SENIOR HIGH SCHOOL

English for Academic

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

Government Property
NOT FOR SALE
English for Academic and Professional Purposes
Alternative Delivery Mode
Quarter 1 – Module 2: Reaction Paper and Concept Paper
Second Edition, 2021

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 SENIOR HIGH SCHOOL

English for Academic and

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

This instructional material was collaboratively developed and

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universities. We encourage teachers and other education stakeholders to
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Department of Education ● Republic of the Philippines

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iii
 TABLE OF CONTENTS

Page No.

OVERVIEW 1

MODULE CONTENT 1

PRETEST 3

Lesson 1

Activity 1 7

Activity 2 12

Activity 3 13

Activity 4 16

Activity 5 17

Lesson 2

Activity 1 19

Activity 2 27

Activity 3 28

Activity 4 29

Lesson 3

Activity 1 33

Activity 2 35

Activity 3 35

Activity 4 36

Activity 5 37

Lesson 4

Activity 1 39

Activity 2 43

Activity 3 47

Activity 4 48

POST TEST 50

REFERENCES 53

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 WHAT I NEED TO KNOW

For the Learners

Congratulations for completing module 1! You have come to module 2.

You are now ready for the next step of learning English for Academic and
Professional Purposes. This module will let you try to write different technical
or scientific reports applicable to your strand. This is already the last part of
the course so give it your best efforts. To learn more effectively, do not forget
to enjoy learning. Good luck!

Module Content

This is where you start to write reaction papers and concept papers which are
needed in your future careers. These will also allow you to become critical thinkers
and creative writers.
These are the competencies covered in the lessons:

 Uses appropriate critical writing a critique such as formalism, feminism,

etc. (CS_EN11/12A-EAPP-Id-f-16)
 Writes an objective/balanced review or critique of a work of art, an event or
a program (CS_EN11/12A-EAPP-Id-f-18)
 Determines the ways a writer can elucidate on a concept by definition,
explication and clarification (CS_EN11/12A-EAPP-Ig-j-20)
 Compare and contrast various kinds of concept papers: Home Economics;
Agri. Fishery; I.A; ICT (CS_EN11/12A-EAPP-Ig-j-23)
 Presents a novel concept or project with accompanying visuals/ graphic
aids (CS_EN11/12A-EAPP-Ig-j-24)

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To do well in this module, you need to remember the following:

1. Please DO NOT write anything in this module. Write your answers in your
notebook.
2. Read texts carefully so that you can easily comprehend what you are
reading.
3. Answer questions with all honesty. Success does not come from copying
from others. It is made possible by trying hard on your own so that you
can learn even from your mistakes.
4. Review your answers. It is safe to go back and think about what you have
written. This can help you lessen if not avoid errors.
5. Follow instructions given and ask if there is something that you did not
understand.
6. Do the tasks given and do not delay in submitting requirements. This can
help you avoid having a pile of unfinished activities.
7. Feel free to communicate with your teacher. There is no harm in asking
for clarification so that you will not be lost in confusion.
8. Remember to review every time you are done answering the activities.
9. Have fun as you learn. This course is very important no matter what your
strand is. When you have fun, you can easily learn the lessons.

For the Facilitator

Your role is to help learners be able to do more critical thinking and
apply strategies that will help them express their ideas. Encourage the
learners to create their own outputs and assist them in the lessons that they
may find difficult. Please take note of the following:
1. Explain to the learners the different parts of the module and how it should
be used.
2. Do not give points to their answers in the process questions; rather, use
their responses as your formative assessment. This will give you an idea
of how the learners process their understanding.
3. Monitor their answers and remember to give feedback whenever
necessary. Every time they submit an output, give your feedback so that
they can immediately correct and adjust.
4. The self -review will help you assess how ready they are for the next
lesson. See what they have chosen so that you can help them if they
have chosen the icon that refers to having more difficulty.
5. Use the What’s More activities as scaffolds for them to do the What I
Can Do activity which is the application part of the lesson.
As a facilitator, you do not need to do lectures since the module is
already talking to the learner. God Bless!

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 WHAT I KNOW

Let us check your prior knowledge about this module’s coverage.

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

1. The New Critics were:

A. Feminist critics
B. Psychological Critics
C. Marxist critics
D. Formalist critics

2. What approach to literary criticism requires the critic to know about the author's life
and times?
A. All of these
B. Mimetic
C. Historical
D. Formalist

3. Formalist critics believe that the value of a work cannot be determined by the
author's intention. What term do they use when speaking of this belief?
A. The intentional fallacy
B. The affective fallacy
C. The pathetic fallacy
D. The objective correlative

4. Which poet popularized the term objective correlative, which is often used in
formalist criticism?
A. Virginia Woolf
B. C.S. Lewis
C. T.S. Eliot
D. Matthew Arnold

5. In a Freudian approach to literature, concave images are usually seen as:

A. Male symbols
B. Evidence of an Oedipus complex
C. Phallic symbols
D. Female symbols

6. He was an influential force in archetypal criticism.

A. Freud
B. Jung
C. Richards
D. Tate

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7. Seven is an archetype associated with:
A. Astrology
B. Perfection
C. Birth
D. Death

8. This feminist critic proposed that all female characters in literature are in at least
one of the following stages of development: the feminine, feminist, or female stage.
A. Virginia Woolf
B. Ellen Mores
C. Mary Wolstencraft
D. Elaine Showalter

9. A critic argues that in John Milton's "Samson Agonistes," the shearing of

Samson's locks is symbolic of his castration at the hands of Delilah. What kind of
critical approach is this critic using?
A. Mimetic approach
B. Psychological approach
C. Historical approach
D. Formalist approach

10. One archetype in literature is the scapegoat. Which of these literary characters
serves that purpose?
A. Billy Budd
B. Hamlet
C. Captain Ahab
D. Ophelia

11. One of the disadvantages of this school of criticism is that it tends to make
readings too subjective.
A. Reader Response Criticism
B. Formalist Criticism
C. Historical Criticism
D. These are all equally subjective

12. This literary critic coined the term "fancy."

A. Samuel Taylor Coleridge
B. Virginia Woolf
C. Matthew Arnold
D. Carl Jung

13. Michael Foucault was the major practitioner of this school of criticism.
A. Structuralism
B. Mimetic Criticism
C. Deconstructionism
D. Formalist Criticism

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14. This critical approach assumes that language does not refer to any external
reality. It can assert several, contradictory interpretations of one text.
A. Structuralism
B. Deconstructionism
C. Formalist Criticism
D. Mimetic Criticism

15. A critic examining John Milton's "Paradise Lost" focuses on the physical
description of the Garden of Eden, on the symbols of hands, seed, and flower, and
on the characters of Adam, Eve, Satan, and God. He pays special attention to the
epic similes and metaphors and the point of view from which the tale is being told.
He looks for meaning in the text itself, and does not refer to any biography of Milton.
He is most likely a ____ critic.
A. Formalist
B. Mimetic
C. Reader Response
D. Feminist

16. This literary critic warned: "We must remember that the greater part of our
current reading matter is written for us by people who have no real belief in a
supernatural order . . . And the greater part . . . is coming to be written by people
who not only have no such belief, but are even ignorant of the fact that there are still
people in the world so 'backward' or so 'eccentric' as to continue to believe."
A. Matthew Arnold
B. C.S. Lewis
C. T.S. Eliot
D. G.K. Chesterton

17. A critic of Thomas Otway's "Venice Preserv'd" wishes to know why the play's
conspirators, despite the horrible, bloody details of their obviously brutish plan, are
portrayed in a sympathetic light. She examines the author's life and times and
discovers that there are obvious similarities between the conspiracy in the play and
the Popish Plot. She is most likely a _________ critic.
A. Tory
B. Historical
C. Feminist
D. Psychological

18. This poet might be described as a moral or philosophical critic for arguing that
works must have "high seriousness."
A. T.S. Eliot
B. Virginia Woolf
C. Elizabeth Browning
D. Matthew Arnold

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19. A critic examining Pope's "An Essay on Man" asks herself: How well does this
poem accord with the real world? Is it accurate? Is it moral? She is most likely a
_____ critic.
A. Mimetic
B. Formalist
C. Feminist
D. Reader Response

20. One of the potential disadvantages of this approach to literature is that it can
reduce meaning to a certain time frame, rather than making it universal throughout
the ages.
A. Historical
B. Feminist
C. Formalist
D. Mimetic

LESSON 1

CRITICAL APPROACHES IN
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.

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 WHAT'S NEW

ACTIVITY 1. SAY SOMETHING

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?

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 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.

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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

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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?

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 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.

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 WHAT I CAN DO

ACTIVITY 2

Directions: Summarize what you have read by completing the table with what you
understood. Write your answers in your notebook.

APPROACHES IN
LITERARY WHAT IT IS HOW IT IS DONE
CRITICISM (DEFINITION) (TECHNIQUE IN WRITING)
Example: This approach regards A primary goal for formalist
literature as “a unique form critics is to determine how
Formalism of human knowledge that elements of form (style,
needs to be examined on structure, tone, imagery,
its own terms.” etc.) work together with the
text’s content to shape its
effects upon readers.

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 You have just been given several approaches in literary criticism that you can
use when you make your own review or critique. You can use this in the following
activities. Just remember to apply which is easy for you to do and follow the
techniques in using it.

ACTIVITY 3. READ CRITICALLY

Activities 1-3 gave you ideas about the manner and approaches to use in
expressing views. Let us learn more about this skill by reading a text which is an
excerpt of the homily of the Catholic Archbishop of Manila, Jaime Cardinal Sin. But
before you read it, let us define these words first.

Directions: Get the meaning of these words from any dictionary so that you can
understand what you are reading better: Write your answer in your notebook.

WORDS MEANINGS FROM DICTIONARY

Cynic
Demoralize
Destabilize
Anarchic
Unrelentingly
Chronic disease
Callous
Predominant
Transcend
Authentic
Vigorously

Ang Bayan Muna Bago ang Sarili

(Excerpts from the Homily of Jaime Cardinal Sin
at the mass celebrating the 5th death anniversary of Ninoy Aquino)

(1) Five years later, we might ask ourselves; has Ninoy’s dream been fulfilled? Have
we succeeded in building a new nation, by “transcending our petty selves,” by setting
aside our differences by working together in a spirit of true self-giving, loving our
country first, above our own interest? Bayan muna, bago and sarili. It is a question
we must ask ourselves, as we remember Ninoy’s gift.

(2) It has been said that the truest motto of our people is “K.K.K”. No, not Katipunan,
shaping unity out of our diversity. How we wish that were our authentic name! But
rather:

Kanya-Kanya’ng Katwiran,
Kanya-Kanya’ng Kagustuhan,
Kanya-Kanya’ng Kabig (or worse)

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Kanya-Kanya’ng Kurakot...
or whatever else each one “specializes” in!

(3) Cynics among us say that K.K.K is the definition of our national character, the
predominant strain in our national culture. It’s what we are when we are “most
natural”, most ourselves. “Bayan muna, Bago and Sarili” is an abstract, non-
operative ideal, good for speeches, good for posters, goo for classroom rhetoric but
not for real, not for real life. For real is K.K.K.

(4) Kanya-Kanyang Katwiran, Kanya-Kanyang kagustuhan. We all remember the

three monkeys; See no Evil, hear no evil, speak no evil. Sometimes one wonders, if
it has become a national pastime, to see and hear and speak nothing, but evil
against our fellow-citizens. Talk can be a great service in a free nation: Talk is space
for free discussion, for intelligent debate, the exchange of information and
perception, the clash of views.

(5) Ninoy himself said: “We must criticize in order to be free, because we are free
only when we criticized.” We may not, at our own peril, forget that. But we must
remind ourselves that criticism is not an end in itself; it is not the absolute. It is meant
to help us to become free, but if it becomes the all-encompassing output of our days,
a way of life... so it takes up most of our energy, most of our time, when we begin to
take delight in tearing down, demoralizing, destabilizing; when we are at each other’s
throats all day long, then we really are engaged in self-destruction, and the
destruction of hope, the creation of despair, especially among the poor who continue
to suffer in our midst.

(6) There is a Latin saying: “Unicuique suum, non praevalebunt.” “Every man for
himself: That’s the formula for disaster.” When Ninoy spoke of “the quest for that
elusive national unity which is imperative for the nation’s survival”-he said “survival”.
He meant “survival”. How can we survive, as a nation and as a people, if we have
made the name of our national game as anarchic free-for-all in a “basket of crabs?”

(7) K.K.K also means, we are told, Kanya Kanyang Kabig, Kanya- Kanyang Kurakot.
Surely I don’t need to dwell on this theme this morning. For weeks, the papers,
radios, TV, have shouted nothing else. It is the talk of the marketplace. I myself have
spoken, often enough, of the 40 big thieves left behind in our midst, and many many
smaller ones which might include . . . even ourselves? Who among us did not re-
echo the sentiments and the work of the beloved Chino Roces when he asked for a
renewed moral order in government and society? It is a problem which must be
addressed, and addressed vigorously and unrelentingly.

(8) I am sure this will be increasingly done by our president, by consistent personal
example she has set a pattern for others to follow. I know she is bent on pursuing the
battle against corruption with ever more forceful and energetic action. But we know,

14
we know that she and those around her cannot do this all by themselves. As citizens,
we must go “into an action mode ourselves.” The task cannot be done without us.

(9) We must begin, rather, where we can begin, with ourselves we must ask: What
can we do about it? What in our own heart, in our own attitudes, in our own
practices, must be changed? What sacrifices must we ourselves do to make a
positive contribution of deeds, to put under control this chronic illness in our society,
and in our culture?

(10) If all we do is talk and talk, and throw dirt at each other-forgetting to mind the
ship and its engines, and steer it in mine-filled waters-why, we will still be taking and
quarrelling when our ship goes down into the sea!

(11) If everyone in this church this morning, in Ninoy’s memory, pledge before the
Lord that for one year, “Bayan Muna, Bago ang Sarili”, would really be made an
operative guideline, could it not mark at least a beginning? If for one year, just to get
going, we would make the principle govern our deeds, our conduct in society, would
that not be smart already? How can we “dream the impossible dream” and promise
to follow the stars” if we have become too calloused to do even this?

Answer the questions given: Write your answers in your notebook.

1. What critical approach did he use? Explain why you think that is the approach.

2. Do you agree with the author or not? Why or why not?

What you have read is an example of how one expresses opinions using one
approach in criticism. This can be a good model for you to study and follow.

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 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

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 ACTIVITY 5

Directions: Read or silently sing this song entitled “Bahay” by Gary Granada. Make
your criticism by completing the graphic organizer in the next page. Write your
answers in your notebook.

Bahay
by: Gary Granada

Isang araw ako'y nadalaw sa bahay tambakan

Labinglimang mag-anak ang duo'y nagsiksikan
Nagtitiis sa munting barung-barong na sira-sira
Habang doon sa isang mansyon halos walang nakatira

Sa init ng tabla't karton sila doo'y nakakulong

Sa lilim ng yerong kalawang at mga sirang gulong
Pinagtagpi-tagping basurang pinatungan ng bato
Hindi ko maintindihan bakit ang tawag sa ganito
Ay bahay

Sinulat ko ang nakita ng aking mga mata

Ang kanilang kalagayan ginawan ko ng kanta
Iginuhit at isinalarawan ang naramdaman
At sinangguni ko sa mga taong marami ang alam

Isang bantog na senador ang unang nilapitan ko

At dalubhasang propesor ng malaking kolehiyo
Ang pinagpala sa mundo, ang dyaryo at ang pulpito
Lahat sila'y nagkasundo na ang tawag sa ganito
Ay bahay

Maghapo't magdamag silang kakayod, kakahig

Pagdaka'y tutukang nakaupo lang sa sahig
Sa papag na gutay-gutay, pipiliting hihimlay
Di hamak na mainam pa ang pahingahan ng mga patay

Baka naman isang araw kayo doon ay maligaw

Mahipo n'yo at marinig at maamoy at matanaw
Hindi ako nangungutya, kayo na rin ang magpasya

17
 Sa palagay ninyo kaya, ito sa mata ng Maylikha
Ay bahay
Source: Musixmatch

SOCIOLOGICAL

STRUCTURALISM

READER-RESPONSE

18
 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.

19
 WHAT'S NEW

ACTIVITY 1. PREPARE YOURSELF

Directions: Take a look at this picture. What can you say about it? List down what
you think in the dialogue box given below. Write your answers in your notebook.

Picture from Microsoft office clip art

1. What are your bases of listing down those words?

2. Are your lists based on facts? How do you know?

20
 3. Do you consider your lists as your opinions? Why?

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:

21
 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

22
 (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?

23
 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.

24
 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
25
 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.

26
 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!

27
 WHAT I CAN DO

ACTIVITY 2

One of the Filipino cultures that we continuously preserved and practiced is

“Bayanihan”. It is an expression of spirit of communal unity or effort to achieve a
particular objective.

Directions: Below is the painting of “Bayanihan”; take a look at this, study, analyze,
and write a balanced/objective review of the painting considering the elements
discussed. Write your review in paragraph form in your notebook.

28
 https://www.google.com/search?q=bayanihan+sa+bukid+painting+meaning&source

ACTIVITY 3

This painting below is Tropical Sunset Surfer by Amy Scholten.

Surfer girl walks along a tropical beach during a brilliant red, pink and orange
sunset. This painting reflects our primal need for beauty, warmth and nature.

Directions: With the use of four (4) techniques in writing, take a look at this painting
and write a balanced/objective critique or review. Write your output in your notebook.

29
 https://www.pinterest.ph/pin/303500462377912511/

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.

30
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

Note to the teacher:

You can use any of the rubrics below to rate the
output of the students. Also, you will be the one to
decide the scoring of this activity.

Thank you.

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

31
 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,

32
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:

33
1. Balanced/objective review or criticism is a system of interpreting, judging
and any artwork.

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

 LESSON 3

WAYS TO EXPLAIN A CONCEPT

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

34
 WHAT'S NEW

ACTIVITY 1. AR GUIDE

Directions: Check the Anticipation column, if you think the statement is correct. If
not, write X. Leave the reaction column blank. We will go back to it later. Write your
answers in your notebook.

Anticipation Statement Reaction

A concept paper is about any concept.
It is easy to write a concept paper.
A concept paper aims to clarify a concept.
You simply explain in a concept paper.
You write a concept paper for research.

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.
35
 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.

36

WHAT'S MORE
 ACTIVITY 2. AR GUIDE

Directions: Let us go back to AR Guide. This time check the Reaction column.
Write your answers in your notebook.

Anticipation Statement Reaction

A concept paper is about any concept.
It is easy to write a concept paper.
A concept paper aims to clarify a concept.
You simply explain in a concept paper.
You write a concept paper for research.

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

ACTIVITY 4. CLARIFICATION

37
Directions: Clarify what concept paper is by creating a graphic organizer about it.
Give the necessary information. Write your answers in your notebook.

What it is

Concept
Paper

how to make one some examples

WHAT I HAVE LEARNED

You have learned the following important points in this lesson:

1. 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.
2. You can use definition, explication and clarification in making your
concept paper.

38
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.

Self-Check!

39
 Great job! You have completed Lesson 3 successfully! Before going to the
next lesson, check the icon that best shows your learning experience.

I have understood the lesson well and I can even teach what I
learned to others.

I have understood the lesson but there are still other things
that I need to review and relearn.

I need to do additional work to be able to master the lesson. I

need help in some tasks.

If you checked the first icon, you are ready for lesson 4. If you have checked
the second icon, you need to review the things that you need to relearn. If you have
checked the third icon, it would be best if you read more from the links given above
and ask help from your teacher, parents or peers in clarifying the lessons that you
find difficult. Be honest so that you will truly improve.

LESSON 4
40
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. ___________________________________________

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

41
 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.

42
 (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.

43
 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-

44
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

45
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

46
 (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
47
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

MIC CONCEPT PAPER -

Sample by Dr. Lango
“Leveraging on Mobile
Payment Methods to gain
48
Competitive Advantage by
local based
businesses”
Introduction
Mobile payment methods have
popularity with big businesses
operating in large towns and
cities
across the world. These
payment methods enable the
business customers to access
their cash at the
point of sale and do not need
to have physical money to
complete their transactions.
This study
49
will therefore help in
understanding the mobile
payment methods preferences
for the local based
business and how and why
these preferences have failed
to prevail. The research will
therefore
address that gap that is viewed
as the low uptake of mobile
payment methods by the local
based
businesses which are
essentially operating in remote
areas. This concept builds
upon the various
50
insights that have been
undertaken by various
researchers in the business
and information
technology field to bridge the
gap of strategic
implementation of information
technology systems
in business to gain competitive
advantage.
Need for this Study
It is estimated that more than 5
billion people have access to
mobile phone devices and that
out of

51
this figure about a third of
the population is based in
local areas. Further, the
village-based
businesses do not have
immediately access to the
physical money banking
system as they are
located kilometers away.
Porter (2011) notes that in
order for businesses to
achieve and sustain
superior performance, they
must be able to implement
systems that are
competitively superior.
52
Budree and Williams (2013,
September) and Namada
(2018) established that the
areas with large
number of low-income
earners experienced low
uptake technological
advancements and
businesses in these locations
are not keen on leveraging on
technology. The concept will
therefore
be intended to identify the
salient factors that local
businesses can apply in
leveraging on mobile
53
payment methods to gain
competitive advantage.
Background
Several studies have
concluded that mobile
payment methods is one of
the major factors put in
place by businesses in gaining
competitive advantage,
however this has also, not been
achieved in
remote areas. As a result,
Onyango et al. (2014) in their
study on mobile phone
technology and the

54
evident performance of micro
and small enterprises,
concludes that there is an
impact on the use
and implementation of mobile
phone technology to achieve
the full business performance.
In order,
therefore to achieve
competitive advantage, Porter
(2011) advises that the strategy
implemented
should be geared towards
achieving full potential
competitively.

55
Many scholars therefore
agree that there is a
significant relationship
between mobile payment
methods and gaining
competitive advantage to
sustain an improved
performance. Most also argue
that the mobile payment
method of use will be
dependent on the location and
nature of need. The
handbook by Namada (2018)
notes that the concept of
organizational learning must
be down-
56
Page 7 of 9
trotted to the local businesses
to learn which mobile
technology suits their
operations and how this
technology can be leveraged
to achieve competitive
advantage. The literature and
conclusions
from the scholars however fail
to answer specific questions
that related to leveraging on
mobile
payment methods to gain
competitive advantage for
local based businesses. Most
of the studies
57
were focused on businesses
and companies in towns and
cities with the area of interest
majoring
on performance whether
competitively or not. This
study will therefore be focused
on the factors
of consideration for leveraging
on mobile payment methods to
gain competitive advantage by
local
based businesses.
Objective
The research paper seeks to
achieve its general objective of
58
leveraging on mobile payment
methods
to gain competitive advantage
by focusing on the following
specific objectives:
1. To determine the influence
of perceived risks on the use of
mobile payment methods
to gain competitive advantage
by local based businesses.
2. To determine the
influence of M-Payment
characteristics (mobility,
reachability,
convenience, and
compatibility) on the use of
59
mobile payment methods to
gain
competitive advantage by local
based businesses.
3. To assess the influence of
personal innovativeness on use
of mobile payment methods
to gain competitive advantage
by local based businesses.
Research Questions
4. Does perceived risks
influence the use of mobile
payment methods to gain
competitive
advantage by local based
businesses?
60
5. Does M-Payment
characteristics (mobility,
reachability, convenience,
and
compatibility) influence the
use of mobile payment
methods to gain competitive
advantage by local based
businesses?
6. Does personal
innovativeness influence the
use of mobile payment
methods to gain
competitive advantage by local
based businesses?
Methodology
61
The study intends to use
cross sectional survey design
in determining the leverage
on mobile
payment methods to gain
competitive advantage by local
based businesses.
The study will sample 478
local based businesses
registered in Kenya out of a
population of 4
thousand which are mainly
registered and operated in
village area settings.
The study will collect both
primary and secondary data,
62
and the quantitative data
generated will
be analyzed using descriptive
statistics which will include
percentage distribution, mean
and the
frequency counts. The
qualitative data from the study
will undergo transcription and
reported in
themes and sub-themes. The
relationship between the
independent and dependent
variables will
be explained through multiple
regression.
63
Page 8 of 9
Research Timeline
The project is expected to be
completed in 17 weeks with
the following indicated as the
activities
durations for every section of
the research project:
Research Section
Duration
1. Title 1 week
2. Introduction 1 week
3. Need for this Study 2
weeks
4. Background 3 weeks
5. Objectives 1 week
64
6. Research Questions and or
Hypothesis 1 week
7. Research Methodology
2 weeks
8. Data analysis interpretations
and discussions 3 weeks
9. Summary conclusion and
recommendations 2 weeks
10. Reviewing work for final
submission 1 weeks
Reference
Porter, M. E. (2011).
Competitive advantage of
nations: creating and
sustaining superior

65
performance. simon and
schuster.
Namada, J. M. (2018).
Organizational learning and
competitive advantage. In
Handbook of
Research on Knowledge
Management for
Contemporary Business
Environments (pp. 86-
104). IGI Global.
Budree, A., & Williams, K.
H. (2013, September). Factors
influencing the uptake of
mobile

66
banking in developing
countries: A case study of M–
Pesa in South Africa. In
Proceedings
of 22nd Internafional Business
Research Conference (pp. 9-
10).
Onyango, R. A., Ongus, R. W.,
Awuor, F. M., & Nyamboga,
C. (2014). Impact of adoption
and
use of mobile phone
technology on the performance
of micro and small enterprises
in Kisii

67
Municipality Kenya. World
Journal of Computer
Application and Technology,
2(2), 34-
42
ACTIVITY 3. COMPARE AND CONTRAST

Directions: Fill in this diagram to show comparison and contrast of the two concept
papers that you have read. Write your answers in your notebook.

WHAT I HAVE LEARNED

You have learned the following important points in this lesson:

1. There are two kinds of concept papers:

a. Implicit
b. Explicit 68
2. 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_paper_with_practical_sample_by_Dr_Lango

69
Rubric:

Criteria 4 3 2 1
Content and Content is Content is Content is less Content is not
Organization comprehensive, comprehensive, comprehensive, and comprehensive, and
accurate, and ideas accurate, and ideas ideas are stated not ideas are not clear
are stated clearly are stated clearly very clearly and are and not well
and are well and are well well supported. supported.
supported. There supported.
are also specific
ideas added.
Organization and  Concepts of the  Concepts of the  Some concepts of  Concepts of the
Structure paragraphs are clear paragraphs are clear the paragraphs are paragraphs are not
and easy to follow. and easy to follow. not clear and easy clear and not easy
There is evidence of to follow. to follow.
outlining.

References References are cited References are cited References are cited References are not
correctly and show correctly. correctly but there cited correctly.
evidence of are only a few.
research.
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 is followed; spelling is all followed; spelling followed; spelling is
correct. There are correct. is correct. incorrect.
no typo-graphical
errors.

Self- Check!
Great job! You have finished Lesson 4 successfully! Before going to the next
lesson, check the icon that best shows your learning experience.

70
 I have understood the lesson well and I can even teach what I
learned to others.

I have understood the lesson but there are still other things
that I need to review and relearn.

I need to do additional work to be able to master the lesson. I

need help in some tasks.

If you checked the first icon, you are ready for the next module. If you have
checked the second icon, you need to review the things that you need to relearn. If
you have checked the third icon, it would be best if you read more from the links
given above and ask help from your teacher, parents or peers in clarifying the
lessons that you find difficult. Be honest so that you will truly improve.

POST ASSESSMENT

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

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 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

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 C. Historicism
D. Formalism

11. Which of the 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

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References:

Laurel, M., Lucero, A., Bumatay-Cruz, R.. English for Academic and Professional
Purposes Teacher’s Guide. Pasig City: DepEd-BLR. 2016

Laurel, M., Lucero, A., Bumatay-Cruz, R.. English for Academic and Professional
Purposes Reader. Pasig City: DepEd-BLR. 2016

https://writingcenter.unc.edu/esl/resources/writing-critiques/

https://faculty.washington.edu/ezent/el.htm

https://www.aresearchguide.com/appropriate-language-overview.html

https://lrmds.deped.gov.ph/create/download/1773

http://www.offtheropes.com/opinion-based-on-fact-or-fact-based-on-opinion/

https://answershark.com/writing/creating-review/art-review-examples.html

http://www.visual-arts-cork.com/paintings-analysis/weeping-woman.htm
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https://www.google.com/search?q=sample+review+of+sculpture+abueva

https://www.proprofs.com/quiz-school/quizreport.php?title=art-
knowledge_1&sid=238361952

http://arthistory.about.com/cs/leonardo/a/last_supper.htm>

https://www.k12albemarle.org/acps/division/fql/Pages/Balanced-Assessment.aspx

https://custom-writing.org/blog/art-critique-writing

https://answershark.com/writing/creating-review/art-review/the-last-supper-by-
leonardo-da-vinci.html

http://sociology.morrisville.edu/perpetual/Writing/What_Is_A_Concept_Paper.htm
Accessed May 30, 2020
https://www.researchgate.net/publication/
336150591_How_to_write_a_concept_paper_with_practical_sample_by_Dr_Lango
accessed May 30, 2020

https://www.researchgate.net/publication/
336150591_How_to_write_a_concept_paper_with_practical_sample_by_Dr_Lango
accessed May 30, 2020

https://gerardcambon.net/types-of-concept-paper-introduction/
accessed May 31, 20202

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For inquiries or feedback, please write or call:

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Office Address: Masterson Avenue, Upper Balulang, Zone 1, Cagayan de

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Telefax:

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