
him anything.
17: “But when he came to himself, he said, ‘how many of my father's hired servants
have more than enough bread, but I perish here with hunger!
18: I will arise and go to my father, and I will say to him, “Father, I have sinned
against heaven and before you.
19: I am no longer worthy to be called your son. Treat me as one of your hired
servants.”’
20: And he arose and came to his father. But while he was still a long way off, his
father saw him and felt compassion, and ran and embraced him and kissed him.
21: And the son said to him, ‘Father, I have sinned against heaven and before you. I
am no longer worthy to be called your son.’
22: But the father said to his servants, ‘Bring quickly the best robe, and put it on him,
and put a ring on his hand, and shoes on his feet.
23: And bring the fattened calf and kill it, and let us eat and celebrate.
24: For this my son was dead, and is alive again; he was lost, and is found.’ And
they began to celebrate.
25: “Now his older son was in the field, and as he came and drew near to the house,
he heard music and dancing.
26: And he called one of the servants and asked what these things meant.
27: And he said to him, ‘Your brother has come, and your father has killed the
fattened calf, because he has received him back safe and sound.’
28: But he was angry and refused to go in. His father came out and entreated him,
29: but he answered his father, ‘Look, these many years I have served you, and I
never disobeyed your command, yet you never gave me a young goat that I might
celebrate with my friends.
30: But when this son of yours came, who has devoured your property with
prostitutes, you killed the fattened calf for him!’
31: And he said to him, ‘Son, you are always with me, and all that is mine is yours.
32: It was fitting to celebrate and be glad, for this your brother was dead, and is alive;
he was lost, and is found.’”
Literary Term Focus: PARABLE

A parable is a belief story that is meant to teach a lesson or illustrate a moral
truth. A parable is more than a simple story, however. Each detail of the parable
correspondents to some aspect of the problem or moral dilemma to which it is directed.
The story of the prodigal son in the Bible is a classic example.
LUKE (1ST CENTURY CE)
Luke was an Early Christian writer who tradition holds as

the author of the Gospel of Luke and the Acts of the Apostles.
Saint Luke was born of Greek origin in the city of Antioch. Luke
died at age 84 in Boeotia, according in Thebes “fairly early and
widespread tradition.” Luke’s Tomb was located in Thebes
(Greece), from whence his relics were transferred to
Constantinople in the year 357.
Desiderata
By Max Ehrmann (c.1920)
Go placidly amid the noise and haste, and remember what peace there may be in
silence.
As far as possible, without surrender, be on good terms with all persons. Speak your
truth quietly and clearly; and listen to others, even to the dull and the ignorant, they too
have their story. Avoid loud and aggressive persons, they are vexations to the spirit.
If you compare yourself with others, you may become vain and bitter; for always there
will be greater and lesser persons than yourself. Enjoy your achievements as well as
your plans. Keep interested in your own career, however humble; it is a real possession
in the changing fortunes of time.
Exercise caution in your business affairs, for the world is full of trickery. But let this not
blind you to what virtue there is; many persons strive for high ideals, and everywhere life
is full of heroism. Be yourself. Especially, do not feign affection. Neither be cynical about
love, for in the face of all aridity and disenchantment it is perennial as the grass.
Take kindly to the counsel of the years, gracefully surrendering the things of youth.
Nurture strength of spirit to shield you in sudden misfortune. But do not distress yourself
with dark imaginings. Many fears are born of fatigue and loneliness.
Beyond a wholesome discipline, be gentle with yourself. You are a child of the universe,
no less than the trees and the stars; you have a right to be here. And whether or not it is
clear to you, no doubt the universe is unfolding as it should.
Therefore be at peace with God, whatever you conceive Him to be, and whatever your
labors and aspirations, in the noisy confusion of life, keep peace in your soul.
With all its sham, drudgery and broken dreams, it is still a beautiful world.
Be cheerful. Strive to be happy.

MAX EHRMANN
Max Ehrmann was born in Terre Haute, Indiana, on

September 16, 1872. His parents were German immigrants.
Ehrmann graduated from DePauw University in Greencastle in
1894, after which he studied law and philosophy at Harvard
University. (Desiderata by Max Ehrmann, The Poem, Creation
and Use - BusinessBalls.com. (2020)
Professional Life
Ehrmann returned to Terre Haute to practice law, following which

(early 1900's) he began writing, apparently obsessively. Max
Ehrmann was known as the 'Poet Laureate' of Terre
Haute'. Ehrmann wrote many poems, although none became
well known until after his death. Aside from Desiderata his most
famous poem is A Prayer, written in 1906.
The Writers And What They Say About Their Craft
“Don’t tell me the moon is shining; show me the glint of light on broken glass.”
~ Anton Chekhov
“I have written a great many stories and I still don’t know how to go about it except to
write it and take my chances.”
~ John Steinback
“What drove you to be a writer? When did you know? “I don’t know what drove me.
Driven I have been but I don’t know what drove me. When did I begin? In college I
began to write some very tender little stories. And I stuck with it.”
~ Philip Roth
“Being a Sothern writer “I learned that to be a writer, one has first got to be what he
is, what he was born; that to be an American and a writer one does not necessarily
have to pay lip-service to any conventional American image such as his [Sherwood
Anderson’s] and Dreiser’s own aching Indiana and Ohio or Iowa corn or Sandburg’s
stockyards or Mark Twain’s frog. You had only to remember what you were. You
have to have somewhere to start from: then you begin to learn …. You’re a country
boy; all you know is that little patch up there in Mississippi where you started from.”
~ William Faulkner
“It is better to fail in originality than to succeed in imitation.”

~ Herman Melville
"What a writer in our time has to do is write what hasn’t been written or beat dead
men at what they have done.”
~ Ernest Hemingway
“I love writing. I love the swirl and swing of words as they tangle with human
emotion.”
~ James Michener
“Being short does not mean being slight. A short story should be long in depth and
should give us an experience of meaning….. A story is good when you continue to
see more and more in it, and when it continues to escape you.”
~ Flannery O’Connor
“With Chekhov you do not seem to be reading stories at all….. The author has had
an emotion, and he is able to put it into collaborator. Yet if you try to tell one of his
stories there is nothing to tell.”
~ W. Somerset Maugham
“In the writings process, the more the story cooks, the better. The brain works for
you even when you are at rest. I find dreams particularly useful…. You can only
learn to be a better writer by actually writing.”
~ Doris Lessing
“How do you start a story?” ‘Get black on white’ used to be Maupassant’s advice –
that’s what I always do. I don’t give a hoot what the writing’s like, I write any sort of
rubbish which will cover the main outlines of the story, and then I begin to see it.
When I write, when I draft a story, I never think of writing nice sentences about, ‘It
was a nice August evening with Elizabeth Jane Moriarty was coming down the road.’
I just write roughly what happened, and then I’m able to see what the construction
looks like. It’s the design of the story which to me is the most important, the thing
that tells you there’s a bad gap in the narrative here and you really ought to fill that
up in some way or another. I’m always looking at the design of the story, not the
treatment. Yesterday I was finishing off a piece about my friend A.E Coppard, the
greatest of all the English storytellers, who died about a fortnight ago. I was
describing the way Coppard must have written these stories, going around with a
notebook, recording what the lighting looked like, what the house looked like, and all
the time using metaphor to suggest it to himself, ‘The road looked like a mad serpent
going up the hill,’ or something of the kind, and “She said so-and-so, and the man in
the pub said something else.’ After he had written them all out, he must have got to
see what these people did, first of all, and then I start thinking of whether it was nice
August evening or a spring evening.”
~ Frank O’Connor
“Writing is nothing more than a guided dream.” ~ Jorge Luis Borges
“The whole notion that I am an intuitive is a myth I have created myself. I worked my
way through literature, reading, writing and writing – it’s the only way… I learned a
lot from James Joyce and Erskine Caldwell and of course from Hemingway . . . The
tricks you need to transform something which appears fantastic, unbelievable into
something plausible, credible, those I learned from journalism. The key is to tell it
straight. It is done by reWith Chekhov you do not seem to be reading stories at all….
The author has had an emotion, and he is able to put it into words, then you receive
it in your turn. You become his collaborator. Yet if you try to tell one of his stories
there is nothing to tell.’’ ~ W. Somerset Maughamporters and country folk.”
~ Gabriel Garcia Marquez
“With Chekhov you do not seem to be reading stories at all….. The author has had
an emotion, and he is able to put it into words, then you receive it in your turn. You
become his collaborator. Yet if you try to tell one of his stories there is nothing to
tell.’’
~ W. Somerset Maugham
“I love writing. I love the swirl and swing of words as they tangle with human
emotion.”
~ James Michener
“The short story “People Like That Are the Only People Here” “It was fiction. It is
autobiographical, but it’s not straddling a line. Things did not happen exactly that
way; I re-imagined everything. And that’s what fiction does. Fiction can come from
real-life events and still be fiction. It can still have that connection, that germ. It came
from something that happened to you. That doesn’t mean it’s straddling a line
between nonfiction and fiction. And the whole narrative strategy is obviously fictional.
It’s not a nonfiction narrative strategy.”
~ Lorrie Moore
“When I was younger, tales came to me so quickly and automatically, it was hard to
keep up with my pencil. Now they’re more thoughtful and come over a slower and
longer time. . . . . Don’t get me wrong – I have a big motorcycle.”
~ Barry Hannah
The Artists And Their Works
Dylan, Bob [dilan] pseudonym of Robert Zimmerman (1941)
Folk-singer and songwriter, born in Duluth, Minnesota, USA. Taking his

professional name from the poet Dylan Thomas, he rose to fame in the 1960’s, following
the folk tradition of Woody Guthrie but introducing a fresh social and political awareness.
His lyrics made his songs the dominant influence in the popular music and
culture of the period. Opposition to war, the nuclear bomb, and racial and social injustice
are the themes of some of his most famous songs, such as “Blowin’ in the Wind” and
“The Times They are a-Changin’”. In the late 1960’s he changed from specific protests to
more general and personal themes, to a more traditional Country and Western style of
music, as in Nashville Skyline (1969).
In 1979 he become a convert to Christianity, which led to religious albums such
as Saved. In the 1980’s he returned to Judaism, and remains one of the seminal
influences on popular songwriting.
The Beatles (1960 – 70)
British pop group, formed in Liverpool, north-west England, UK in 1960,

consisting of John Lennon (1940 – 80, rhythm guitar, keyboards, vocals), Paul
McCartney (1942 - , bass, guitar, vocals), George Harrison (1943- , lead, guitar, sitar,
vocals), and Pete Best (1841- , drums).
In 1962, Best was replaced by Ringo Starr (1940- , real name Richard Starkey),
and the band signed a record contract. ‘Love Me Do’ became a hit in the UK, and their
appearances at the Cavern Club in Liverpool and elsewhere in the UK overflowed with
idolizing fans. ‘Beatlemania’ spread around the world in 1964, buoyed by international
hits such as ‘She Loves You’ and ‘I Want to Hold Your Hand’, and by the overwhelming
success of a concert tour in American stadiums.
At press conferences and interviews, the Beatles projected a fey, carefree, and
somewhat cynical image that influenced the attitudes of their teenage admirers just as
their long hair and ‘granny’ glasses influenced their looks. The image was sustained in
their films A Hard Day’s Night (1964) and Help! (1965). The string of early hits, all written
by Lennon and McCartney, also included ‘Please Please Me’, Can’t Buy Me Love’, ‘And I
Love Her’, and ‘Yesterday’.
In 1966 the Beatles stopped performing on public. They then produced Sergeant
Pepper’s Lonely Hearts Club Band (1967), a loose programmed of songs on the theme
of alienation: at its best (as in ‘Mr Kite’, ‘She’s Leaving Home’, ‘A Day in the Life’) it uses
the devices of pop music to express a poetic vision. The group dissolved a
acrimoniously in 1970.
Beethoven, Ludwig Van [baytohvn] (1770 – 1827)

Composer, born in Bonn, Germany. Miserably brought up by a father who
wanted him to become a profitable infant prodigy, he joined the Elector of Cologne’s
orchestra at Bonn. In 1787 he had lessons from Mozart in Vienna, and in 1792 returned
to that city for good, apart from a few excursions. He first joined Prince Lichnowsky’s
household and studied under Haydn.
In the first (1792 – 1802), which includes the first two symphonies, the first six
quartets, and the ‘Pathetique’ and ‘Moonlight’ sonatas, his style gradually develops its
own individually. His second period (1803 – 12) begins with the ‘Eroica’ symphony
(1803), and includes his next five symphonies, the difficult ‘Kreutzer’ sonata (1803), the
Violin Concerto, the ‘Archduke’ trio (1811), and the ‘Razumovsky’ quartets.
His third great period begins in 1813, and includes the Mass, the ‘Choral’
symphony (1823), and the last five quartets. Beethoven was tolerated by Vienna society
despite his physical unattractiveness and arrogance. Just as he was developing a
reputation as a composer, he began to go deaf, but stoically accepted the fact. None of
this stopped him from falling in love with his pupils, including Giulietta Guicciardi and
Josephine von Brunswick.
From 1812 he was increasingly assailed by health, business, and family worries,
which included prolonged litigation to obtain custody of his dead brother’s son, Karl. His
last work was completed at Gneixendorf in 1826, where he developed a severe chill
(exacerbated by returning to Vienna in an open chaise), from which he died.
Freddie Aguilar
Freddie Aguilar brought Philippine folk pop music to new heights when his song
Anak not only was a significant hit in the Filipino music scene, but in the international
arena as well; having been translated and recorded in 11 foreign languages. The man
with his pinched face and his trademark buri hat and guitar had humble beginnings,
singing in a small bar in Ermita, Manila in 1973. Since then, he has recorded albums that
all reached gold, platinum and multi-platinum status. Some of these were, Anak double
platinum in 1978, and a First Millionaires award in 1991; Magdalena, reached double
platinum in 1985; Katarungan, gold award in 1985; Sariling Atin, platinum award in 1989;
and Kumusta Ka, reaching platinum in 1991. Most of his songs and performances bore
socio-political messages and were quite often used in mass protests; for 3 years until the
EDSA Revolution on 1986, he rendered Constancio de Guzman’s and Jose Corazon de
Jesus’ Bayan Ko amidst mass actions against the government. His recording of the song
earned for him a Folk Vocal Performance of the Year from the Cecil Awards in 1985.
Levi Celerio
National Artist Levi Celerio was born in the slums of Tondo, Manila on April 30,
1910. When he was 11, he took lessons from the Philippine Constabulary and later
became a member. He finished two semesters of a violin course at the UP Conservatory
of Music, and later, took a scholarship at the Academy of Music of Manila upon the
recommendation of the then UP Conservatory director Alexander Lippay. It was then he
became the youngest member of the Manila Symphony Orchestra. A tragedy struck
when Levi fell from a tree and broke his wrist, abruptly halting his career as violinist. In
1930, he was asked to write the theme song of Filipino Film’s Dalagang Bukid starring
Rogelio dela Rosa and Rosa del Rosario. Soon, he became one of the country’s most
preferred lyricist, even providing lyrics for folk melodies such as Cariñosa, Subli, and
Maglalatik. He was featured in the popular American TV program That’s Incredible for
his feat as the only man who can play music using a leaf. During his prolific career,
Celerio was able to compose and lyrics to more than 4000 songs, most of them
unaccounted for. In 1991, he was conferred a doctorate in humanities, honoris causa, by
the University of the Philippines. He was given a Lifetime Achievement Award by the
Film Academy of the Philippines, a Gawad CCP Para Sa Sining by the Cultural Center of
the Philippines, a Natatanging Gawad Urian from the Manunuri Ng Pelikulang Pilipino;
and most significally, he was conferred the National Artist Award for Music.
How to Appreciate Folksongs
Folk music, music transmitted orally with modifications from generation to

generation and from place to place, so that its original form and composer are forgotten.
Much folk music exhibits melodic inflections, rhythmic characteristics, or performing
styles which link it to a particular country or locality, but it is not unknown for folktunes to
cross boundaries, and even seas. Sound recording has greatly facilitated the collecting
and transcribing of folk music in the 20th-c.
Steps
Pay close attention to the music. Most Philippine folksongs picture out certain
aspect of the people. Most often they speak about daily works. Sometimes they also tell
stories of successes and failures.
Identify from what region the song from. To go over into this is very easy; just
know the original version or dialect of the song. Refer the song to the actual practices of
the people in the region. Of course you have to be familiar with the local history of the
region.
Listen to the tune of the song. Most often than not, the Philippine folksong
employs guitar as its accompaniment in the singing and the usual style is strumming and
plucking. Today the tune of the Philippine folksongs is to rustic to hear so that going
deeper into the song while being played one will imagine and see good farming people
in the barrios. Or depending on the background of the listener. If he is from the urban
centers like Manila, perhaps he will picture out factory workers, jeepney drivers and
other image of ordinary people as the song is being played.
Invictus
By William Ernest Henley
Out of the night that covers me,
Black as the pit from pole to pole,
I thank whatever gods may be
For my unconquerable soul.
In the fell clutch of circumstance

I have not winced nor cried aloud.
Under the bludgeonings of chance
My head is bloody, but unbowed.
Beyond this place of wrath and tears

Looms but the Horror of the shade,
And yet the menace of the years
Finds and shall find me unafraid.
It matters not how strait the gate,

How charged with punishments the scroll,
I am the master of my fate,
I am the captain of my soul.
WILLIAM ERNEST HENLEY

(AUGUST 23, 1849 – JULY 11, 1903)
Born Aug. 23, 1849, Gloucester, Gloucestershire, Eng.—

died July 11, 1903, Woking, near London), British poet, critic, and
editor who in his journals introduced the early work of many of the
great English writers of the 1890s.
[The author of “Invictus” was a cripple, a lifelong invalid. In
the early years of his life. William Ernest Henley suffered much from
a tubercular infection of the bone which resulted in the amputation
of his foot. To prevent further injury he went to Edinburgh for
treatment. It was in the hospital where he lay helpless awaiting a
risky operation the outcome of which was very doubtful that he
composed this poem his most popular work, Invictus is a Latin word
meaning unconquered.
Robert Louis Stevenson, and eminent Victorian writer, was
Henley’s friend with whom he collaborated on essays and several
unsuccessful plays. Stevenson used Henley as his model for the
character of Long John Silver in his novel, Treasure Island. Despite
his being an invalid Henley produced a considerable amount of
literary work.] (William Ernest Henley | British writer. (2020).
CADAVER
By Alberto S. Florentino
Characters: Torio
Marina
Carding
(The interior of a squalid, one-room dwelling located on the edge of a cemetery in

Manila. The walls and roof — made of empty fruit boxes, tarpaulin, bamboo, and
cardboard patched together — threaten to collapse any minute.)
(A door, upstage left, leads to the outside and another, right, to the kitchen.
Upstage center is a small window. At right corner is a cot placed diagonally across
the room. Two fruit boxes, standing on their sides, serve as seats, and another,
flat on the ground, serves as o table where an oil lump gives off the only light in
the semi-darkness.
(Torio is laying on a cot, a manta blanket covering him to the waist. He is around
27 years old, with a square jaw and a well-developed body he is sick, and his eyes
close.)
(Carding enters: a frail-bodied, slow - moving man in dirty pants and T-shirt
crosses to Torio and taps him on the shoulder.)
CARDING: (As Torio opens his e yes.) Were you asleep, Torio?
TORIO: No, Carding, I was not. Sit down,
CARDING: (Still standing.) So you’ve been sick. I didn’t know until

Marina told me.
TORIO: Where did you see her?
CARDING: She passed by the house just a while ago.
TORIO: Damn that woman! So she insisted on seeing you. I told her
not to bother you!
CARDNG: oh! It isn’t any bother at all Torio. I was even chiding her for
not letting me know right away.
(Takes a seat at the foot of the cot.) She was so excited when
she showed up, at first I thought you were dead—or
dying!
TORIO: Don’t you let that woman alarm you again! There’s not a time
when she doesn’t worry about something. Sometimes, I even
think she worries about what will worry her next!
(He tries to laugh but ends up coughing.)
CARDING: But she has a reason to be worried. You look very sick.
TORIO: I’m just a bit feverish, that’s all.
CARDING: (Leans forward and feels Torio’s temperature.)

Your whole body is on fire! How did you get that fever?
TORIO: I don’t know. I guess it’s the tiny wound on my foot.

(Exposes his right foot, bandaged with dirty rags.)
CARDING: Maybe you didn’t go to the dispensary as I told you.
TORIO: It’s not anything serious. (Places his foot under the blanket
again.)
CARDIN: Not anything serious! If it can put a man of your size and
strength to bed, it is something serious. But you need
not worry. I sent Marina to the dispensary.
TORIO: What for?
CARDING: I told her to ask the doctor to come and look you over. She
should have thought of that before.
TORIO: Are you dreaming? Do you think the doctor will come when
we have no money to pay him?
CARDING: But you don’t have to pay him anything. He’s the public
doctor. He’ll treat you for-free.
TORIO: Maybe if I go there. But do you think he’ll take the trouble of
coming to me? What do you think I am, a
congressman?
CARDING: He must come. He’s paid to take care of the sick . . . wherever
they are.
TORIO: But will he come? Hell, no! (Mumbles to himself.) Nobody
comes to me . . . Nobody. Not even those firemen . . .
they didn’t come . . .
CARDING: What firemen are you talking about?
TORIO: (With bitterness.) do you even remember that house I had

before this which was burned to the ground?
CARDING: I remember. I even helped you build this one.
TORIO: when it was burning, did the firemen come to put the fire
out? No! Oh, yes, they come – but only up to there! (Points
through the window.) When they found out it was only my
house burning, they drove away, pretending it was only a
grass fire they saw. Now, why would they do a thing like
that? Don’t I deserve to be treated like any other citizen?
CARDING: (Jocousely.) maybe they found out you never even once
bought a cedula! (Laughs; rises and paces about.) Oh,
Torio. . . try to forget that. Thinking about it will not make
you feel any better. . .
TORIO: Could you forget it if everything you had in the world went
up in flames? I can’t forget that. I’ll remember that to my dying
day.
CARDING: (Pauses at the door, looks out, and turns around.) Torio, why
don’t you move out of this cemetery? Maybe it’s the place
that brings you bad luck. Why don’t you put up house somewhere
else? Anywhere but here. You live here all alone – among
these dead. . .
TORIO: (Continue to mumble himself.) Maybe, just because we live

here with the dead, the people think we’re as good as
dead – and forget us.
CARDING: (Walks to the foot of the cot and tries to divert hid thoughts.)
If the doctor does not come, Torio, we’ll take you to the
hospital.
TORIO: To the hospital? To the free ward? Oh no!

CARDING: So what if it’s the free ward? You know we cannot afford to
be choosy.
TORIO: I was there once. Do you know how they treat you there?
They’ll neglect you until you’re on the brink of death.
Then they send young doctors to practice on you. I won’t go
there again for anything in the world.
CARDING: (Sits down and leans forward.) Look, don’t you want to have
pretty nurses hovering about you like butterflies? Oh,
how I wish I would get sick just to be near them. I would’ve
hate to get well.
TORIO: Don’t try that kind of talk on me. I won’t fall for it. I won’t let
those nurses or anybody else touch me. If I’ll die, I will
die – in spite of all the doctors and nurses in the world.
CARDING: (Rises and walks a little.) My God, you should be in the

hospital now – and not here arguing with me.
TORIO: Carding, you’ve got a chicken’s heart. You’re just like my

wife. I get a tiny wound and a little fever – and she thinks I’m
dying. Can you imagine me dying of a tiny wound like this (puts out
his foot) – at my age and with this body? During the
Japanese occupation I had a bayonet wound here (shows his
side.) Does it look like I died of it? Is this dead man’s ghost you’re
talking to?
CARDING (Looking out the window.) We’re never sure of our fate,
Torio. Strange things happen to us when we least expect them.
TORIO: I’ll bet you, in a few days, I’ll be well and strong. Then we will
continue our work. We’ll make up for the time we lost since I
got sick. You haven’t tried doing it alone, have you?
CARDING: (Turns to him.) No, Torio, I –
TORIO: It’s all right. I know you can’t do it. Not alone. You need me.
But don’t get impatient. I’ll get well sooner than you
expect.
CARDING: You don’t get what I mean. Torio . . . I’m giving it up
TORIO: (Surprised.) What? You’re giving it up? You’re joking!

CARDING: I’m not joking, Torio.
TORIO: But why? Have you found an easier way of making a living?
CARDING: I’m frightened, Torio. See what happened to you. Suppose it

happened to me? I'm not even half as healthy as you
are.
TORIO: Oh! So this little wound had you really scared, huh? Why, it’s
only a scratch! It did not even bleed a drop.
CARDING: (Sits down.) You know what the old folks say about those
accidents concerning the dead...
TORIO: What do they say?
CARDING: That if one gets wounded— or even only scratched—by the

bones of the dead ... he will die.
TORIO: And you believe that?
CARDING: Of course.
TORIO: (Laughs.) You’re just like a child. Besides, it was an accident!

A corpse did not leap from his tomb to plunge one of
his ribs into my foot! Nothing like that happened ... so
there’s nothing to be scared of!
CARDING: Even them. You got that wound in a cemetery ... (Leant
forward him.) Torio, let’s not offend the dead any
more. It’s so frightening. You never know what they'll do to punish
us.
TORIO: What can they do—except haunt us! And who is scared of
ghosts?
CARDING: (Straightens up.) I’d rather offered the living—
TORIO: And if they catch you what do they do? They throw you in
jail. The dead are more kind, Carding.
CARDING: I haven’t had a good night’s sleep since we started this work.
It seems so mean and ugly like stealing candy from a
baby.
TORIO: Carding, if you start being sentimental in this world, you’ll

starve to death.
CARDING: Oh ... here comes Marina. (Marina enters, a plain woman of

25 or 26, sloppily dressed in a formless, tunic- like,
gray dress.)
CARDING: Where is the doctor, Marina?
MARINA: How's Torio?
CARDING: Where is he, Marina?
MARINA: (Touching Torio’s brow.) Your temperature’s still rising.
CARDING: Marina, I’m asking you— where’s the doctor?
MARINA: He couldn’t come with me.
TORIO: (With cynical triumph.) See? I told you so! I would have died
of surprise if he came!
CARDING: (To Marina.) Why couldn't he come? Was he busy?
MARINA: (Uncertainly.) Well ... no, not exactly. He was not.
CARDING: What did he say?
MARINA: He wants us to take Torio to the dispensary.
CARDING: How? He can't .even sit up
TORIO: Who says I can’t even sit up? I can! (Tries to sit up but fails
as Marina cries “Don’t!”) I know I can—if I really try.
CARDING: That doctor must be crazy.
TORIO: The doctor’s afraid that instead of paying him, I would beg
money from him. If he came I would have really
begged from him. (Laughs.)
CARDING: Are you sure you tried hard enough to make him come,
Marina?
MARINA: Of course, I did.
TORIO: You're both afraid I might die. For all you know, I will outlive
both of you. Smiles and starts murmuring to himself.)
MARINA: (Crosses to Carding downstage; speaks low.) What shall we

do now? Listen to him. I’m afraid the fever has touched his
brain.
CARDING: Let’s take him to the hospital.
MARINA: It’s not as easy as that, Carding. He hates hospitals.
CARDING: Yes, I know. We’ll drag him to it if we have to.
MARINA: We can’t make him do anything he hates.
CARDING: (Touching her or the arm.) But we can’t leave him alone,
Marina! He’s really more sick than he appears to be. It
is only his will to live that keeps him going. He’ll break down
soon and it may be too late then.
TORIO: (Notices them conversing.) Hey, what are you two doing
there - whispering like two lovebirds?
CARDING: (Loud enough for Torio to hear.) You’d better go down the
street and get a jeep.
MARINA: We haven’t even a centavo to pay the driver.
CARDING: I’ll take care of that. I have some money here.
TORIO: What do you want a jeep for? (Sarcastic.) Are you two
eloping? Can’t you wait till I'm dead?
CARDING: Torio, we’re taking you to the hospital.
TORIO: You're not taking me anywhere!
CARVING: Torio, we don’t have to ask you.

TORIO: Oh no? You speak as if you owned my body!
CARDING: Because I know it’s, for your own good.
TORIO: But I don’t want to go! Don’t tell me I can’t even refuse
something for myself!
CARDING: Torio, listen to me. Be reasonable. You’re sick. If you refuse

to go, we’ll drag you if we have to.
TORIO: (threatening.) Just try, Carding! Just try. I’ll fight you with
my last strength!
CARDING: Torio!
TORIO: Carding, you’re my friend. Don’t do anything I hate. And

don’t worry. I’m in my right senses.
WARDING: (Irked.) All right, all right, I won’t insist. (Sits down.)
MARINA: (Comes forward.) Torio, please . . . listen to us...
TORIO: Why are you so worried about me?
MARINA: What a silly question?
TORIO: That’s not a silly question! Why should you worry that I
might die? Haven’t you always wanted me to die?
MARINA: Torio!
TORIO: Don’t be ashamed to admit it! I won’t mind. I confess I also

get bored sometimes. But where I could always seek
for change, you cannot imagine how you must feel inside.
MARINA: Torio, whatever gave you those ideas?
TORIO: So, if you think I’m going to die, don’t take all this tremble of
pretending you don’t want it to happen. Just leave me
alcine to die. This would be your chance to get rid of me and
get another man. Carding, for instance—
MARINA: Torio!
TORIO: He’s quite a man too! Even before I'm dead and gone, he has
already laid his hands on you—
MARINA: Torio, He's our only friend arid you dare speak of him like
that? (To Carding.) Carding, you must forgive him. He
doesn’t know what he’s saying.
CARDING: Don’t worry. I understand very well.
TORIO: See? I’m not dead yet and already you have taken his side
against me!
MARINA: Torio!
TORIO: Do you think he can take care of you as well as I have been
doing? He can't even earn enough money to support
himself. He cannot even take over our business when I
get sick—
MARINA: What business?
TORIO — how much more if he had you to take care of? He'll starve
you to death.
MARINA: What “business” does he mean, Carding?
CARDING: Don't mind him. He has gone mad!

TORIO: So I’m mad, huh? (To Marina.) I'll tell you what kind of
business we have.
CARDING: Torio!
TORIO: It's a business that requires no capital. All you need is a good,
strong stomach—
CARDING: (Shaking him) Torio, stop it!
TORIO: (Pushing him off.) Why? Are you ashamed to let others know
the dead have been supporting you all along?
MARINA: What does he mean, Harding?
CARDING: Don't listen to him. He’s out of his mind.

TORIO: Really! (To Marina.) Do you know where the money I bring
home comes from? Do you believe I really earn it by
breaking my back at the waterfront? I’ve fooled you so well you
never even suspected.
MARINA: Just what did you do!
TORIO: To put it plainly –
CARDING: Torio!
TORIO: I robbed the dead around us. (Carding turns away.)
MARINA: (Shocked.) What! You mean —
TORIO: I was one of those who force open the graves of the dead.
MARINA: (Hardly able to speak.) And you stole ... from them?
TORIO: Yes! And why not? Rich people are always buried with
something valuable on them: rings, earrings,
necklaces, watches—and gold teeth! Why let such
treasures rot under the ground—while above that ground people
like us are starving!
MARINA: Torio, you didn’t do that! You didn’t!
TORIO: But I did! You can ask Carding. He was with me all the time.
At first he was scared to death. He would tremble and
perspire. But later on—
CARDING: (Turns to them.) I didn’t want to—
TORIO: —but he had to – because he had to eat—even from a dead

man's hand. When he tries to rob the living, he always
gets caught. He’s too slow for then. But with the dead, once
he got used to it, it was so easy. The dead do not report to the police
they don’t fight back—they don’t even scream!
MARINA: Stop it! I can’t stand it! (Sits down.) Ohhhh ... the poor
sacred dead—
TORIO: What’s so sacred about them? They're deed!

MARINA: (Almost crying.) Torio . . . when we had nowhere to stay, we
moved here – to their place. We put up this house on
their land. They did not complain – they did not call us
“squatters” – they did not drive us away. And what did you do in
return – what?
TORIO: I hate them! That’s why I robbed them! I hate them!
MARINA: You hate them? Why, what did they do that you hate them?
Did they ever try to harm you?
TORIO: (Pointing through the window.) Look at them! Doesn’t that

sight infuriate you? Look! Nothing worries them. They
lie there day arid night, sleeping like babies, mocking our
sufferings!
CARDING: (At the doorway.) Marina, stop listening to hire. He used to

tell me that over and over.
TORIO: One night, as I was coming home, a strong rain caught me. I
ran for shelter to the nearest tomb, that one near the
road, belonging to a dead Chinese millionaire. It was so
beautiful— the tomb—it looked more like a palace than for
the dead, with thick marble walls and roof—and festive lights!
Inside was the body—in a coffin. It was so dry in the rain and
comfortable even in death. Why should that dead merchant
have marble walls and roof to protect him from the rain—
while I was outside, soaked to the bone and shivering in
the cold— waiting to go home to a dark, dark place with a
cardboard roof that leaks even in the lightest rain! Why?
He’s dead and I am alive! I have more right to the things wasted
on him – don’t you think so? Don’t you think we need thick
walls more than the dead?
MARINA: He must have seen you—
TORIO: Who could have seem us? We used to work after midnight
when everyone was asleep.
MARINA: It was God who saw you doing that evil thing—God who
keeps eternal watch over the dead—
TORIO: Why should God keep watch over the dead? Why not over
you and me who are still alive?
MARINA: Oh, what you did is a horrible sacrilege! If you die, heaven
will not receive your soul! Even hell will refuse your damned
soul!
TORIO: (Mad.) Why do you always say “if you die,” “if you die,” “if
you die!” You do want me to die?
MARINA: No, why should I?
TORIO: (Vehemently.) You really want to be rid of me, don’t you?

(Throughout, Marina tries to interrupt but in vain.)
Now I see that you two have been waiting for me to die so you
could live together! Maybe that’s why a little wound like this car
put me to bed. You’re praying— praying that I will die. But I’ll
disappoint both of you! I will live on and on if only to
punish you by denying you the chance to live together!
I’m still young! I have a hundred years before me! Not
all the dead in the world can drag me to the grave! (His
savings Use in pitch.) I hate them! Yes, I dare all the dead
whom I have offended to take me! (Raving mad, something
shouting through the window.) Take me if you can! I
despise all of you! Oh, that you were all alive now and suffering
in life! (He suddenly collapses.)
MARINA: (Rusting to his side.) Torio! What happened? Carding! Help

me! What happened? Carding! Help me!
CARDING: (At Torio’s side.) Torio! (To Marina.) Get some water –
quick! (Marina gets water as Carding tries to revive him,
then he makes him drink.)
MARINA: Torio. Are you all right?
TORIO: (He comes to, sees Marina and speaks between gasps.) I’m
all right. . . They cannot take me. I’m not willing to go yet ...
(Looks around blindly.) Where’s Carding? Has he
gone?
CARDING: (Shows himself) I’m still here.
TORIO: I thought . . . you had left . . . You are not mad at me, are
you?
CARDING: No, I’m not, Torio.
TORIO: I didn’t mean what I said about you ... I had a drunker
feeling ... just said anything. . .
CARDING: You don’t have to explain. I understand. Try not to talk. You
need rest:
TORIO: Yes, I feel tired . . . you two talk to each other ... I’ll take a
short nap ... (To Marina) Wake me up when he’s ready
to leave, Marina.
MARINA: Yes, Torio.
(Torio closes his eyes. Suddenly his head and his arm fall
over the edge of the cot.)
MARINA: (Screams shaking him.).Torio! Wake up, Torio! Wake up!

(She flings her body on him and cries over him for a
time. Later, Carding pulls her away and covers the body as
Marina, now calmed, watches.)
MARINA: It was so sudden – as if an unseen hand suddenly snatched

him away!
HARDING: At last he is now at peace.
MARINA: How can he ever have peace? The dead he offended will not
let him alone.
CARDING: No, Marina, the dead .are not cruel and vindictive like us.
They will understand him more – much more than
we, the living, ever could.
(Carding kneels on the floor. Marina follows. They make the

sign of the cross.)
THEY CALLED IT “BROTHERHOOD”

Maximo V. Soliven
Learning Activities
Activity 1. Appreciating a poem. Read orally the poem “Invictus by William E.

Henley and do the activities that follow.
A. List down the words that picture out the inner quality of the man in the poem.
_________________________
_________________________
_________________________
_________________________
B. Explain the purpose of the writer in writing the poem.
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
Activity 2. Writing a poem. Write a poem by following the format below. Think of
something that is very simple but useful to you, write a poem appreciating its value. Put
a rhyme.
Title _____________
_______________________________ First stanza describes the thing you

_______________________________ are talking about.
_______________________________
_______________________________ Second stanza says something about the

_______________________________ functions of the thing you are talking about.
_______________________________
_______________________________ The meaning of the thing to you.

_______________________________
_______________________________
Assessment
Directions: Imagine that the father and two sons wrote letters explaining their feelings to
each other. What would be in them? Select a letter to write, then print it and share it with
others. You can also write your own letter.
1. Dear Son, I’m worried about you and Want you to come back home. . . A Father’s
concern to his Prodigal Son in a distant land. (From the Desk of Your Father)
2. Dear Father, This is why I left and why I want to come home . . . A Prodigal’s
confession and what he has learned. (From the Pig Pen of your Son)
3. Dear Oldest Child, This is why I welcomed him home and how you should treat him. .
A Father’s letter to his upset oldest son. (From the Desk of Your Father)
4. Dear Family, Now that we’re all back together. . . The Father’s expectations of the
Prodigal Son and Oldest Son. (From the Desk of Your Father)
5. Dear Dad and Bro’, I am upset with you two because. . . A letter from the Older
Brother to his father and brother. (From the Desk of the Older Brother)
6. Dear God, I’m sorry about. . . A letter from you to God confessing your sins and
discussing their changes you need to make. . . (From the Desk of a Prodigal)
7. Dear Children. . . A letter from God about your life and how God wants to be
involved. . . (From the Desk of God)
8. Dear Ex. . . . (Write your own letter) This letter was left open for your own creative
lettering writing ideas.
Thank you for completing the task. If you have not

completed the task, or you have difficulty in accomplishing
the activity, please send me a message to our group chat or
Gmail or you may ask clarifications through a text message
or phone calls on the contact number included in your
course guide.
You are now ready to proceed to Unit II. Enjoy
learning. Have a glorious day 
Unit II – Music and Dancing, Architecture and Culture and Film

 Identify the medium in various forms of art, viz. , visual, auditory, and
combined arts;
 Define an artist’s or artisan’s medium and technique
Pretest
Identification
Directions: Identify the musical sounds and the mediums of music of the following:
Sound is the most basic medium of music. Sound is a form of energy,

just like electricity and light. A sound is made when air molecules vibrate and
move in a pattern called waves, or sound waves. Think of when you clap your
hands, or when you slam the car door shut. That action produces sound
waves, which travel to your ears and then to your brain, which says, "I
recognize that sound."
Learning Outcomes
___________________ 1. High register, male voice
___________________ 2. Medium register, male voice
___________________ 3. Medium register, female voice
___________________ 4. Low register, male voice
___________________ 5. High register, female voice
___________________ 6. Soprano medium register, female voice
___________________ 7. It is the most basic medium of music.
___________________ 8. Refers to the place of tone in the musical scale.
___________________ 9. Refers to the softness or loudness of sound.
___________________10. Refers to the length of time over which vibration is
maintained.
Content
Music
Music has the ability to alter, and to manipulate the

moods, the characters disposition and temperament of the listeners. But for some of us
may not know that music has a therapeutic effect to the listeners. This discovery was
made not by a modern man. In some account Pythagoras was held captive in Chaldea
(Mesopotamia). When he went back to Greece…. He brought with him a theory that
music has a healing effect.
Like dance, music in the ancient period has something to do with spirits. People
sung to appease the spirits, to ask favor or to give thanks. Music then was made vocally
that means there was no accompaniment. It was only composed of a human voice.
Slowly, some musical instruments were invented. How they come to be, mankind can
only speculate. As human lifestyle progressed so did the musical instruments. However,
its effect to the listeners from time immemorial to the present did not change.
Music sounds
Sound is the most basic medium of music. It is produced either through a voice
or an instrument, or a combination of both. This is about mediums of music, which are all
discussed in the following pages. Right here let us discuss the properties of sound
namely; pitch, duration, volume and color (timbre).
1. Pitch. This refers to the place of tone in the musical scale. This also
refers to the highness or lowness
2. Duration. Sound is a result of vibrations. Duration as a property of sound

refers to the length of time over which vibration is
maintained.
3. Volume. Refers to the softness or loudness of sound.
4. Timbre tone color. This has something to do with or quality of sound. The
quality of tone or color. Quality of sounds depends on the size, shape and form of
instrument. The place where a musical performance is done is also a contributing
factor to the quality of sound. A building built for acoustic purposes can produce
a sound with high fidelity to the purpose of the musicians than in any ordinary
places.
The Mediums of Music
There are two mediums of music namely; vocal medium and the instrumental
medium.
1. The vocal medium is a human voice, the older and the more popular of the two.
Human voice differs considerably in register or range in timbre or quality. There are
six classes of vocal register.
a. Soprano – high register female voice

b. Mezzo – soprano medium register, female voice
c. Alto or contralto – medium register, female voice
d. Tenor – high register, male voice
e. Baritone – medium register, male voice
f. Bass – low register male voice
Vocal Qualities
1. Coloratura Soprano – an ornamented vocal music. It is labeled as the
highest and lightest of all human voices.
2. Lyric Soprano – voice that is less high and less ornamented. This quality of
voice is best suited to melodies
3. Dramatic Soprano – heavier voice that can convey intense emotion in
dramatic situation.
4. Mezzo – soprano – a woman’s voice that can convey intense emotion in
dramatic situation.
5. Contralto – lowest of all female voices, it is low but rich in quality.
6. Tenor – the highest natural adult male voice.
7. Lyric tenor – similar description of lyric soprano. It is also best suited to sing
like a melody.
8. Dramatic tenor – it is also like dramatic soprano, a voice that is less heavy in
characteristics and can convey emotion in dramatic situation.
9. Baritone – a male voice between tenor and bass.
10. Bass – a deep voice or sound.
2. The Instrumental Medium
There are three main types of musical instruments namely; bowed, blown and
struck. The instruments that are considered bowed are the strings. Those that are blown
are brasses because they are made of brass. The woodwinds are named because
originally they are made of wood. The last classifications are those, which are struck.
They are called percussion instruments.
Fig. 1 String Instruments
Violin Viola Guitar
Fig. 2 Woodwind Instruments
Flute Clarinet Bass Clarinet

Fig. 3 The Bass Instrument
French horn
Trombone
Trumpet
Fig. 4 Percussion Instruments
Glockenspeil Xylophone
Brass Cymbals
Chimes
Fig. 5 Keyboard Instruments
Electric Organ
Piano
Ensemble
This is a combination of different musical instruments mentioned above or two or
more performers engaged in playing the instruments or singing a piece of music called
ensembles. Some kinds of ensemble are citied below.
1. Orchestra. This is the most elaborate kind of ensemble production. Several
instruments of the same kind are usually given a part. Typically, there 34 violins
and a number of instruments belonging to brass and woodwind in an ensemble.
2. Symphony Orchestra. An orchestra is designed as an elaborate kind of
ensemble. At least 100 players are demanded. However, this varies according to
the need of instrument for a particular music. There are four sections according
to the instrumental groupings. Each of the section has instrument for the four
basic ranges namely: soprano, alto, tenor and bass.
3. Concerto. A written piece for one or one solo instruments and orchestra in
three movements.
4. Band. Like an orchestra, it is large but it is mainly consisting of wind and
percussion. It is handy during outdoor events. Band is usually for outdoors-
musical rendition like parade although it is also used as concert ensemble.
5. Rondalla. The most popular musical group of the Philippines. It is mainly
composed of stringed instruments though it is also used the piccolo.
Fig. 6 Rondalla
Fig. 7 Symphony Orchestra
Considerations in Appreciating Music

1. Purity and Harmony. This refers to the quality of voice, the wholeness of
voice that reduces vagueness. The clear,
soft or mellifluous voice is qualifies faithful
to the art of music. They are the core part
in the enjoyment of music. The absence
of these qualities the aesthetic side of music is dead.
2. Relaxing Sound. Sounds gives effects to the listeners. But not same
sound produces the same effect. Pleasure
of one may be discomfort to the others.
“Relaxing effect that music is continuous
sound demands more attention.”
(Nordic Journal of Music)
3. Message. “When a person creates sounds, we tend to search

for a message, or we expect that something
about that person can be inferred.” (Nordic
Journal of Music) The same situation in music.
The sound of music has a message. Music
like visual art has a communicative
aspect. Our role as listeners of music is to
find out the message.
Dancing
Right after harvest, the Subanun of Sindangan Zamboanga del Norte holds a
seven-day festivity, a thanks giving to the gods. The feast is called buklug this is a kind
of feast which program of activities is centered on dancing on a wooden platform called
buklugan.
Dance is generally, though not exclusively, performed with the accompaniment of

music and may or may not be performed in time to such music. Some dance (such as
tap dance) may provide its own audible accompaniment in place of (or in addition to)
music (2020).
Dance throughout the ages is connected with the supernatural beings so Ancient
people danced to show their gratitude to the gods, or to ask favor from the gods. Modern
man dances because he likes to. Children on the street dance as a natural response to
the beating of sounds played nearby, or an old taps his feet in harmony with the music
around while he peers down over his cup of coffee.
Dance can be both an art and a form of recreation. As an art, dance may
interrupt a story, a history or an expression of mood. Ballet is example for dance as art.
The gesture of a ballet dancer can stimulate a soaring eagle and can let audience feel
what Juliet felt as she beholds the dying Romeo.
This element of unity does not only refer to the harmony of gestures or motions.
Other elements of dance such as: design, music, costume and properties should always
cling to each other in accordance with the theme of the dance.
To appreciate dancing the following should be considered.
1. Theme. This is the most important component of dancing as well as of the

other forms of art. This has something to do with message being portrayed by the
dancers. It tells the audience what the dance all about.
2. Design. Refers to the sketch how the message is to be presented by the
dancers. This includes movement, rhythm, beat, time and space.
3. Movement. This is the action of the dancers, the motion of the feet, the
swinging of the arms, turning of head and even facial expression and gestures to
indicate feeling such as anger, happiness and others.
4. Technique. The mastery of the dancers in performing the movement. Mastery
includes the keeping of the grace in doing the actions, which is always governed
by the theme of the dance.
5. Music. Ordinarily, this serves as the background of the dancers to add
beauty of the presentation. But music also serves as guide or motivation of the
dancers.
6. Costumes and Properties. The visual effects usually for cultural
dancing. Costumes helps the audience interpret message of the dance. This
includes weapons such as spear and shield, which may signify periods and
regions.
7. Choreography. This is the organization of movements to maintain
harmony. A successful dance presentation depends on how rigid it is
choreographed which means that dancers undergo rigid practice and rehearsals.
Architecture and Sculpture
Architecture
This unit explores architecture, its history, and its relation to visual art.
Architecture is the art and science of designing structures and spaces for human use.
Architectural design is an art form realized through considerations of spatial design and
aesthetics. Related to sculpture, architecture creates three-dimensional objects that
serve human purposes and forms visual relationships with the surrounding areas.
What is Architecture?
Architecture is the art and science of designing structures and spaces for human
use. Architectural design in itself is an art form realized through considerations of spatial
design and aesthetics (ARTH101: Art Appreciation, Topic: Unit 6: Architecture | Saylor
Academy. (2020).
Related to sculpture, architecture creates three-dimensional objects that occupy

a given space and create a visual relationship with the space around them. The
differences between the sculpture and architecture are in their scale and utility. Early
human structures provided shelter from the elements. As hunter- gatherer societies
transitioned to farming they made more permanent shelters, eventually formed
communities, towns and cities. For thousands of years, architecture reflected the specific
environment and materials available in any given region, including rock caves or huts of
wood, soil and brick. Many were assemblages of materials like grasses, leaves and
animal hides. Nomadic peoples (Links to an external site.) still utilize these materials. :
Architecture: ART&100 2187 - S16 - Art Appreciation. (2020)
Temple of Hera Italy, 550 B.C.
Originally surrounded by 40 stone columns (originally wood) the Doric style exterior of the
low-slung, the Temple of Hera was built on the south slopes of Kronos hill, complete with three
distinct interior chambers. Interior walls broke up worship areas for different Greek gods, rooms
which later became a home for some of Rome's ancient relics. The temple has a limestone base
which runs east to west, longer than it is wide. Mud bricks, meanwhile, form the upper portion with
wood and terracotta adorning the temple's interior. Unfortunately most of it was destroyed during an
earthquake in the 4th century AD.
Rome, 80 A.D.
At 620 feet long and 513 feet wide, the Colosseum in Rome was
easily the largest amphitheater around when it was in its prime, yet it wasn't
built into a hillside for support like many other large structures of the time.
Instead, it was a fully freestanding stadium with a foundation of concrete
and stone that could provide seating for 50,000 visitors in multiple seating
configurations and levels. On top of that, the Colosseum's 80 awning-
covered arches lead visitors into an arena that was so well-engineered that
it could even be flooded with water to support aquatic events.
India, 300 B.C.
The hemisphere-like shape known as the stupa is a common sight

in Buddhist architecture and Sanchi Stupa is perhaps the most famous of
the ancient examples. One of the oldest stone structures in India, the stupa
covering was built to shelter the remains of a Buddha. Carved gateways,
doorways with storytelling carvings, additional staircases, and a top-level
platform have been added in the hundreds of years since the memorial's
initial construction in 300 BC.
Scotland, 3700 B.C.
It may seem like just a stone house, but the Knap of Howar in
Scotland is actually the oldest preserved stone house in northern Europe.
The farmstead's two buildings connected by a passage were built with split
stone to a height of just over five feet and feature doorways facing the sea.
A hole in the roof indicates the home was likely heated by fire and stone
furniture found provides an even stronger indication that this was once an
ancient residence.
Rome, 12 B.C.
Rome's Theatre of Marcellus has a star-studded past.

Commissioned by Julius Caesar and later inaugurated by Augustus, the
architecture of the columned building became the template for countless
theaters and stadiums to follow. The Theatre of Marcellus was an open-air
venue that could hold 20,000 spectators and included a semicircular
travertine façade, arches, Doric columns, and three levels of seating. The
intricate design included stairways, ramps and even an open-air backdrop
seen behind the stage.
What is Sculpture?
Sculpture, an artistic form in which hard or plastic materials are worked into
three-dimensional art objects. The designs may be embodied in freestanding objects, in
reliefs on surfaces, or in environments ranging from tableaux to contexts that envelop
the spectator (sculpture | Definition, Types, Techniques, Elements, & Facts. (2020). An
enormous variety of media may be used, including clay, wax, stone, metal, fabric, glass,
wood, plaster, rubber, and random “found” objects. Materials may be carved, modeled,
molded, cast, wrought, welded, sewn, assembled, or otherwise shaped and combined.
Sculpture is not a fixed term that applies to a permanently circumscribed

category of objects or sets of activities. It is, rather, the name of an art that grows and
changes and is continually extending the range of its activities and evolving new kinds of
objects. The scope of the term was much wider in the second half of the 20th century
than it had been only two or three decades before, and in the fluid state of the visual arts
at the turn of the 21st century nobody can predict what its future extensions are likely to
be.
But to understand fully and to appreciate well the beauty of sculpture, it is best to
examine first the rudiments that comprise its being.
Kinds of Sculpture
Sculpture is classified into two. It is classified as freestanding or round if it has no
background support. It can be viewed from all sides, or one can go around it. Example is
the figure below.
Free Standing
A sculpture is classified relief if it has background support. This means that the
image is being held or projected from its background. Picture below is example of relief.
Relief
Types of Relief
a. High or low relief
b. Low or bass relief
c. Cameo
d. Intaglio or sunken
e. Incised or engraved relief
Film
Before you came across with this book, you might have already watched dozens
of movies. You like some of the movies while others you don’t perhaps you like those
that picture out wars or love in its fullest or failures, or perhaps you like the movies of
James Bond and you want to be like James Bond himself. Sometimes our disliking of
movies is caused by our failure to grasp what the movie is trying to tell us or the movie
itself falls short of satisfying our taste. The movies like all the other forms of arts have
basic elements to be considered in looking at its beauty. It is our task to know the
meaning of the movie. To do it, let us review first its basic materials such as: elements,
technicalities of the production, and other features. However, let us try to see first what
you already know about movies. (8 Elements Of Story Telling That Every Filmmaker
Must Know - Jamuura Blog. (2020)
Narrative Elements of Film:
1. Character
If there is one element of good stories that is common through all ages and
narrative forms, and if there is one unbroken rule of successful storytelling, it is
this - creating compelling characters whose story the world would want to listen.
We, and our society, are obsessed with this incorrigible need to create heroes
whom we can look up to, heroes whom we can admire, care for, whose wins
matter to us, whose losses we hate to endure.
Creating an unforgettable, relatable, likeable protagonist, and making him or her

face a ruthless, mean, unforgiving antagonist has been the most common recipe
of several great stories. And then, you need to add to the mix an interesting
ensemble of supporting characters, an 'orchestration' where the individual parts
complement each other like different musical instruments playing together to
create a moving symphony.
2. Plot
A story is always a journey that its characters take. Whether it is a self-reflective,
internal monologue of a novel, or an adventure ride of a movie - the characters,
especially the protagonist(s), undertake an emotional or physical journey that
causes some change in them by the end. The course of this journey is marked by
events - incidents and experiences that the protagonist faces.
The plot is the series of these events, from the beginning, through the middle,
until the end, that gives us the feeling of the forward motion (or motionlessness)
of the story. The most important events of the plot are often significant
irreversible incidents that change the course of the plot and push it further ahead.
These events are called Plot Points.
3. Conflict
Conflict is the bread and butter of drama. The more you can involve the audience
into the conflicted situations of your characters, the more problems you can
create for your protagonists and make them overcome those one by one, the
more successful your storytelling will be. Also, any level of conflict or drama
starts appearing redundant, repetitive or lukewarm unless you keep increasing
the stakes and keep coming up with bigger conflicts.
4. Resolution
A climactic resolution to the already thickening plot, a final confrontation of the
protagonist with the antagonistic forces, a final Plot Point, that is emotionally,
dramatically, and visually the high point of the film is very important to complete
your movie experience. And this closure, this resolution of the primary conflict of
the film, or the lack of it (as is the case with tragedies), often brings forth the
'point of the movie'. The resolution should also, generally, cause a significant
change in the life of the protagonist. After all, is a story worth telling, if it is not
significant for its own protagonist?
5. Structure
"A story should have a beginning, a middle, and an end, but not necessarily in
that order."
This wonderful quote by Jean-Luc Godard is perhaps the simplest way to put
across the importance of structure. Also, the pleasures of structure are more
apparent and impactful in a movie than any other form of narration. From 'Citizen
Kane' to 'The Killing', from 'Mystery Train' to 'Pulp Fiction', from 'Irreversible' to
'Memento' to 'Amores Perros' and '21 Grams' - playing with time, twisting the plot,
and constantly challenging the audience has been a wonderful game movie
makers have been indulging in.
6. Scenes
A scene is the building block of a screenplay, its most basic unit that has its own
independent, whole existence. Technically speaking, everything happening at
one place at one time in the film is a scene. The moment you change the location
or jump time, you have entered a new scene. It is this wonderful ability of a scene
to actually make you feel that "you were there" is what makes cinema a "live"
emotional experience.
Unlike all other forms of narrative, cinema is very much a "real" experience, even
when it is telling an outright fantastical tale. So the importance of scenes as its
units can never be stressed enough. When does the scene begin (it may enter
the 'event' or the 'incident' a little late) or when it ends (we may leave earlier,
abruptly, leaving something for the imagination) is as important as the internal
dramatic structure of the scene and how the events unfold in it. Also important is
the transition from one scene to the other. If scenes are stitched together to form
one seamless whole, we very willingly lose ourselves into the universe of our
characters.
7. Dialogue
From creating characters that we worship forever to conveying the biggest plot
truths, from bringing out the internal and external conflicts to establishing the
significance of a powerful resolution, from constructing the internal drama of the
scenes to being wonderful transitional devices, dialogue or spoken lines are one
of the most conspicuous elements of film narrative.
Each line spoken in a film may serve several functions - from entertaining and
seducing the audience to making them empathize with even the coldest of
characters, and dialogue, as well as conscious and economical lack of it, forms a
major part of our movie-viewing pleasure. However, more often than not, bad
dialogue also completely ruins the film. "Show, not tell" and "Less is more" -
these rules are perfectly apt for film writing. "In a novel, a character thinks. In a
play, he talks. In cinema, he does" - this is another broad generalization that I
love. Cinematic dialogue is so different from any other narrative medium.
8. Visuals
Perhaps the most unique of all narrative elements discussed above is something
that is most integral to motion pictures - the visuals. It is no wonder that cinema is
the youngest human expression - it had to wait hundreds of years, until
photography was invented. And thanks to this "real" reproduction of images,
cinema could actually become this powerful and impactful form of mass
communication. Apart from making the story appear real and inviting, the visuals
in cinema transcend time and cultural boundaries.
Film Production
There are four stages:
1) Preparation
Also called preproduction, the director plays a key part in it. They work with the
production design unit to design and create the architecture and color scheme of the
sets. The producer creates a schedule for shooting, and the cast and crew are
chosen and hired. Some of the crew includes a set decorator, set designer, and
costume designer. A graphic artist will work with the production designer to create a
storyboard. A storyboard is a series of comic strip with sketches of each scene. The
storyboard gives the cinematography unit an idea of what the shots and cuts should
look like. Computer graphics can add details to the storyboard, giving it 3-D
animation, music/sound effects, dialogue, and moving figures. This is called pre-
visualization, and is used to plan out complicated action scenes or special effects.
2) Shooting
Also called production and involves the work of many, such as: a script
supervisor, first assistant director, and/or a second assistant director. There are also
positions of third assistant director, dialogue coach, second unit director, and stunt
coordinator. The cinematographer, or photography director, must be knowledgeable
on photographic processes, lighting, and camera technique. They also supervise the
camera operator, the key grip (arranger of equipment and props), and the gaffer
(head electrician). Another area of shooting is the sound unit, headed by the
production records, or sound mixer. When all of these necessary crew members are
ready to roll the camera, a slate is held up to ensure that during editing, the scenes
are put in the proper order. A master shot will be filmed first (a shot that records all
action and dialogue at once). Coverage will then be filmed, which is when portions of
the scene are filmed with different speaking styles, camera angles, or views.
3) Post-Production
This stage starts when principal photography ends, but they may overlap. The
bulk of post-production consists of reviewing the footage and assembling the movie -
editing. There will be contributions as required from Visual Effects (VFX), Music and
Sound Design. The picture will now be locked and delivery elements will be created.
Further information on Post Production can be found later on in Week 1 of the
course.
4) Distribution
Once the film is completed, it must be distributed. This is how producers make
their money back and a considerable amount of time and energy will be invested to
secure the right distribution deals for their projects. The film will go into the cinema
and/or be distributed via various platforms such as Amazon Prime, Netflix, and HBO
etc.
Hollywood
is considered the oldest film industry where earliest film studios and production
companies emerged, and is also the birthplace of various genres of cinema—among
them comedy, drama, action, the musical, romance, horror, science fiction, and the war
epic—having set an example for other national film industries
Learning Activities
Vincent
Don McLean
Starry, starry night

Paint your palette blue and grey
Look out on a summer's day
With eyes that know the darkness in my soul
Shadows on the hills
Sketch the trees and the daffodils
Catch the breeze and the winter chills
In colors on the snowy linen land
Now I understand
What you tried to say to me
And how you suffered for your sanity
And how you tried to set them free
They would not listen, they did not know how
Perhaps they'll listen now

Flaming flowers that brightly blaze
Swirling clouds in violet haze
Reflect in Vincent's eyes of china blue
Colors changing hue
Morning fields of amber grain
Weathered faces lined in pain
Are soothed beneath the artist's loving hand
Now I understand
They would not listen, they did not know how
Perhaps they'll listen now
For they could not love you

But still your love was true
And when no hope was left in sight
On that starry, starry night
You took your life, as lovers often do
But I could have told you, Vincent
This world was never meant for one
As beautiful as you

Portraits hung in empty halls
Frameless heads on nameless walls
With eyes that watch the world and can't forget
Like the strangers that you've met
The ragged men in the ragged clothes
The silver thorn, a bloody rose
Lie crushed and broken on the virgin snow
Now I think I know

They would not listen, they're not listening still
Perhaps they never will
The songs are about Vincent Van Gogh, a Dutch painter who lived an
unhappy life, which he finally ended by killing himself. One of his known works is
the Starry Night.
1. What are the parts of the song that picture out the life of Vincent Van
Gogh?
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
2. What is it that Don Mc. Lean wants to tell us? Or what is it that he wants
to prove something about Van Gogh, which himself failed to prove
because people do not listen?
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
3. Artists are well understood only when they are gone. Do you think Van
Gogh is one of those?
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
4. Is the music relaxing? Comment.
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
5. What can you say to the voice quality of the singer? Comment.
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
Assessment
Post test
Multiple Choice.
Directions.
1. It refers to the art of putting together successions of still images in order to create an
illusion of movement.
a. Performance c. Poetry
b. Film d. Dance
2. A line art and the artist’s medium is mainly the human body which he or she uses to
perform.
a. Performance c. Poetry
b. Film d. Dance
3. It is a form where the artist expresses his emotions not by using paint, charcoal, or
camera, but expresses them through words.
a. Dance c. Film
b. Poetry d. Performance
4. A series of movements that follows the rhythm of the music accompaniment.
a. Dance c. Film
b. Poetry d. Performance
5. It is in incorporating elements of style and design to everyday items with the aim of
increasing their aesthetic value.
a. Visual Arts c. Performance Art
b. Applied Arts d. Poetry Performance

Gmail or you may ask clarifications through a text message
course guide.
Unit III – Culture and the Arts
Throughout history, art has played an integral role to capture, record,

and communicate events, activities, traditions, and even belief systems of
various groups of people. Even Paleolithic societies have found ways to
record events despite the unavailability or limited access to various tools. In
essence, art has been an instrument to reflect the things and events that
transpired in the past so that the future generations can have a glimpse of
that past. With the advent of technological advancements, societies have
improved the ways and means through which art can be a communicative
tool. If an artwork is an avenue for an artist to express narratives symbols,
then it follows that the artist is the author of the work. But during the twentieth
century, issues on ownership and authorship have emerged primarily
because of the value ascribed to the viewer of the work.
Learning Outcomes
 Discuss how improvisation can make an artwork distinctive; and
 Identify the issues and problems that can arise because of appropriation
of art.
Pretest
Modified TRUE or FALSE

Directions. Write true if the statement is correct and change the underlined words that
make the statement incorrect.
1. Appropriation can be defined as doing something without prior

preparation.
2. Appropriation of art has been a common practice throughout history.
3. For some artists, infusing spontaneously and improvisation adds up to
the totality of the work of art.
4. The intentions of the improvisation artists are often questioned since
issues of plagiarism or forgery sometimes arise.
5. During 1960’s, art improvisation has taken form in the galleries around
New York City.
6. Confucianism was dominant way of life subscribed to by the general
public.
7. Japan is at the forefront of economic development.
8. Chinese artworks are infused with a lot of symbolism
9. Art in Japan has undergone a series of transitions and periodization.
10. One of the ceremony products created by the Chinese is called
Havianah.
Content
Soul-making: Making and Deriving Meaning of Art
Style refers to the distinctive handling of elements and media associated with the
work of an individual artist, a school, a movement, or a specific culture or time period
(Fichner-Rathus, 2013). Throughout history, there have been developments in art styles
that depict different and varied methods of expression. Artworks also have a certain
form. This form is what the audience sees – a finished product put harmoniously (or not)
according to the different principles of design. In essence, form is the totality of the
artwork, which includes the textures, colors, and shapes utilized by the artist. The
content of an artwork includes not only its form but also its subject matter and underlying
meanings or themes (Ficher-Rathus, 2013). The perceiver of the artwork must take into
consideration the totality of elements, underlying themes and motifs, and composition.
The Audience must have:
•Style- refers to the distinctive handling of elements and media.

•Form- is what the audience sees.
•Content- is the subject matter and underlying meanings or themes.
IMPROVISATION
Improvisation can be defined as doing something without prior preparation. There

is a decision to act upon something that may not necessarily be planned. Within the
present context, improvisation has become an integral part of the arts. Some would say
that is a reaction against the stiffness in the arts during the twentieth century. There is a
call for liberation from monotony that aims to rekindle the creative spirits of people in the
arts.
Performance arts, dance, and visual arts were combined to create new forms of
using a new medium. These performance were known as the “Happenings” which later
on paved the way for modern body art and performance art. One of central figures in the
improvisation movement was Georges Mathieu. He started the “action painting wherein
the process is seen real – time. In this scenario, the process is more important than the
finished product.
Figure 1. Marta Minunjin Performance Art
Figure 2. An example of an action painting

APPROPRIATION
In terms of art,
appropriation is the practice of
using pre-existing objects and
images in an artwork without really
altering the originals. The cubist
collages and constructions of
Pablo Picasso and Georges
Braque, which used real objects
like newspapers not as
representations of something else,
but simply as themselves. From
1915, the French artist Marcel
Duchamp developed this practice
even further, most notoriously in a
1917 work called Fountain, which
was just a men’s urinal that was
signed, titled, and presented on a
pedestal. Later movements such
as surrealism and pop art
continued to appropriate found
objects within works of art, as in
this collage by Sir Eduardo
Paolozzi that incorporates images
from pop culture, advertisement,
and media (2020).
In the 1980s, American

artists like Sherrie Levine and Jeff Koons continued the trend. Levine often reproduced
as her own work other works of art, including paintings by Claude Monet and Kazimir
Malevich. By doing so, she aimed to create a new situation, and therefore a new
meaning or set of meanings, for a familiar image.
Appropriation can be confusing, because the line between borrowing,

appropriating, and copying it often quite blurry. Some artists like AK Dolven and Storm
Thorgerson are clearly inspired by particular artists and images, whether recreating
Edvard Munch's paintings in modern contexts or borrowing heavily from René Magritte's
surealist style. But what do you do with an artist like Glenn Brown, who borrows familiar
images from art history and transforms their colours and textures into something alien–
but without losing resemblance to the original? Are these works of inspiration or is Brown
just a colourful copyist?
Appropriation art raises questions of originality, authenticity and authorship, and

because of this it is a useful tool for exploring these concepts. As such, it belongs to a
long tradition of modern art that goes beyond using art as a tool for showing images and
narratives and looks inward instead, questioning the nature of art itself.
Now that you have a grip on these concepts, see what you think of these artists
who walk the line between inspiration and appropriation.
The intentions of the appropriation artists are often questioned since issues of
plagiarism or forgery sometimes arise. Some would argue that the reason behind the
appropriation is that they want the audience to recognize the images they copied. There
is hope on the part of the artist for the viewers to see the original work in a new
perspective. The appropriation would bring about a new context to the original work. One
of the most famous works of appropriation would have to be Andy Warhol’s “Campbell’s
Soup Cans” (1962). Warhol copied the original labels of the soup can but deliberately
filled up the entire picture plane.
Figure 3. Andy Warhol’s “Campbell’s Soup

Cans” (1962)
Art in Asia
When ancient civilizations in Asia flourished, trade became a very important

activity. In the process of establishing trading relationships among Asian countries, they
started sharing their cultures and belief systems. China, being one of the oldest
civilizations in Asia, has a rich history when it comes to culture and the arts. Most of their
cultural and even religious beliefs and practices are represented through different
artworks. Japan was initially influenced by China in terms of the arts. Later on, they
opened themselves to the Western world, allowing for the fusion of East and West. Both
Chinese and Japanese artworks are concrete manifestations of their cultural identity as
a people. Philippine art was a product of several periods in history spanning from the
pre-colonial period to the contemporary times. Depending on a given context, art in the
Philippines has served various uses from everyday living to expression of belie systems
and advocacies.
Chinese Art
Chinese art, the painting, calligraphy, architecture, pottery, sculpture, bronzes,
jade carving, and other fine or decorative art forms produced in China over the centuries
("Chinese art", 2020)
In the present context, China is at the forefront of economic development. Its
becoming economy has led to its modernization. In addition, history shows that China
has been at the leading edge of development especially in terms of cultural
development.
Most paintings were done in monumental styles wherein rocks and mountains
served as a barrier that made the viewer distracted initially from the main subject of the
work. Porcelain is one of the commonly used items to make decorative ornaments, such
as vases and jars. Some artifacts from artifacts from excavation sites show intricate
works of the Chinese in these porcelain vases.
Figure 4. Porcelain Vase from China

Japanese Art
Japanese art, the painting, calligraphy, architecture, pottery, sculpture, bronzes,

jade carving, and other fine or decorative visual arts produced in Japan over the
centuries ("Japanese art | History, Characteristics, & Facts", 2020). Art in Japan has
undergone a series of transitions and periodization. From being an isolated nation to that
of embracing Western influences and modernization, Japan has transitioned into a
modern cultural mixing pot.
Based on artifacts such as ceramic figures and ornaments, it is important to take
note that there are Korean and Chinese influences evident in Japanese artworks. One of
the ceramic products created by the Japanese is called Haniwa. These are ceramic
figures that re made up of clay. They are placed beside burial spots for reasons that are
unknown.
Figure 5. Haniwa House
The native religion of japan is Shintoism. Although, this religion subscribes to

beliefs such as being one with nature and embracing the notion of the existence of many
gods, it did not use art to communicate its beliefs.
The Japanese also developed a kind of painting called the ukiyo-e, which was
crafted through woodcut prints. The artists developed a technique that used lines and
colors in a very distinctive manner. Some Western artists were influenced by these
ukiyo-e paintings.
Figure 6. An ukiyo-e painting

Print: Color and woodcut
Philippine Art
Throughout Philippine history, spanning from the precolonial period to the

contemporary periods, different art forms have emerged in the Philippine art scene.
Before the colonizers came to the Philippines, ethnic minorities have used art not only
for daily activities include pottery, weaving, carving, and the use of metalwork and
jewelry.
One of the most popular artisan of weaving is the people from the Cordilleras.
They are known for their colorful woven cloth, which also have both religious and
practical value. The T’bole people from Mindanao are also known for their woven abaca
cloth called t’nalak. They use this particular cloth to make ornaments, which also
represent their beliefs through symbols.
According to local stories, the birds serve as the messengers of the people to the
heavens and vice versa in Mindanao, the Tausug and Maranao people are known for
their okir, which are designs applied to their woodcarvings.
Their common subjects include the sarimanok, naga, and the pako
rabong. The sarimanok is stylized design of a mythical bird either standing on a
fish or holding a piece of fish on its beak. The naga forms an S-shape, depicting
an elaborate figure depicts the scales. The pako rabong, on the other hand, is
like a growing fern with a broad base. The fern gracefully stems and tapers
upward. The sarimanok and naga are usually used as ornamental designs for the
houses of sultans.
Figure 7. Maranao Okir

Art became one of the avenues for Filipino patriots and nationalist. Probably one
of the most famous works tht expresses Filipino nationalism and stood against the
colonizers could be Juan Luna’s “Spoliarium.” This large-scale academic painting
garnered a gold medal and signified that the reformist could come at par with their
Europian counterparts. At the same time, Luna’s win signaled the start of the Filipino’s
call for equality.
Figure 8. Juan Luna’s “Spoliarium”

Learning Activities
Let’s Work on This. To check your understanding of the lesson, answer the
following questions:
1. What are the important things the viewer or audience must consider to
derive meaning from the artwork?
2. How can improvisation contribute to the distinctive quality of artwork?
3. What is the reason why artists appropriate art?

Assessment
Write an essay answering this question:

To what extent can art help in the formation of society’s culture?
Post test
Direction: fill the blanks with the correct answer.
_______________________ 1. The native religion of Japan
_______________________ 2. Was initially influenced by China in terms of the arts.
_______________________ 3. One of the most famous works of appropriation would
have to be Andy Warhol’s on 1962.
_______________________ 4. Refers to the distinctive handling of elements and media
associated with the work of an individual artist.
_______________________ 5. In essence, ______ is the totality of the artwork.
_______________________ 6. The ________ of an rtwork includes not only its form but
also its subject matter and underlying meanings or themes.
_______________________ 7. One of the central figures in the improvisation movement
was ____________
_______________________ 8 – 9. Both ________ and ___________ artworks are
concrete manifestations of their cultural identity as a people.
_______________________ 10. Commonly used items to make decorative ornaments
such as vases and jars.
Do this for you final project
Make a bouquet out of indigenous materials. Take a picture of the

finished product you’ve made and send it to me.
Prepare a cake of soap, fruit or vegetable and a paper cutter. You

make a figure of your choice – out of the soap, fruit or vegetable with
the use of paper cutter. Think of some figures or pictures that you
like. Do not carve numbers, letters, stars, moon and cross. They are
too easy to do. Think of something challenging.
I want you to give the bouquet to your parents/guardian.

gmail or you may ask clarifications through a text message
course guide.
References
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Architecture: ART&100 2187 - S16 - Art Appreciation. (2020). Retrieved 21 October

2020, from
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August 2020, From
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Arts-From-The-Philippines
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https://en.wikipedia.org/wiki/Dance#:~:text=Dance%20is%20generally%2C
Desiderata by Max Ehrmann, The Poem, Creation and Use - BusinessBalls.com. (2020).
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stress-relief/desiderata-inspirational-poem-and-history/
Elements And Principles Of Design – Pre-Test. Incredibleart.Org. (2020). Retrieved 20
August 2020, From Https://Www.Incredibleart.Org/Files/Test.Htm
Japanese art | History, Characteristics, & Facts. (2020). Retrieved 21 October 2020,
from https://www.britannica.com/art/Japanese-art
Retrieved 20 August 2020, From Https://Ched.Gov.Ph/Wp-

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Glossary
Abstract Art – Defined And Very Widely Used Term Which In Its Most General Sense
Describes Any Art In Which Form And Color Are Stressed At The Expense, Or In The
Absence Of, A Representational Image. Also Known As Concrete Art Or Non-Objective
Art.
Acrylic Painting – Uses A Fast-Drying, Synthetic, Water Soluble Paint That Can Be
Used On Most Surfaces. Made From Color Pigments And A Synthetic Plastic Binder,
Acrylic Paint Looks Like Oil And Can Be Used In A Variety Of Painting Techniques.
Ancient Art – Umbrella Term Encompassing Early Forms Of Creative Expression From
Ancient Mediterranean Civilizations, Like Sumerian, Egyptian, Minoan, Mycenean,
Persian.
Architecture – Science Or Art Of Building. Also: The Structure Or Style Of What Is Built.
Art – A Form Of Creative Expression. For Explanation, See: Definition And Meaning Of
Art. For Forms And Categories, See: Types Of Art.
Body Art – A Type Of Contemporary Art In Which The Artist's Body Is The "Canvas".
Body Colour – Watercolour Made Opaque By Mixing With White. Also: Term Used In
Painting To Describe Solid, Definitive Areas Of Colour Which Are Then Completed Or
Modified With Scumbles And Glazes.
Body Painting – Ancient Art Of Decorating The Body.
Bronze – Alloy Of Copper And Tin, Used For Cast Sculpture. Bronze Sculpture Is Made
From This Alloy. Hence Bronzist, A Maker Of Bronze Sculptures, Plaques, Etc.
Brush – Implement For Applying Paint, Usually Of Hog Or Sable Hair Set In A Wooden
Handle.
Brush Stroke – The Individual Mark Made By Each Application Of Paint With A BRUSH,
Usually Retaining The Mark Of The Separate Brush Hairs.
Brushwork – General Term For Manner Or Style In Which Paint Is Applied, And Often
Considered By Art Historians As An Identifying Characteristic Of A Particular Artist's
Work.
Charcoal – Form Of Carbon Used For Drawing.
Chiaroscuro – The Contrasting Use Of Light And Shadow. Artists Who Are Famed For
The Use Of Chiaroscuro Include Leonardo Da Vinci, Caravaggio And Rembrandt.
Leonardo Used Chiaroscuro To Enhance The Three-Dimensionality Of His Figures,
Caravaggio Used It For Drama, And Rembrandt For Both Reasons.
Color – For A General Guide, See: Color In Painting.

Color Wheel – A Diagrammatic Chart Showing The Placement Of Colors In
Relationship To Each Other. For More Details, See: Color Theory In Painting.
Concrete Art – Term Coined In 1930 When Theo Van Doesburg Became Editor Of The
Magazine Art Concrete; It Is Sometimes Used As A Synonym For Abstract Art, Though
The Emphasis Is Not Just On Geometric Or Abstract Form, But On Structure And
Organization In Both Design And Execution.
Contemporary Art – A Rather Loose Term, Used By Museums To Describe Post-War

Art, And By Art Critics To Refer To Art Since 1970.
Complementary Color: A Color Which Is Regarded As The Opposite Of Another On

The Color Wheel (I.E., Red And Green, Yellow And Purple, And Orange And Blue).
Cross-Hatching: A Method Of Showing Shading By Means Of Multiple Small Lines That

Intersect.
Drawing – Refers To The Monochrome Use Of Pencil, Charcoal, Pen, Ink, Or Similar
Mediums On Paper, Card Or Other Support, Producing Line Work Or A Linear Quality
Rather Than Mass. When Used
Gradation: A Passing By Small Degrees From One Tone Or Shade, As Of Color, To

Another.
Hue: A Color, Or Shade Of Color.
Line: A Path Through Two Or More Points.
Oil Painting – A Medium Where Pigments Are Mixed With Drying Oils, Such As
Linseed, Walnut, Or Poppy Seed, Which Found Great Favor Due To Its Brilliance Of
Detail, Its Rich Colour, And Its Wider Tonal Range. Popularized During The 15th
Century In Northern Europe (Whose Climate Did Not Favor Fresco Works), Foremost
Pioneers Of Oil Paint Techniques Included (In Holland) Hubert And Jan Van Eyck, And
(In Italy) Leonardo Da Vinci.
Painting – Process Of Applying Paint. Also: Object Produced By Applying Paint To A

Flat Support, E.G. A Wall Or Canvas.
Palette – Slab Of Wood, Metal Or Glass Used By The Artist For Mixing Paint. Also:
Figuratively: The Range Of Colors Used By The Artist. See: Color Mixing Tips.
Pastel – Crayon Made From Pigment Mixed With Gum And Water And Pressed Into A
Stick-Shaped Form, Or Work Executed In This Medium. Because Pastel Tends To Be
Light And Chalky In Tone, The Word Is Also Used To Describe Pale, Light Colors.
Photography – Now A Fine Arts Medium.
Primary Color: Any Of Three Colors Which, When Added To Or Subtracted From
Others In Different Amounts, Can Generate All Other Colors.
Tactile: Tangible; Perceptible To The Sense Of Touch.
Texture: The Feel Or Shape Of A Surface Or Substance; The Smoothness, Roughness,

Softness, Etc. Of Something.
Tint: A Color Considered With Reference To Other Very Similar Colors. Red And Blue
Are Different Colors, But Two Shades Of Scarlet Are Different Tints.
Tempera – A Method Of Painting In Which Pigments Are Combined With An Emulsion

Of Water And Egg Yolks Or Whole Eggs (Plus Sometimes Glue Or Milk). Widely Used In
Italian Art In The 14th And 15th Centuries, Both For Panel Painting And Fresco, Was
Then Superceded By Oil Paint.
Visual Art – A Broad Category Of Artistic Disciplines, Encompassing The Fine Arts,
Some Of The Applied Arts And Certain Modern Art Forms.
Value: The Relative Darkness Or Lightness Of A Color In A Specific Area Of A Painting

Or Other Visual Art Of A Painting, It Refers More Specifically To The Artist's Method Of
Representing Form By These Means, Rather Than By The Use Of Color And Paint.
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THE BEAUTY OF ART 82
FOR CLASSROOM PURPOSE ONLY

THE BEAUTY OF ART 83
FOR CLASSROOM PURPOSE ONLY

Considerations in Appreciating Literature

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Considerations in Appreciating Literature

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Unit I – Considerations in Appreciating Literature

Literary Term Focus: PARABLE

Luke was an Early Christian writer who tradition holds as

Be cheerful. Strive to be happy.

Max Ehrmann was born in Terre Haute, Indiana, on

Ehrmann returned to Terre Haute to practice law, following which

“It is better to fail in originality than to succeed in imitation.”

“Writing is nothing more than a guided dream.” ~ Jorge Luis Borges

Dylan, Bob [dilan] pseudonym of Robert Zimmerman (1941)

Folk-singer and songwriter, born in Duluth, Minnesota, USA. Taking his

The Beatles (1960 – 70)

British pop group, formed in Liverpool, north-west England, UK in 1960,

Beethoven, Ludwig Van [baytohvn] (1770 – 1827)

How to Appreciate Folksongs

Folk music, music transmitted orally with modifications from generation to

In the fell clutch of circumstance

Beyond this place of wrath and tears

It matters not how strait the gate,

WILLIAM ERNEST HENLEY

Born Aug. 23, 1849, Gloucester, Gloucestershire, Eng.—

(The interior of a squalid, one-room dwelling located on the edge of a cemetery in

TORIO: No, Carding, I was not. Sit down,

CARDING: (Still standing.) So you’ve been sick. I didn’t know until

TORIO: Where did you see her?

CARDING: She passed by the house just a while ago.

(He tries to laugh but ends up coughing.)

TORIO: I’m just a bit feverish, that’s all.

CARDING: (Leans forward and feels Torio’s temperature.)

TORIO: I don’t know. I guess it’s the tiny wound on my foot.

CARDING: Maybe you didn’t go to the dispensary as I told you.

TORIO: What for?

CARDING: What firemen are you talking about?

TORIO: (With bitterness.) do you even remember that house I had

CARDING: I remember. I even helped you build this one.

TORIO: (Continue to mumble himself.) Maybe, just because we live

TORIO: To the hospital? To the free ward? Oh no!

CARDING: (Rises and walks a little.) My God, you should be in the

TORIO: Carding, you’ve got a chicken’s heart. You’re just like my

CARDING: (Turns to him.) No, Torio, I –

CARDING: You don’t get what I mean. Torio . . . I’m giving it up

TORIO: (Surprised.) What? You’re giving it up? You’re joking!

CARDING: I’m frightened, Torio. See what happened to you. Suppose it

TORIO: What do they say?

CARDING: That if one gets wounded— or even only scratched—by the

TORIO: And you believe that?

TORIO: (Laughs.) You’re just like a child. Besides, it was an accident!

CARDING: (Straightens up.) I’d rather offered the living—

TORIO: Carding, if you start being sentimental in this world, you’ll

CARDING: Oh ... here comes Marina. (Marina enters, a plain woman of

CARDING: Where is the doctor, Marina?

MARINA: How's Torio?

CARDING: Where is he, Marina?

MARINA: (Touching Torio’s brow.) Your temperature’s still rising.

CARDING: Marina, I’m asking you— where’s the doctor?

MARINA: He couldn’t come with me.

CARDING: (To Marina.) Why couldn't he come? Was he busy?

MARINA: (Uncertainly.) Well ... no, not exactly. He was not.

CARDING: What did he say?

MARINA: He wants us to take Torio to the dispensary.

CARDING: How? He can't .even sit up

CARDING: That doctor must be crazy.

MARINA: Of course, I did.

MARINA: (Crosses to Carding downstage; speaks low.) What shall we