SENIOR HIGH CHOOL

English for Academic

and Professional
Purposes
Quarter 1 – Module 2
Reaction Paper and Concept Paper

Department of Education ● Republic of the Philippines

 LESSON 1

CRITICAL APPROACHES IN 3
WRITING A CRITIQUE

WHAT I NEED TO
KNOW

Learning Objectives: At the end of the lesson, the learners shall be able to
1. define critique;
2. identify the various approaches writing a critique;
3. criticize the texts using the different approaches of criticism; and
4. apply the appropriate critical approaches in writing your critique.

WHAT'S
NEW
ACTIVITY 1. SAY SOMETHING ACTIVITY

Directions: Take a look at this picture and give at least five (5) points that you see
in the picture. Write your answers in your notebook.
 Process Questions: Write your answers in your notebook.

1. How did you find the picture?

2. By looking at the picture, are you thinking about the beautiful nature?

3. What about the location?

4. Did it cross to your mind who is responsible of taking care of the nature?

5. What about the feeling of the lady jumping onto the water?

6. Did you ask yourself if you would want to do the same?

7. What about the reasons why God has created this nature for us?

8. Have you not wondered how God created the beautiful world?

All these questions will be answered critically by using different approaches.

This activity leads you to learn how to write criticism.

WHAT IS
IT
What is critique?

A critique is a careful analysis of an argument to determine what is said, how well

the points are made, what assumptions underlie the argument, what issues are
overlooked, and what implications are drawn from such observations. It is a systematic,
yet personal response and evaluation of what you read.

It is a genre of academic writing that briefly summarizes and critically evaluates a

work or concept.

Critiques can be used to carefully analyze a variety of works such as:

• Creative works – novels, exhibits, film, images, poetry

• Research – monographs, journal articles, systematic reviews, theories
• Media – news reports, feature articles

Like an essay, a critique uses a formal, academic writing style and has a clear
structure, that is, an introduction, body and conclusion. However, the body of a critique
includes a summary of the work and a detailed evaluation. The purpose of an evaluation
is to gauge the usefulness or impact of a work in a particular field.
Why do we write critiques?

Writing a critique on a work helps us to develop:

• A knowledge of the work’s subject area or related works.
• An understanding of the work’s purpose, intended audience, development
of argument, structure of evidence or creative style.
• A recognition of the strengths and weaknesses of the work.

How to write a critique

Before you start writing, it is important to have a thorough understanding

of the work that will be critiqued.

• Study the work under discussion.

• Make notes on key parts of the work.
• Develop an understanding of the main argument or purpose being
expressed in the work.
• Consider how the work relates to a broader issue or context.

Read about the critical approaches. You can highlight some important ideas.
You can use these in expressing your views.

The following are the different approaches in writing a critique:

1. Formalist: This approach regards literature as “a unique form of human knowledge

that needs to be examined on its own terms.” All the elements necessary for
understanding the work are contained within the work itself. Of particular interest to
the formalist critic are the elements of form—style, structure, tone, imagery, etc.—
that are found within the text. A primary goal for formalist critics is to determine how
such elements work together with the text’s content to shape its effects upon
readers.

Questions to be Asked for Formalistic Approach

A. How is the work’s structure unified?

B. How do various elements of the work reinforce its meaning?
C. What recurring patterns (repeated or related words, images, etc.) can you find?
D. What is the effect of these patterns or motifs?
E. How does repetition reinforce the theme(s)?
F. How does the writer’s diction reveal or reflect the work’s meaning?
G. What is the effect of the plot, and what parts specifically produce that effect?
H. What figures of speech are used? (metaphors, similes, etc.)
I. Note the writer’s use of paradox, irony, symbol, plot, characterization, and
style of narration.
J. What effects are produced? Do any of these relate to one another or to the
theme?
K. Is there a relationship between the beginning and the end of the story?
L. What tone and mood are created at various parts of the work?
M. How does the author create tone and mood? What relationship is there
between tone and mood and the effect of the story?
N. How do the various elements interact to create a unified whole?
 2. Gender Criticism: This approach “examines how sexual identity influences the
creation and reception of literary works.” Originally an offshoot of feminist
movements, gender criticism today includes a number of approaches, including the
so-called “masculinist” approach recently advocated by poet Robert Bly. The bulk
of gender criticism, however, is feminist and takes as a central precept that the
patriarchal attitudes that have dominated western thought have resulted,
consciously or unconsciously, in literature “full of unexamined ‘male-produced’
assumptions.”
3. Feminist criticism attempts to correct this imbalance by analyzing and combatting
such attitudes—by questioning, for example, why none of the characters in
Shakespeare’s play Othello ever challenge the right of a husband to murder a wife
accused of adultery. Other goals of feminist critics include “analyzing how sexual
identity influences the reader of a text” and “examining how the images of men and
women in imaginative literature reflect or reject the social forces that have historically
kept the sexes from achieving total equality.”

Feminist Criticism examines images of women and concepts of the feminine in

myth and literature; uses the psychological, archetypal, and sociological approaches;
often focuses on female characters who have been neglected in previous criticism.
Feminist critics attempt to correct or supplement what they regard as a predominantly
male-dominated critical perspective.

Questions to be asked for Feministic Approach

A. How are women’s lives portrayed in the work?

B. Is the form and content of the work influenced by the writer’s gender?
C. How do male and female characters relate to one another? Are these
relationships sources of conflict? Are these conflicts resolved?
D. Does the work challenge or affirm traditional views of women?
E. How do the images of women in the story reflect patriarchal social forces that
have impeded women’s efforts to achieve full equality with men?
F. What marital expectations are imposed on the characters? What effect do
these expectations have?
G. What behavioral expectations are imposed on the characters? What effect do
these expectations have?
H. If a female character were male, how would the story be different (and vice
versa)?
I. How does the marital status of a character affect her decisions or happiness?

4. Historical: This approach “seeks to understand a literary work by investigating the

social, cultural, and intellectual context that produced it—a context that necessarily
includes the artist’s biography and milieu.” A key goal for historical critics is to
understand the effect of a literary work upon its original readers.

Questions to be Asked for Formalistic Approach

A. How does it reflect the time in which it was written?

B. How accurately does the story depict the time in which it is set?
C. What literary or historical influences helped to shape the form and content of
the work?
D. How does the story reflect the attitudes and beliefs of the time in which it was
 written or set? (Consider beliefs and attitudes related to race, religion, politics,
gender, society, philosophy, etc.)
E. What other literary works may have influenced the writer?
F. What historical events or movements might have influenced this writer?
G. How would characters and events in this story have been viewed by the writer’s
contemporaries?
H. Does the story reveal or contradict the prevailing values of the time in which it was
written? Does it provide an opposing view of the period’s prevailing values?
I. How important is it the historical context (the work’s and the reader’s) to interpreting
the work?

5. Reader-Response Criticism: This approach takes as a fundamental tenet that

“literature” exists not as an artifact upon a printed page but as a transaction between
the physical text and the mind of a reader. It attempts “to describe what happens in
the reader’s mind while interpreting a text” and reflects that reading, like writing, is a
creative process.

6. Structuralism focused on how human behavior is determined by social, cultural and

psychological structures. It tended to offer a single unified approach to human life that
would embrace all disciplines. The essence of structuralism is the belief that “things cannot
be understood in isolation, they have to be seen in the context of larger structures which
contain them. For example, the structuralist analysis of Donne’s poem, Good Morrow,
demands more focus on the relevant genre, the concept of courtly love, rather than on the
close reading of the formal elements of the text.

7. Sociological focuses on man’s relationship to others in society, politics, religion, and

business.

Questions to be asked for Sociological Approach

A. What is the relationship between the characters and their society?

B. Does the story address societal issues, such as race, gender, and class?
C. How do social forces shape the power relationships between groups or
classes of people in the story? Who has the power, and who doesn’t?
Why?
D. How does the story reflect the Great American Dream?
E. How does the story reflect urban, rural, or suburban values?
F. What does the work say about economic or social power? Who has it
and who doesn’t? Any Marxist leanings evident?
G. Does the story address issues of economic exploitation? What role does
money play?
H. How do economic conditions determine the direction of the characters’ lives?
I. Does the work challenge or affirm the social order it depicts?
J. Can the protagonist’s struggle be seen as symbolic of a larger class struggle?
K. How does the microcosm (small world) of the story reflect the macrocosm
(large world) of the society in which it was composed?
L. Do any of the characters correspond to types of government, such as a
dictatorship, democracy, communism, socialism, fascism, etc.? What
attitudes toward these political structures/systems are expressed in the
work?

Now, you have learned the basic principles of writing criticisms. Let’s apply our skill by
doing these activities.
 WHAT I CAN DO

ACTIVITY 4

Directions: Read the poem “Adam”, by Hugh Cook critically. Criticize it using formalistic and feministic
approaches. Write your answers on your notebook.

ADAM
by Hugh Cook
“Eden is boring. Nothing explodes.
There are no trains to fall off the tracks.
And Adam finds himself With something
missing.
Comic books? Broadband? Balsamic
vinegar?
Pachinko? Razor blades? Plasma TV?
He's aware of an itch And scratching
Has yet to be invented.
He eyes the fruit,
The One Forbidden Thing. "Not yet," says
the serpent, Who's seen the script.
But Adam is engineered for impatience:
Quests, missions, objectives,
Grails unholy or otherwise.
"Out!" says the angel. And Adam shrugs,
Loses the core,
Strides to the open gate. Something on two
legs Is running after him.”

Cook, Hugh - Adam. 2003

 LESSON 2

OBJECTIVE/BALANCED REVIEW OR
CRITIQUE OF A WORK OF ART,
AN EVENT OR A PROGRAM
WHAT I NEED TO
KNOW

Competency 6: Writes an objective/balanced review or critique of a work of art,

an event or a program.

Learning Objectives: At the end of the lesson, the learners shall be able to:
1. define balanced/objective assessment or criticism of artwork;
2. identify the forms and structures of writing art criticism;
3. identify techniques in reviewing different art forms;
4. interpret the broader context and different types of art; and,
5. write a balanced/objective review or critique of pieces of work.

WHAT IS
IT

A. What is balanced/objective review or criticism?

It is a system of interpreting, judging, and assessing a person, thing, or any

work of art not influenced by feelings or opinions in considering and presenting
facts.

It is a systematic way of considering the truthfulness of a piece of work.

B. To have balanced/objective review of any piece of work, the following

are considered:

1. Description. Pure description of the object, piece of work, art, event, etc. It
answers the questions:
 a. artwork - "What do you see?" (description constitutes form of art,
medium, size and scale, elements or general shapes, color, texture of
surface, and context of object).
b. piece of writing - "What do you see?" (form, structure, choice of words,
length, genre, etc)

2. Analysis. Determining what the features suggest and deciding why the artist
or writers used such features to convey specific ideas. It answers the
questions:

a. artwork - "How did the artist do it?"

b. piece of writing-"How did the writer write it?"

The analysis constitutes the following: determination of subject matter, analysis of

the principles of design or composition, use of symbol and other elements, portrayal
of movement and how it is achieved, effect of particular medium, relationships of each
part of the composition to the whole and to each other part, and reaction to object.

3. Interpretation. Establishing the broader context for this type of art. It

answers the questions:

a. artwork - "Why did the artist create it and what does it mean?
b. piece of writing - "Why did the write create it and what does it
mean?

Remember: you shouldn’t make your interpretation too arbitrary! Provide evidence
and point out what exactly influenced your understanding of the artwork.
Here are the elements that you can include in your interpretation:

▪ How does this art object make you feel?

▪ What do you think of when you’re looking at the artwork?
▪ What did the artist want to tell you as a viewer?
▪ What do you think about the title of the work? Does it influence your
interpretation?
▪ If you can’t understand a painting or a sculpture, don’t hurry to give a negative
response to it. Think of other critics who have provided a positive evaluation
of the examined artwork. It doesn’t mean you shouldn’t have your opinion!
All you need is to find a good way to express it.

E.g., in this painting, the artist wanted to show us the king’s personality and
achievements.

The interpretation constitutes: (a) Main idea (overall meaning of the work), (b)
Interpretive Statement (Can I express what I think the artwork is about in one sentence),
and (c) Evidence (What evidence inside or outside the artwork supports my
interpretation?).

4. Judgment. Judging a piece of work means giving it rank in relation to other

works and of course considering a very important aspect of the visual arts;
its originality. It answers the questions “Is it a good artwork?” Is it a good
composition?
 Here are some points that can help you write your judgment:
• How do you think: is the work successful or not?
• Does this art object seem original or not?
• What do you feel when looking at this piece of artwork?
• Go back to your first impression. Has anything changed? What did you
learn?
• If nothing changed, explain your first reaction to the work.
• What have you learned from this work that you might apply to your own
artwork or your thinking?

In judging the piece of work, there must be:

(a) Criteria (What criteria do I think are most appropriate for judging the
artwork or writing?),

(b) Evidence (What evidence inside or outside the artwork or piece of writing
relate to each criterion?)’ and

(c) Judgment (Based on the criteria and evidence, what is my judgment

about the quality of the artwork or piece of writing?).

E.g., the artwork successfully conveys the atmosphere of a battle through its
composition and color scheme. Learning about its backstory helped me to appreciate
the painting even more.

C. How to Critique Different Art Forms

As you can imagine, all kinds of masterpieces are subject to art criticism. For
example, you can choose to write about paintings, drawings, sculptures, or even
buildings. And, naturally, all these forms of art have their specific features!
These tips will provide you with an art critique template for anything, be it an oil
painting or a cathedral.

1. Painting Critique. Paint is a medium that emphasizes light, colors, and

space. for example:
• What school of painting does it belong to? Is it typical or unusual for
this particular school?
E.g., Monet’s Water Lilies is a typical Impressionist painting.

• Describe the way the artist applies paint. Are there broad paint strokes,
small points of color, or just a smooth surface? What effect does it help
to achieve?
E.g., Van Gogh’s broad brush strokes help to create a sense of motion.

• Describe how the light is depicted. Where does the light come from? Is
there a strong value contrast? In what way does the shadow function?
What, in your opinion, does it evoke?
E.g., strong contrast makes the central figures stand out.

• Speak about the handling of space in the picture. Does it look flat or
three-dimensional? What kind of perspective is used? (e.g., one-point
 perspective, or bird’s eye view?)
E.g., in this painting, Picasso uses multi-dimensional geometrical shapes

2. Sculpture Critique. Similarly, many specific factors influence the overall

impression of a sculpture.
Here are some things to pay attention to:

• Say if the material gives a particular texture to the statue. Is the

surface smooth, or is it uneven?
E.g., Rodin’s sculpture has an unusual earthy texture.

• The surrounding space is just as important as the sculpture itself.

Describe the place (in the museum, in a park, in front of a building)
where it is situated. What does it add to the sculpture?
E.g., the statue appears to walk along the road.

• Speak about the color of the sculpture. Is it painted? Does it rely on

natural lights and shadows?
E.g., the statue is white. A museum floodlight lights it from above, creating
expressive shadows.

• Describe the composition of the sculpture. What does it look like when you
approach it? Did the sculptor provide any instructions on how to position it?
E.g., the statue is enormous and can be viewed from all sides.

3. Architecture Critique. You can write art critiques on architecture, too!

Just bear in mind the following points:

• What architectural style does it belong to?

E.g., the cathedral is a typical Gothic building.

• Was it built with a purpose? Did a specific person request it?

E.g., the Palace of Versailles was requested by Louis IV as a symbol of his
monarchy.

• Did one architect complete the building, or were there any alterations?
Why were they made?
E.g., the spire was added to the cathedral much later. It became the
integral part of its image.

• What do the exterior and the interior look like? What effect do they
produce? Is there a contrast between them?
E.g., the building has a high ceiling painted like the sky. It also makes
the organ music sound louder.

• Are there statues or paintings on the walls? Discuss them as well!

E.g., statues on the cathedral’s facade illustrate scenes from the Bible.

4. Photography Critique. Analyzing a photograph is a lot like critiquing a painting.

Still, there are some unique features to consider:

 • How does the photographer use focus? Is any part of the image blurry?
What effect does it produce?
E.g., the background is out-of-focus, which has a dreamy effect.

• Is the picture monochrome? If yes, describe its tone, contrast, and

shadows. If no, describe the use of color.
E.g., the picture is in black and white, with stark contrasts.

• If it’s a photo of a face, pay extra attention to the emotion it

expresses. If it’s dynamic, discuss the sense of motion.
E.g., the photograph conveys a sense of cheerfulness through the girl’s
expression and the use of light.

Example of review of artwork (painting) 1:

The Weeping Woman by Pablo Picasso in France, 1937

https://16julianas.weebly.com/art-critique-example.html

Describe:

The Weeping Woman is a painting finished by Pablo Picasso in France,

1937. This type of artwork can be considered to be expressionism. There isn’t an
actual background scene in the painting. The background is completed with different
lines and colors. The woman is the focus point of this painting. She is wearing an
accessory on top of her head which demonstrates her elegance. My first impression
of the artwork is that the face of the woman is not proportionate and is only painted
with lines, no curves. The main colors that are used in this painting are green, yellow,
blue, purple, red and black. The painting is set mainly of lined and little curves. The
mood and visual effect that this painting portrays can be considered to be suffering,
and sadness.
 Analyze:

The colors that the author uses can be considered to be quite different as each
color conveys a separate impression. The light purple that begins at the bottom top
of the woman’s eyes can convey sadness. The other half of the face is mainly covered
in green and yellow; these can be said to interpret other solid emotions that the painter
must have towards this woman as she was a vital character in Picasso’s life. The
painting is created with mainly lines which can mean that the woman had strong
physical features or that her different emotions were felt passionately as lines are
usually seen as strong technical elements. The only curves that are being used are
for her hair and eyes. The eyes look quite down or depressive. This is because the
woman is crying, which goes back to the main mood which is suffering.

Interpretation:

I believe that Picasso wanted the audience to feel pain and provide a statement
that explains how all women feel and the agony that they are consistently in. The
audience can see that the woman has peeled away her flesh by corrosive tears to
reveal her white bones. The handkerchief she tries to stuff in her mouth seems as a
shard of glass. This vivid image can convey pain and hurting. Picasso has expressed
the behavior of this woman several times and often describes the constant tears that
fall off her eyes. So, the feeling conveyed by the artwork is definitely suffering.
Picasso wanted us to feel her and understand the pain that she was going through. It
was not easy to be a woman during that time since females where often frowned
upon. Picasso demonstrates the appreciation that he has for her through this painting
as he wants the audience to understand her.

Judge:

Finally, the artist’s value may be to evoke pain, as mentioned previously. This
is due to the colors that Picasso used and the shapes that he draws; not only these
technical elements but also the images that the painter uses within the actual face of
the woman. The painting relates to the entire female community. This community can
understand the painting and know what Picasso was trying to portray. Every woman is
able understand and comprehend the message behind this painting as we all feel
the same way at one point in our lives. I believe that this is a strong value in the painting.
The weak value lies in the different colors that the painter chooses. I found it confusing
to interpret other areas of the face as the colors that were used didn’t seem to match
other locations of the face.

Example of review of artwork 2: The Last Supper by Leonardo da Vinci

What Does the Last Supper by

Leonardo da Vinci Depict?

The Last Supper’ of Leonardo da

Vinci is considered to be undoubtedly a
masterpiece. Debates have ensued,
though, concerning the interpretation of
this piece of art. Some even claim that
Leonardo da Vinci tried to transfer a
secret message to us through it. What
 is portrayed in this painting that has
attracted and enchanted such a great
amount of viewers?

The painting depicts a supper of twelve disciples of Jesus Christ and Christ himself
before the prophet is betrayed (Essak, 2013). Jesus Christ gathers all together in order to
eat and drink at a table, which is not so big and where the food itself is plain. This humble
atmosphere allows the viewers to focus more on the disciples and Christ. In addition to
this, Christ tells the assembly that one person who is present in that supper will betray
him. The painting actually shows the first moment after this statement and the reactions
of the disciples to this speech (Saunders, 2011). Leonardo da Vinci artfully depicts shock,
surprise and other various human emotions in his painting. Although every person in the
painting possesses unique features, I believe ”The Last Supper’ can be divided into four
symmetrical groups full of life and motion (Essak, 2013).

The group from the left side of Christ reacts impulsively and is united by one and
the same will. One disciple has even stood up and another has his finger raised. The
group that is on right-hand side is characterized by greater reserve. There is a huge
distance between them and Jesus Christ. Judah who can be found among these disciples
holding a pouch, perhaps with silver.

His dark and harsh appearance contrasts magnificently with the innocent and light
figure of John. Some scientists claim that this is not actually John, but Mary Magdalene,
because his face is feminine and gentle (Welborn, 2013). In thinking critically, this version
is hardly believable, as Christ gathered twelve disciples, not eleven. Otherwise the
symbolism of ‘The Last Supper’ does not make any sense. Between Judah and John, the
head of Peter can be seen and moreover, he holds a knife in his arm as if he would like
to protect Jesus. From his right-hand side, another group of disciples is portrayed. They
are turned in profile and it looks like they are astonished by the news that was introduced.
From the opposite side, we may see Matthew who is asking the same question to the
other men trying to find the clear explanation of what is happening at that particular
moment.

Frankly speaking, while searching for a secret code of Leonardo da Vinci in his
painting ‘the Last Supper’, one may lose the real visible goal of the picture. It brilliantly
portrays the discrepancy between the conciliation of Christ with his future, his reserve,
calm and absolutely different emotional states and unique reactions of his disciples to the
piece of news that he will be betrayed. The painting has vague aspects about it and
perhaps hidden symbols, but this is not the reason why this painting attracts millions of
people and involves them into the researches and deep investigation of every centimeter
of this masterpiece.
https://answershark.com/writing/creating-review/art-review/the-last-supper-by-leonardo-da-vinci.html

Based on the above discussions and examples, let us have some activities. The
activities you will do will help you go through the journey one step at a time so you have
to accomplish them with care. Have fun!
 WHAT I CAN DO

ACTIVITY 4

This artwork is an example of sculpture. This was created by a National Artist in

sculpture, no less than Napoleon Abueva. This Blood Compact Monument (Sandugo) was
performed in the island of Bohol in the Philippines, between the Spanish explorer Miguel
López de Legazpi and Datu Sikatuna the chieftain of Bohol on March 16, 1565, to seal their
friendship as part of the tribal tradition.

Directions: With this, write a balanced/objective review or critique following tips

discussed earlier. Write you review in your notebook.

Creator: Michael Ortega Ligalig

Copyright: Photos by Michael Ortega Ligalig/Rappler
Information extracted from IPTC Photo Metadata.
https://www.google.com/search?q=sample+review+of+sculpture+abueva

RUBRIC IN ART REVIEW

Excellent Good Fair Poor

Introduction Introduction Introduction Introduction Introduction does
explains author’s explains author’s mentions whre the not present or
selection of the selection of the author came does not explain
 artwork in a artwork and that across the artwork how the author
thoughtful manner. caused him to but does not put selected the
consider it further. much effort into artwork.
explaining what
attracted him to
pursue it.
Description Author thoughtfully Author answers Author somewhat Author does not
answers the the question What answers the answer the
question What do I do I see? question What do I question What do
see? Discusses Discusses most see? Discusses I see? Makes a
the size, medium, of the ff: size, some of the ff: weak attempt to
process used and medium, process size, medium, describe the
subject. Author used and subject. process used and artwork describing
shows strong Author discusses subject. A few very few elements
understanding of most of the elements used in in the work.
the elements: line, elements: line, the work are
shape, space, shape, space, discussed.
color, texture, and color, texture, and
value. value.
Analysis Author answers the Author answers Author somewhat Author does not
question: How is the question: How answers the answer the
the work is the work question: How is question: How is
organized? organized? the work the work
Thoroughly Discusses the organized? organized?
discusses the major principles of Discusses a few of Makes a weak
major principles of art in the work. the principles of art effort to mention
art in the work. in the work. the major
principles of art in
the work.
Interpretation Author thoroughly Author answers: Author somewhat Author does not
and thoughtfully What is the artist answers: What is answer: What is
answers: What is trying to the artist trying to the artist trying to
the artist trying to communicate? communicate? communicate?
communicate? The interpretation The interpretation The interpretation
The interpretation is based on some is based on a few is not supported
is based on visual visual facts and visual facts and by visual facts and
facts and clues clues collected. clues collected. clues collected.
collected.
Conclusion Author concludes Author concludes Author concludes Author concludes
with an engaging with an interesting with a somewhat with a shallow
and interesting point about his interesting point reaction to the art
point about his reaction to the art about his reaction work.
reaction to the art work. to the art work.
work.
Mechanics No errors in A few minor errors A few minor errors Distracting and
punctuation, in punctuation, in punctuation, major errors in
spelling, grammar spelling, grammar spelling, grammar spelling, grammar
or capitalization. or capitalization or capitalization or capitalization.
Uses APA style, but they do not that while Header and footer
double-spacing distract the over- distracting, the are not correct.
and 12 point font. all meaning of the meaning can still There are
Header and title essay. Uses APA be discerned. mistakes in
format are correct. style, double- Some APA style, spacing and font.
Paper is at least 3- spacing and 12 double-spacing Paper is less than
4 pages. point font. Header and 12 point font. 3 pages.
and title format are Header and title
correct. Paper is format may not be
at least 3-4 pages. correct. Paper is
not 3 pages.

Rated by: Date: Overall Score: Feedbacks:

ART CRITICISM
Name: Teacher:
 Date : Title of Work:

1 2 3 4
Students will One quarter or less Half of all the Three quarters of All of the relative
examine artworks of all the relative relative elements all the relative elements present in
to form ideas and elements present in present in the work elements present in the work of art are
criteria by which to the work of art are of art are identified the work of art are identified listing
judge/assess identified listing listing factual identified listing factual adjectives;
through the first factual adjectives; adjectives; the tile, factual adjectives; the tile, date,
level of art criticism, the tile, date, date, medium and the tile, date, medium and artist
description in order medium and artist artist name are medium and artist name are identified
to inspire personal name are not identified name are identified accurately.
works and artistic identified accurately. accurately.
growth. accurately.
Students will One quarter of the Half of the relative Three quarters of All of the relative
examine artworks relative principles principles present the relative principles present
to form ideas and present in the work in the work of art principles present in the work of art
criteria by which to of art are identified; are identified; half in the work of art are identified; all
judge/assess One quarter of the of the relative are identified; three the relative
through the second relative principles principles are quarters of the principles are
level of art criticism, are discussed with discussed with relative principles discussed with
analyzation, in reference to the reference to the are discussed with reference to the
order to inspire corresponding corresponding reference to the corresponding
personal works and elements. elements. corresponding elements.
artistic growth. elements.
Students will Either the Either the The The
examine artworks meaning/message meaning/message meaning/message meaning/message
to form ideas and and mood of the and mood of the and mood of the and mood of the
criteria by which to work are all defined work are all defined work are all defined work are all defined
judge and assess using support and using support and using support and using support and
through the third details from one details from half details from three details from all
level of art criticism, quarter or less of relative aspects of quarters of the relative aspects of
interpretation in the relative aspects description and relative aspects of description and
order to inspire of description and analysis; the critic description and analysis; the critic
personal works and analysis; the critic has not categorized analysis; the critic has categorized the
artistic growth. has not categorized the artwork into an has categorized the artwork into an art
the artwork into an art style. artwork into an art style.
art style. style.
Student will The critic’s opinion The critic’s opinion The critic’s opinion The critic’s opinion
examine artworks of the work is of the work is of the work is of the work is
to form ideas and unclear and vague and stated clearly and stated clearly and
criteria by which to supported only one supported in only supported in three supported in all
judge/assess quarter or less of all half of the areas quarters of all areas with reason
through the fourth areas with reason with reason and areas with reason and rationale based
level of art criticism, and rationale based rationale based on and rationale based on previous
judgement in order on previous previous aspects of on previous aspects of the
to inspire personal aspects of the the critique. aspects of the critique.
works and artistic critique. critique.
growth

Teacher Comments: _________________________________________________________________

This rubric is from www.TeacherJet.com

WHAT I HAVE
LEARNED
I have learned the following important points in this lesson:

Balanced/objective review or criticism is a system of interpreting, judging and

any artwork.

To produce balanced/objective review of any piece of work should be done by

describing, analyzing, interpreting, and judging.

There are different techniques in criticizing various art works.

Ideas should be presented in an organized way.

To convince the readers, reviewing/criticizing must be objectively written.

What I want to say about the lesson:

What I found out:

LESSON 3

WAYS TO EXPLAIN A CONCEPT 4

Learning Objectives: At the end of the lesson, the learners shall be able to:
1. determine the ways a writer can elucidate on a concept; and
2. define concept paper
 WHAT IS
IT

A concept paper aims to clarify a concept which can be about any topic from
any fields. It can also be a short summary that tells the reader what the project is,
why it is important, and how it will be carried out. Its aim is to capture the thoughts
and ideas while the research proposal captures the ideas in a structured manner for
approval to research. It is not easy to write a concept paper but with careful study
and research, you can create one.
There are many ways a writer can expound a concept. You can use definition,
explication, and clarification.

Definition identifies a term and sets it apart from all other terms that may be
related to it. Often, definitions begin by mentioning the general class to which a term
belongs. Then they provide specifics to distinguish the term from other members of
that class. You can use these techniques:

1. Formal – follows a patter or equation; term+genus+differentia (differentiating

characteristics)
Example: Technology is the branch of knowledge dealing with engineering or applied
sciences.

2. By synonym – using a word or phrase that shares a meaning with the term being
defined.
Example: Technology – Knowledge, Computers

3. By origin or semantic history

Example: Technology comes from the Greek work tekhnologia.

4. By illustration
Example: Technology involves the use of machineries in every aspect of work.

5. By function
Example: Technology uses hi-tech machines to get the work done.

6. By analysis – breaking down wholes into parts, aspects to levels and a process
into steps)
Example: Technology is defined as the application of scientific knowledge for practical
purposes, especially in industry.

7. By likeness of similarity
Example: Technology is likened to modern living where robots exist.

8. By analogy or metaphor
Example: Technology is like a robot that make life easier.

9. By contrast – use of opposites

Example: Unlike the manual work, technology makes work efficient.

10. By negation – stating what the term is not

Example: Technology is not harmful if used properly.
 Explication is the process by which concepts are defined for scientific
purposes. "To explicate" something is, in the most general sense of the term, to
spell out its implications. Thus, it is the process of spelling out the implications
of something and derived from this, in turn, is the sense of "explication" that refers
to the product of this process: some account of what the implications of something
are. Explication, in other words, is a kind of explanation.
Clarification is an analysis of an abstract concept through investigation of
examples and the identification of critical and less critical attributes.
These are needed to make your concept paper clear and comprehensible.

WHAT'S
MORE

ACTIVITY 3. DEFINE AND EXPLAIN

Directions: Define and explain each concept applying at least three (3)
techniques in definition. Write your answers in your notebook.

A. Humanities

B. Tech-Voc

C. Science

D. Accountancy

E. Engineering
 WHAT I HAVE
LEARNED

You have learned the following important points in this lesson:

A concept paper is a short summary that tells the reader what the
project is, why it is important, and how it will be carried out.
You can use definition, explication and clarification in making your
concept paper.

WHAT I CAN DO

ACTIVITY 5. APPLY THEM

Directions: Choose one of the concepts in Activity 3 that you want to work on
for a concept paper. Apply definition, explication and clarification in expounding
what the concept is all about. This is only a preparatory stage for the next lesson
where you will write a concept paper. Write your answers in your notebook.
 LESSON 4

KINDS OF CONCEPT PAPER

Learning Objectives: At the end of the lesson, the learners shall be able to:
1. compare and contrast various kinds of concept paper; and
2. present a novel concept or project

WHAT'S
NEW
ACTIVITY 1. NAME
THEM
How many concept papers have you read so far?

Directions: List them down and tell what they are about in one sentence. If you
have not read one at all, list down the reasons why you have not read any. Write
your answers in your notebook.

1.
2.
3.
4.

WHAT IS
IT
There are two kinds of concept paper namely implicit and explicit concept paper.

1. Implicit – implicit is, “implied or understood though not plainly or directly

expressed.” Something is, therefore, implicit when it is not directly stated but
is either suggested in the wording or necessary to effectuate the purpose.

Example: Technology caused horrors in some aspects.

2. Explicit – “to fully and clearly express something, leaving nothing implied.”
Something is explicit when it is cleared stated and spelled out and there is
no room for confusion, as in the writing of a contract or statute.

Example: Technology is harmful to us.

Whichever kind is used, as long as you delivered convincingly to the

audience, it’s enough. Let us read some examples of concept papers. A
concept paper is written to mainly to clarify the meaning of a concept
whatever technique is used to do it.
 The first one is a mini concept paper that uses definition to clarify the
meaning of boondocks.
Directions: Read to find out how the writer expounds the concept. There may be
some difficult words you will encounter. Refer to the dictionary for better
understanding.

Boondocks from an Avalanche of Anoraks

(1) Reading material comes from Malay bamboo, “a large, hollow bamboo.”
The young shoots are eaten as a vegetable or are pickled and candied. Some
species of bamboo grow to a height of 120 feet.
(2) Boondocks (1944), a remote rural area, back country, an isolated or wild
region filled with dense brush, comes from Tagalog bundok, “mountain.” An “s” was
added, since English has the tendency to affix that letter to locations, as in the sticks
(a synonym for the boondocks), the damps, and the woods. While the word means
“mountain” to the people of the Philippines, American soldiers extended the meaning
to any kind of rough country or out-of-the-way locale. Used by servicemen during
World War II, the word boondocks first came to the attention of the American public
during an investigation into the brutal methods of training used by the Marines at
Camp Lejeune in North Carolina. According to the official records, young recruits
were regularly subjected to forced night marches “into the boondocks” (of places like
Paris Island), which included some low-lying swampy areas where at least one
Marine recruit died. The investigation ended, but the word remained. Its infamous
history all but forgotten, the word boondocks is now synonymous with any rural area
distant from the excitement of big cities or large towns. By the 1950s, shoes suitable
for rough outdoor use were regularly called boondockers, as can be seen from Leon
Uris’s adventure packed novel of World War II Marines, Battle Cry: “Andy Hookans
was dumping a can of foot powder into his boondockers.” About the same time,
boonies had become the slang equivalent of the boondocks.
(3) Caddy (1792), a small box, or chest used for keeping tea leaves, is
borrowed from Malay kati, a weight used in China and the East Indies equal to
slightly more than a pound avoirdupois. A tea caddy probably derived its name from
the fact that the little box or chest that held the measure (approximately one and
one-third pounds of tea) was confused with the measure itself. The caddy that
carries tea leaves is in no way related to the caddy (or caddie) who carries clubs
and balls for a golfer. The latter caddy is derived from French cadet, as in a military
cadet.
(4) Camphor (1313), derived from Malay kapur, “chalk lime” via Arabic kāfūr,
is a whitish, translucent, tough, volatile, pleasant-smelling crystalline compound
obtained from the wood and bark of the camphor tree. Camphor is used primarily as
a moth repellent in the manufacture of celluloid; and in medicine as a liniment, a
counterirritant for infections, and a mild antiseptic. It used to be taken internally as a
heart and circulatory stimulant, and as an anti-diarrhetic; it is no longer taken
internally, since it is mildly toxic, and indigestion may produce harmful effects,
especially in infants and children. It is also no longer used as an anti-aphrodisiac –
something to counteract sexual desire.
(5) Cassowary (1611), a large flightless bird of Australia, New Guinea, and
 the neighboring islands, related to the ostrich, is borrowed from Malay kasuari.
Cassowaries often weigh as much as 140 pounds and are dangerous. Capable of
killing even full-grown men, these sometimes-pugnacious birds usually leap feet
first on their adversaries and then attack with their claws. Their wings, completely
useless for flight, are covered with stiff, featherless quills, like spines, which also
serve as weapons. Females lay three to eight green eggs at a time, which the males
incubate.
(6) Gingham (1615), a cotton or linen cloth, woven of dyed yarn, often striped
or checked, comes, via Dutch gingang, from Malay genggang, meaning “with
space between,” hence, “striped” or “checkered.” Because the colored lines of
gingham are always on the grain, gingham fabrics have no right and wrong side in
terms of color. Gingham was memorialized in “The Duel,” one of the most popular
poems written by Eugene Field (1850-1895) for children. It begins: “The gingham
dog and the calico cat/Side by side on the table sat.”

From: page 146 An Avalanche of Anoraks (cited in EAPP Learners’ Material)

Reflection questions: Write your answers in your notebook.

1. What is the concept paper about?
2. How did the writer expound on the concept?
3. What kind of concept paper is this? Why?
4. Do you think it is a good concept paper? Why?

Let us read another concept paper and answer the set of reflection questions that
follow it. It has something to do with what we eat.

Ketchup
(1) The sauce that is today called ketchup (or catsup) in Western cultures is a
tomato-based sauce that is quite distinct from the Eastern ancestors of this
product. A sauce called ke-tiap was in use in China at least as early as the
seventeenth century, but the Chinese version of the sauce was made of pickled
fish, shellfish, and spices. The popularity of this Chinese sauce spread to
Singapore and Malaysia, where it was called kechap. The Indonesian sauce ketjab
derives its name from the same source as the Malaysian sauce but is made from
very different ingredients. The Indonesian ketjab is made of cooking black soy
beans, fermenting them, placing them in a salt brine for at least a week, cooking
the resulting solution further, and sweetening it heavily; this process results in a
dark, thick, and sweet variation of soy sauce.
(2) Early in the eighteenth century, sailors from the British navy came across
this exotic sauce on voyages to Malaysia and Singapore and brought samples of
it back to England on return voyages, English chefs tried to recreate the sauce but
were unable to do so exactly because key ingredients were unknown or
unavailable in England; chefs ended up substituting ingredients such as
mushrooms and walnuts in an attempt to recreate the special tastes of the original
Asian sauce. Variations of this sauce become quite the rage in eighteenth-century
 England, appearing in a number of recipe books and featured as an exotic addition
to menus from the period.
(3) The English version did not contain tomatoes, and it was not until the end
of the eighteenth century that tomatoes became a main ingredient, in the ketchup
of the newly created United States. It is quite notable that tomatoes were added to
the sauce in that tomatoes had previously been considered quire dangerous to
health. The tomato had been cultivated by the Aztecs, who had called it tomatl;
however, early botanists had recognized that the tomato was a member of the
Solanacaea family, which does include a number of poisonous plants. The leaves
of the tomato plant are poisonous, though of course the fruit is not.
(4) Thomas Jefferson, who cultivated the tomato in his gardens at Monticello
and served dishes containing tomatoes at lavish feasts, often receives credit for
changing the reputation of the tomato. Soon after Jefferson had introduced the
tomato to American society, recipes combining the newly fashionable tomato with
the equally fashionable and exotic sauce known as ketchap began to appear. By
the middle of the nineteenth century, both the tomato and tomato ketchup were
staples of the American kitchen.
(5) Tomato ketchup, popular though it was, was quite time-consuming to
prepare. In 1876, the first mass-produced tomato ketchup, a product of German-
American Henry Heinz, went on sale and achieved immediate success. From
tomato ketchup, Heinz branched out into a number of other products, including
various sauces, pickles, and relishes. By 1890, his company had expanded to
include sixty- five different products but was in need of a marketing slogan. Heinz
settled on the slogan “57 Varieties” because he liked the way that the digits 5 and
7 looked in print, in spite of the fact that this slogan understated the number of
products that he had at the time.

From: EAPP Learners’ Material

Reflection questions: Write your answers in your notebook.

1. What is the concept paper about?
2. How did the writer expound on the concept?
3. What kind of concept paper is this? Why?
4. Do you think it is a good concept paper? Why?

These two examples of concept papers are actually examples of explicit concept
papers since they both explained directly what each concept means. Most concept
papers for research are explicit so that they are more direct to the point. There are
more examples of concept papers in different areas. You will read more of them in
the activities.
 WHAT'S MORE
ACTIVITY 2. STUDY THESE

Directions: Read the two samples of concept papers. Study how they expound the
concept and the content as well. Write your answer in your notebook.

Sample 1: Days of the Week

MONDAY. In mythology, the moon was the wife of the sun, and so had to
have her day in the week, which in Old English was Mōnandæg, or “moon day,” a
translation of the Latin luane dies, “day of the moon.” In the superstitious England of
those times people believed that the phases of the moon affected crops and
disturbed the potency of medicine, and they were sure too that bacon killed on the
old of the moon would shrivel in the pan.
TUESDAY In Norse mythology, there was a god named Tyr. A wolf spirit
called Fenrir was troubling the world and Tyr volunteered to bind him. He used a
chain made of strange substances, the footsteps of a cat, the beards of women, the
roots of stones, and the breath of fishes. Tyr put his hand in Fenrir’s mouth and bound
him, but his hand, in the process, was bitten off. In Old English the god’s name Tyr
appears as Tiw. He was really a Germanic deity, one very much like Mars, the Roman
god of war, and his name gave us the Old English word Tiwesdæg, “the day of Tiw,”
our Tuesday, which is a rendering of the Latin dies martis, “day of Mars.”

WEDNESDAY In Old English Wednesday was spelled Wōdnesdæg, which

was the day of the great Germanic god Woden, who corresponded to the Roman
divinity Mercury. Both were swift in movement and noted for their eloquence. Woden
was the father of Tyr, who gave us the name Tuesday, and was the god of storms.
He welcomed brave warriors to the heaven of Valhalla and treated them to the
pleasures that they most loved on earth. He also slew Chaos and created earth from
his body, his flesh making the dry land, his bones the mountains, his blood the sea,
his skull the vault of the heavens. In Latin “Woden’s day” was Mercurii dies, the “day
of Mercury,” and the French took this over as Mercredi, their name for Wednesday.

THURSDAY Thor was the strongest and bravest of the Norse deities, and
corresponded in the heavenly hierarchy to the Roman god Jupiter, who also handled
the lightning bolts. Thor, you see, was the god of thunder which he made with a
chariot drawn by he-goats across the sky. Thor owned a massive hammer which the
giant Thrym once stole from him and refused to give up unless Freya, the goddess
of love, world marry him. Thor dressed up in her clothes, wheedled the hammer from
Thrym, and then slugged his host. It was the name of this same Thor that formed the
Old English word thūresdæg, or Thursday, :the day of Thor,” which equals the Roman
dies jovis, or “day of Jupiter.”

FRIDAY In Old English, Friday was frīgedæg, the day of the Norse goddess
Frigg, wife of Woden and the goddess of marriage. She was the Norse counterpart
of the Roman goddess Venus, and her day, Friday, was like the Latin dies Veneris,
 or “day of Venus.” Wednesday and Thursday had been named for her husband
Woden and her son Thor, so Friday was assigned to her as appeasement. The
Norsemen regarded Friday as their lucky day, but not so the Christians since the
Crucifixion took place on Friday.

SATURDAY In Old English sæternesdæg, merely “Saturn’s day,” is a

halftranslation and half-adoption of the Latin Saturni dies, or “day of Saturn,” the
Roman god of sowing.
SUNDAY Sunday replaced Saturday as the Sabbath because the
Resurrection took place on a Sunday. It was around the 4th century that the church
made it a holiday and forebade anyone to work. In Old English it was spelled
sunnandæg, literally the “sun’s day ,” a translation of the Latin dies solis, or “day of
the sun.”

From: Page 332 Word Origins and their Romantic (cited in EAPP Learners’ Material)

Sample 2: Mercury Pollution

(1) When most people think or talk about dangers to our environment, they
focus on general terms like “pollution,” “smog,” and “acidrain.” Also, they often focus
on the impact of supposedly man-made chemicals and compounds. But to truly
understand the risks to our environment, it’s helpful to focus on the danger of specific
chemical, which are often otherwise naturally-occurring elements that have been
spread harmfully by man. One of the largest threats to our environment is mercury:
Hg on the periodic table of elements.

(2) At room temperature, mercury, a metal, exists as a silvery-white liquid.

However, it vaporizes readily when heat is applied, and can stay suspended in the
air for more than a year. The largest sources of mercury pollution in the United States
are coal-fired power plants. Emissions from these plants account for 70 percent of
the mercury that enters our oceans, lakes, and streams. Air currents carry these
particles far from the source and are capable of polluting bodies of water thousands
of miles away.

(3) Mercury particles released into the air fall into these waterways and quickly
enter aquatic food chains. First, mercury attaches to sediments (fragments of organic
and inorganic material that settle to the bottom of the body of water). Second,
bacteria change the mercury into methyl mercury, a highly toxic substance. Third,
phytoplanktons feed on the organic matter in sediments and absorb the methyl
mercury. Fourth, fish then eat the mercurycontaminated phytoplankton; the larger the
fish and the longer it lives, the more concentrated the methyl mercury in its system
becomes. The mercury can then move higher up the food chain when humans eat
fish that have absorbed high amounts of mercury.

(4) Studies indicate that mercury levels in U.S. waterways have increased
anywhere from 100 to 400 percent over the course of the last century, and no river,
lake, or ocean seems immune. It is important to note that, thanks to the U.S. Clean
Air Act and efforts by industry to curb unnecessary discharges as well as better
sewage treatment methods, the levels have been in slow decline since the 1970s.
however, this minor decline is relatively miniscule in comparison to the major
increase in the years prior.
 (5) If you’ve ever experienced that “rotten egg” smell during low tide at a
coastal area, you’ve seen (or smelled) methylation in action. Methylation is the
conversion of mercury in sediments to methyl mercury by sulphatereducing bacteria.
While this methylation is a natural process, the industrial discharge of mercury has
greatly accelerated the process beyond what the ecosystem is able to absorb
safely. This methylation not only impacts aquatic species, but also harms humans
and other land-based wildlife.

(6) Most of the fish and shellfish that humans eat live solely in coastal areas
or frequent coastal areas and feed on the fish that live there. At the same time,
most methylation takes place in coastal areas. Therefore, methyl mercury moves
up the food chain from plankton to lobster, bluefish, winter flounder, tuna, and many
other species eaten extensively by man. The methyl mercury binds to the protein
in fish, residing in the muscle of the fish. This muscle is exactly what we eat, the
fillet.

(7) The short-term impact of digestion of toxic methyl mercury is obviously a

concern. More troubling, however, is its long-term impact on species up and down
the food chain. In Wisconsin, scientists have studied the decline of chick production
in loons (aquatic birds). They have made a positive link to mercury concentration
in eggs which exceeds the concentration found to be toxic in laboratory studies.
Through that example, the lasting impact of methyl mercury far from the source of
the pollution can be seen.

(8) One of the great wonders of the Earth is the interconnectivity of all the
world’s ecosystems. This interconnectivity gives us the range and diversity of
wildlife that we all enjoy and it also allowed life on the planet to endure through
cataclysmic events, such as asteroid impacts and the ice ages. However, it is this
very interconnectivity that makes our ecosystems so vulnerable. Mercury pollution
is unfortunately one of many examples of an environmental impact far removed
from the source of the pollution; understanding the process by which the pollution
spreads up the food chain is one of many steps to ameliorate the impact of such
pollution.

Complete the table with the needed information based on the two samples:
Write your answer in your notebook.
Ways the
Kinds of Concept
Concept Paper Content concept was
Paper
explained
Days of the Week
Mercury Pollution

WHAT I HAVE
LEARNED

You have learned the following important points in this lesson:

There are two kinds of concept papers:

Implicit
Explicit
There are many concept papers made in different fields but they all do
the same thing of explaining the concept.

WHAT I CAN DO

ACTIVITY 4. OWN CONCEPT PAPER

Directions: Present a novel concept or project with accompanying visuals/ graphic

aids. You can choose the one you have started working in Lesson 3 or make a new
one. You can even do a concept paper for a future research if you like. Write your
answers in your notebook. You can visit this link to see a sample:

https://www.researchgate.net/publication/336150591_How_to_write_a_concept_pap
er_with_practical_sample_by_Dr_Lango
Rubric:

Criteria 4 3 2 1
Content and Content is Content is Content is less Content is not
Organization comprehensive, comprehensive, comprehensive, comprehensive,
accurate, and ideas accurate, and ideas and ideas are and ideas are not
are stated clearly are stated clearly stated not very clear and not well
and are well and are well clearly and are well supported.
supported. There supported. supported.
are also specific
ideas added.
Organization and Concepts of the Concepts of the Some concepts of Concepts of the
Structure paragraphs are paragraphs are the paragraphs are paragraphs are not
clear and easy to clear and easy to not clear and easy clear and not easy
follow. There is follow. to follow. to follow.
evidence of
outlining.
References References are References are References are References are not
cited correctly and cited correctly. cited correctly but cited correctly.
show evidence of there are only a
research. few.
Mechanics Rules of grammar, Rules of grammar, Rules of grammar, Rules of grammar,
usage, and usage, and usage, and usage, and
punctuation are punctuation are punctuation are not punctuation are not
followed; spelling followed; spelling all followed; followed; spelling is
is correct. There is correct. spelling is correct. incorrect.
are no typo-
graphical errors.
 POST

Let us check how well you have mastered the lessons in this module.

Directions: Choose the letter of the best answer. Write your answers in your
notebook.

1. Which of the following is NOT true about the reaction paper?

A. It purely expresses one’s opinions on certain issues and concerns.
B. It conveys incisive insights into its analysis of events.
C. It may include the main purpose of the event.
D. It is mainly written to communicate a fair assessment.

2. Which of the following can be a form of a reaction paper?

A. Romantic Poem
B. News Report
C. Book Review
D. Incident Report

3. Which of the following is needed to make objective assessment?

A. Facts
B. Objectives
C. Assessment
D. Personal Views

4. Which of the following is NOT a form of reaction paper?

A. Appeal
B. Protest
C. Reflection
D. Sports Report

5. Why should we cite specific source?

A. It makes the reaction paper reliable.
B. It makes the paper more substantial.
C. It is an additional creative part of the paper.
D. It can attract many readers to read your paper.
6. Which critical approach focuses on understanding ways gender roles are
reflected or contradicted by texts?
A. Reader-response
B. Feminism
C. Historicism
D. Marxist

7. Which critical approach focuses on ways texts reflect, reinforce, or

challenge the effects of class, power relations, and social roles?
A. Reader-response
B. Feminism
C. Historicism
D. Marxist
 8. Which critical approach focuses on understanding texts by viewing texts in
the context of other texts?
A. Reader-response
B. Feminism
C. Historicism
D. Marxist

9. Which critical approach focuses on each reader's personal reactions to a

text, assuming meaning is created by a reader's or interpretive community's
personal interaction with a text?
A. Reader-response
B. Feminism
C. Historicism
D. Marxist

10. Which critical approach focuses on "objectively" evaluating the text,

identifying its underlying form. It may study, for example, a text's use of
imagery, metaphor, or symbolism?
A. Reader-response
B. Media Criticism
C. Historicism
D. Formalism

11. Which of this is NOT true about a concept paper?

A. It expounds a concept.
B. It defines a concept.
C. It clarifies a concept.
D. It is a research paper.

12. Which CANNOT be used in a concept paper?

A. Definition
B. Explication
C. Reaction
D. Clarification

13. Which of the following is NOT a technique in definition?

A. history
B. synonyms
C. negation
D. examples

14. What are the two kinds of concept paper?

A. Implicit and Explicit
B. Old and New
C. True and False
D. Simple and Complex

15. Which sample concept paper discussed the history of Filipino language?
A. Boondocks
B. Ketchup
C. Days of the Week
D. Mercury Pollution