21st Century Literature Genres and Structures

MODULES IN
GRADE 11
ACADEMIC TRACK – HUMMS STRAND
1ST SEM- QUARTER 2 – WEEK 4
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Module Code: PASAY-ENG-21ST Century Lit-Q2-W4-01
Name: ____________________________________________________ Track/Strand: _______________

Teacher: ___________________________________________________ Grade Level: _______________
DEPARTMENT OF EDUCATION- NATIONAL CAPITAL REGION

SCHOOLS DIVISION OF PASAY CITY
MODULE IN 21st Century Literature from the Philippines and the World
SECOND QUARTER / Week 4 / Day 1
OBJECTIVE: Differentiate the various 21st century literature focused on genres and
structures from across the globe. (EN12Lit-IId-25)
YOUR LESSON FOR TODAY:
21st Century Literature Genres and Structures from across the World.
21ST CENTURY LITERATURE GENRE AND STRUCTURES

ILLUSTRATED NOVEL
(Story through text and illustrated images)
• 50 % of the narrative is presented without words.

• The reader must interpret the images in order to comprehend completely the story.
• Textual portions are presented in traditional form.
• Some illustrated novels may contain no text at all.
• Span all genres.
DIGI-FICTION
(Triple Media Literature)
• Combines three media: book, movie/video, and internet website.

• In order to get the full story, students must engage in navigation, reading, viewing, in all
three formats.
GRAPHIC NOVELS
(Narratives in comic Book formats)
• Narrative work in which the story is conveyed to the reader using comic form.
• The term is employed in a broad manner, encompassing non-fiction works and
thematically linked short stories as well as fictional stories across a number of genres.
MANGA
(Japanese word for comics)
• It is used in the English-speaking world as a generic term for all comic books and graphics
novels originally published in Japan.
• Considered as an artistic and storytelling style.
DOODLE FICTION
• Literary presentation where the author incorporates doodle writing and drawings, and
handwritten graphics in place of traditional font.
• Drawing enhance the story, often adding humorous elements that would be missing if the
illustrations were omitted.
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TEXT-TALK NOVELS
• Blog, email, IM format narratives

• Stories told almost completely in dialogue simulating social network exchanges.
CHICK LIT OR CHICK LITERATURE

• Is genre fiction which addresses issues of modern womanhood, often humorously and
lightheartedly.
• Chick it typically features a female protagonist whose womanhood is heavily
thermalized in the plot.
FLASH FICTION
• Is a style of fictional literature of extreme brevity?

• There is no widely accepted definition of the length of the category.
• Can range from word to a thousand
SCIENCE FICTION
• Is a genre of speculative fiction dealing with imaginative concepts such as futuristic

science and technology, space travel, time travel, faster than light travel, parallel
universe and extraterrestrial life?
• Often explores the potential consequences of scientific and other innovations and has
been called a “literature of Ideas”.
•
BLOG
• A web log; a website containing short articles called posts that are changed regularly. •
• Same blogs are written by one person containing their own opinions, interests and
experiences, while others are written by many different people.
CREATIVE NON-FICTION
• Also known as literary non-fiction or narrative non-fiction.

• A genre of writing that uses literary styles and techniques to create factually accurate
narratives.
• Contrasts with other non-fiction, such as technical writing or journalism, which is also
rooted in accurate fact, but is not primarily written in service to its craft.
• As a genre, creative non-fiction is still relatively young, and is only beginning to be
scrutinized with the same critical analysis given to fiction and poetry.
HYPER POETRY
• Digital poetry that uses links using hypertext mark-up

• It can either involved set words, phrases, lines, etc. that are presented in variable order
but sit on the page much as tradition poetry does, or it can contain parts of the poem
that move and/or mutate.
• It is usually found online, through CD-ROM and diskette versions exist. The earliest
examples date to no later than the mid-1980s.
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ARE YOU READY TO PRACTICE?

PRACTICE EXERCISE 1: List at least one literary piece example for each literary
genre and structures.
ILLUSTRATED NOVEL
GRAPHIC NOVELS
MANGA
TEXT-TALK NOVELS
CHICK LIT OR CHICK LITERATURE
FLASH FICTION
SCIENCE FICTION
BLOG
CREATIVE NON-FICTION
HYPER POETRY
PRACTICE EXERCISE2:
The piece below was written by William De Mille Read and analyze the story then
answer the following questions below.
“RUTHLESS”
Outside, the woods lay in clear October sunlight: the autumn air was full of the sharp, exciting smell of
moist, leaf-covered earth. Inside, a man smiled grimly as he turned from the bathroom cabinet, entered
the primitive living room of his mountain camp, and crossed to a closet set in the pine wall. It was his
special closet with a spring lock, and in it he kept guns, ammunition, fishing rods and liquor. Not even his
wife was allowed to have a key, for Judson Webb loved his personal possessions and became furious if
they were touched by any hand but his own. The closet door stood open: he had been packing his things
away for the winter, and in a few minutes he would be driving back to civilization. As he looked at the
shelf on which the liquor stood, his smile was not attractive. All the bottles were unopened, except one
quart of Bourbon which was placed invitingly in front, a whiskey glass by its self. The bottle was less than
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half full. As he took it from the shelf, his wife spoke from the next bedroom. “Everything is packed,
Judson,” she said. “Hasn’t Alec come to turn the water off and get the keys?” Alec lived about a mile
down
the road and acted as a caretaker for the city folks when they were away. “He’s down at the lake taking
the boats out of the water. He said he’d be back in half an hour.” Mabel came into the room carrying her
suitcase. But she paused in surprise as she saw the bottle in her husband’s hand. “Judson!” she
exclaimed, “You’re not taking a drink at ten o’clock in the morning, are you?” “You’re wrong, my dear,”
he chuckled, “I’m not taking anything out of this bottle; I’m only putting something into it.” His closed
hand opened, and he put two tiny white tablets on the table as he started to uncork the whiskey. Her
eyes narrowed as she watched him. She had learned to dread that tone of his voice; it was the tone he
used when he was planning to “put something over” in business. “Whoever broke into my closet last
winter and stole my liquor will probably try it again once we are out of here,” he went on, “only this
time he’ll wish he hadn’t.” She caught her breath at this cruel vindictiveness as one by one he dropped
the tablets into the bottle and held it up to watch them dissolve. “What are they?” she asked,
“something to make him sick?” “And how!” He seemed fascinated as he saw the Bourbon changing into
a deadly drink. “At least no one has found an antidote: once it’s down, it’s the end.” He corked the
bottle and set it back on the shelf alongside the little whiskey glass. “Everything nice and handy,” he
remarked, “now, Mr. Thief, when you break in, have a good drink; I won’t begrudge you this one.” The
woman’s face was pale. “Don’t do it, Judson,” she gasped, “it’s horrible – it’s murder.” English 10
Matheson “The law doesn’t call it murder if I shoot a thief who is entering my house by force,” he said
harshly. “Also, the use of rat poison is not forbidden. The only way any rat can get into this closet is to
break in. What happens then has nothing to do with me.” “Don’t do it, Judson,” she begged, “the law
doesn’t punish burglary by death; so what right have you?” “When it comes to protecting my property, I
make my own laws.” His deep voice was like that of a big dog growling at the possible loss of a bone.
“But all they did was to steal a little liquor,” she pleaded, “probably some boys off on a lark. They didn’t
do any real damage.” “That’s not the point,” he said. “If a man holds me up and robs me of five dollars,
it makes me just as sore as if he took a hundred. A thief’s a thief.” She made one last effort. “We won’t
be here till next spring. I can’t bear to think of that death-trap waiting there all the time. Suppose
something happens to us – and no one knows.” He chuckled once more at her words. “We’ll take a
chance on that,” he said. “I’ve made my pile by taking chances. If I should die, you can do as you please.
The stuff will be yours.” It was useless to argue – she knew. He had always been ruthless in business and
whenever anything crossed him. Things had to be done his way. She turned towards the door with a
sigh. “I’ll walk down the road and say good bye at the farmhouse,” she said quietly, “you can pick me up
there.” She had made up her mind to tell Alec’s wife. Someone had to know. “Okay, my dear,” he
smiled, “and don’t worry about your poor little burglar. No one is going to get hurt who hasn’t got it
coming to him. As she went down the path, he started to close the closet door, and then paused as he
remembered his hunting boots outside on the porch. They belonged in the closet. So, leaving the door
open, he went to fetch them from the heavy, rustic table on which they stood, along with his bag and
top coat. Alec was coming up from the lake and waved to him from a distance. A chipmunk, hearing
Judson’s heavy tread, left the acorn it was about to add to its store within the cabin wall and
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disappeared. When reaching for his boots, Judson stepped upon that acorn. His foot slid from under him
and his head struck the massive table as he fell. Several minutes later, he began to regain his senses.
Alec’s strong arm was supporting his head as he lay on the porch, and a kindly voice was saying, “It
wasn’t much of a fall, Mr. Webb. You aren’t cut none; just knocked out for a minute. Here, take this. It’ll
pull you together.” A small whiskey glass was pressed to Judson’s lips. Dazed and half -conscious he
drank.
1. What is the story all about?
2. What literary genre was used in the story? Why do you say so? Explain why.
3. Is there any literary genre or structure present in the story?
EVALUATION
List down your most favorite literary piece and its author then answer the questions that follows:
1.What is the literary piece all about?
2.Who is the author of the literary piece?
3.What literary genre was used in the literary piece?
4.What is the theme of the story?
5. Are you going to recommend your favorite literary piece to your friend? Why?
Writer: KRISHA MAE C. BUCAYU, PCWHS

REFERENCES FOR FURTHER ENHANCEMENT:
https://my23.sd23.bc.ca/class/jlimk66/AnalyticsReports/Story%202%20-%20Ruthless.pdf
https://21stcenturylitph.wordpress.com/introduction-to-philippine-literature/
https://my23.sd23.bc.ca/class/jlimk66/AnalyticsReports/Story%202%20-%20Ruthless.pdf
https://www.startribune.com/short-stories-dear-life-by-alice-munro/177960191
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OBJECTIVE: Differentiate the various 21st century literature focused on elements from across
the globe. (EN12Lit-IId-25)
21st Century Elements

Elements of Literature
1. CHARACTER
• Protagonist - the leading character or one of the major characters in a drama, movie, novel, or
other fictional text.
• Antagonist - a person who is opposed to, struggles against, or competes with another;
opponent
• Individual - round, many sided and complex personalities.
• Developing - dynamic, many sided personalities that change (for better or worse) by the end
of the story.
• Static – Stereotypes; they have one or two characteristics that never change and are often
over-emphasized.
2. THEME
• The theme of a piece of fiction is its view about life and how people behave.
• You extract it from the characters, action and setting that make up the story.
• The writer's task is to communicate on a common ground with the reader.
Here are some ways to uncover the theme in a story:
• Check out the title. Sometimes it tells you a lot about the theme.
• Notice repeating patterns and symbols. Sometimes these lead you to the theme.
• What are the details and particulars in the story? What greater meaning may they
have?
3. PLOT
• plot is a causal sequence of events, the "why" for the things that happen in the story. The plot
draws the reader into the characters’ lives and helps the reader understand the choices that the
characters make.
4. POINT OF VIEW
Remember, someone is always between the reader and the action of the story. That someone
is telling the story from his or her own point of view. This angle of vision, the point of view from
which the people, events and details of a story are viewed, is important to consider when reading a
story.
Types of Point of View:
• Objective Point of View

With the objective point of view, the writer tells what happens without stating more than
can be inferred from the story's action and dialogue. The narrator never discloses
anything about what the characters think or feel, remaining a detached observer.
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• Third Person Point of View

Here the narrator does not participate in the action of the story as one of the
characters but lets us know exactly how the characters feel. We learn about the
characters through this outside voice.
• First Person Point of View

In the first-person point of view, the narrator does participate in the action of the story.
When reading stories in the first person, we need to realize that what the narrator is
recounting might not be the objective truth. We should question the trustworthiness of
the accounting.
• Omniscient and Limited Omniscient Points of View

A narrator who knows everything about all the characters is all knowing, or
omniscient. A narrator whose knowledge is limited to one character, either major or
minor has a limited omniscient point of view.
5. SETTING
• place - geographical location. Where is the action of the story taking place?
• time - When is the story taking place? (historical period, time of day, year, etc.)
• weather conditions - Is it rainy, sunny, stormy, etc?
• social conditions - What is the daily life of the characters like? Does the story contain
local colour (writing that focuses on the speech, dress, mannerisms, customs, etc. of a
particular place)?
• mood or atmosphere - What feeling is created at the beginning of the story? Is it bright
and cheerful or dark and frightening.
6. CONFLICT
It creates plot. The conflicts we encounter can usually be identified as one of four kinds.
• Human versus Human
Conflict that pits one person against another.
• Human versus Nature
This involves a run-in with the forces of nature.
• Human versus Society
The values and customs by which everyone else lives are being challenged.
• Human versus Self
Internal conflict. Not all conflict involves other people.
7. TONE
In literature, tone is the emotional coloring or the emotional meaning of the work and provides
an extremely important contribution to the full meaning. In spoken language, it is indicated by the
inflection of the speaker's voice. The emotional meaning of a statement may vary widely according
to the tone of voice with which it is uttered; the tone may be ecstatic, incredulous, despairing,
resigned, etc.
Tone can be determined by three points:

• An author's attitude or focus point toward his/her subject. In this concern, the tone can be
realistic, somber, depressing, romantic, adventurous, etc.
• The devices used to create the mood and atmosphere of a literary work. In this sense, the tone
consists of alliteration, assonance, consonance, diction, imagery, metre, theme, symbolism,
irony, etc.
• The musical quality in language. Here, the tone depends upon the sounds of words, their
arrangement and their sequence.

PRACTICE EXERCISE 1: Read and analyze the literary piece by Kate Chopin
entitled “The Story of an Hour” then identify the literary elements below.
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"The Story of An Hour"

Kate Chopin (1894)
Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as
gently as possible the news of her husband's death.
It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half
concealing. Her husband's friend Richards was there, too, near her. It was he who had been in the
newspaper office when intelligence of the railroad disaster was received, with Brently Mallard's name
leading the list of "killed." He had only taken the time to assure himself of its truth by a second
telegram, and had hastened to forestall any less careful, less tender friend in bearing the sad
message.
She did not hear the story as many women have heard the same, with a paralyzed inability to accept
its significance. She wept at once, with sudden, wild abandonment, in her sister's arms. When the
storm of grief had spent itself she went away to her room alone. She would have no one follow her.
There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed
down by a physical exhaustion that haunted her body and seemed to reach into her soul.
She could see in the open square before her house the tops of trees that were all aquiver with the
new spring life. The delicious breath of rain was in the air. In the street below a peddler was crying
his wares. The notes of a distant song which some one was singing reached her faintly, and
countless sparrows were twittering in the eaves.
There were patches of blue sky showing here and there through the clouds that had met and piled
one above the other in the west facing her window.
She sat with her head thrown back upon the cushion of the chair, quite motionless, except when a
sob came up into her throat and shook her, as a child who has cried itself to sleep continues to sob in
its dreams.
She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength.
But now there was a dull stare in her eyes, whose gaze was fixed away off yonder on one of those
patches of blue sky. It was not a glance of reflection, but rather indicated a suspension of intelligent
thought.
There was something coming to her and she was waiting for it, fearfully. What was it? She did not
know; it was too subtle and elusive to name. But she felt it, creeping out of the sky, reaching toward
her through the sounds, the scents, the color that filled the air.
Now her bosom rose and fell tumultuously. She was beginning to recognize this thing that was
approaching to possess her, and she was striving to beat it back with her will--as powerless as her
two white slender hands would have been. When she abandoned herself a little whispered word
escaped her slightly parted lips. She said it over and over under hte breath: "free, free, free!" The
vacant stare and the look of terror that had followed it went from her eyes. They stayed keen and
bright. Her pulses beat fast, and the coursing blood warmed and relaxed every inch of her body.
She did not stop to ask if it were or were not a monstrous joy that held her. A clear and exalted
perception enabled her to dismiss the suggestion as trivial. She knew that she would weep again
when she saw the kind, tender hands folded in death; the face that had never looked save with love
upon her, fixed and gray and dead. But she saw beyond that bitter moment a long procession of
years to come that would belong to her absolutely. And she opened and spread her arms out to them
in welcome.
There would be no one to live for during those coming years; she would live for herself. There would
be no powerful will bending hers in that blind persistence with which men and women believe they
have a right to impose a private will upon a fellow-creature. A kind intention or a cruel intention made
the act seem no less a crime as she looked upon it in that brief moment of illumination.
And yet she had loved him--sometimes. Often she had not. What did it matter! What could love, the
unsolved mystery, count for in the face of this possession of self -assertion which she suddenly
recognized as the strongest impulse of her being!
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"Free! Body and soul free!" she kept whispering.

"Free! Body and soul free!" she kept whispering.
Josephine was kneeling before the closed door with her lips to the keyhold, imploring for admission.
"Louise, open the door! I beg; open the door--you will make yourself ill. What are you doing, Louise?
For heaven's sake open the door."
"Go away. I am not making myself ill." No; she was drinking in a very elixir of life through that open
window.
Her fancy was running riot along those days ahead of her. Spring days, and summer days, and all
sorts of days that would be her own. She breathed a quick prayer that life might be long. It was only
yesterday she had thought with a shudder that life might be long.
She arose at length and opened the door to her sister's importunities. There was a feverish triumph in
her eyes, and she carried herself unwittingly like a goddess of Victory. She clasped her sister's waist,
and together they descended the stairs. Richards stood waiting for them at the bottom.
Some one was opening the front door with a latchkey. It was Brently Mallard who entered, a little
travel-stained, composedly carrying his grip-sack and umbrella. He had been far from the scene of
the accident, and did not even know there had been one. He stood amazed at Josephine's piercing
cry; at Richards' quick motion to screen him from the view of his wife.
When the doctors came they said she had died of heart disease--of the joy that kills.
CHARACTERS SETTINGS

PRACTICE EXERCISE 2: In the literary piece of Kate Chopin “The Story of an
Hour”, identify the following elements of a literary piece. Write your answer in the
given space below.
CONFLICT POINT OF VIEW
PLOT
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PRACTICE EXERCISE 3: In the literary piece of Kate Chopin “The Story of an
Hour”, identify the following elements of literary piece.Write you answer in the
given space below.
THEME TONE
EVALUATION:
A. Pick out at least five phrases which you think are especially important to
the story and briefly describe why you chose each.
B. What questions about character or plot does this story leave in your mind?
And why? Write your answers below.
Writer: KRISHA MAE BUCAYU, PCWHS
REFERENCES CITED:
https://archive.vcu.edu/english/engweb/webtexts/hour/
https://21stcenturylitph.wordpress.com/introduction-to-philippine-literature/
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OBJECTIVE: Make a comparative analysis of the traditions of the various 21st century
literature from across the globe. EN12Lit-IId-25

Before we start our lesson, let us first define Comparative Analysis.
Comparative Analysis is an intellectual activity in which you examine the

similarities and differences between two or more things in order to come to new
insights or conclusions about those things.
Now since you already know what Comparative analysis is, let’s now proceed to
these two Literary pieces.
“Loot” by Nadine Gordiner
"Loot" is a story about time and history, about legends and imagination. "Once
upon our time," it tells us, there was a Great Event -- the greatest earthquake every
recorded, the greatest of all measured "apocalyptic warnings". Not only is it a Great
Event (indeed, the Greatest of such events), but it is ours: we possess it.
Life of Nadine Gordiner

Nadine Gordimer was born in Springs, South Africa. Her parents were Jewish
immigrants; her father was from Latvia and her mother was from England. Nadine
began writing at the age of nine, and was just 15 years old when her first work was
published. The novel entitled The Conservationist (1974) gave her international
breakthrough. Nadine Gordimer was involved in the anti-apartheid movement early on
and several of her books were banned by the apartheid regime. She has lived and
worked in Johannesburg, South Africa, since 1948.
“Civilian and Soldier” by Wole Soyinka
Wole Soyinka's “Civilian and Soldier”: A Quarrel Not of This World. One of
my coursemates is using this poem by Wole Soyinka to discuss colonialism/post-
colonialism in class on Thursday. ... This poem is about the pointless civilian murders
that occur during war, and perhaps about the perceived pointlessness of war itself.
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Soyinka begins "Civilian and Soldier" with a confused and questioning tone
from the civilian to a more accepting, understanding and empathizing tone as the
civilian begins to understand the soldier's moral dilemma. The poem starts off with a
confused tone because the civilian is trying to understand why his "apparition" has
risen and why the soldier killed him in the first place. Then the poem shifts to
understanding, accepting and empathizing because the civilian learns that in war
soldiers are trained to kill anyone th at is deemed questionable and how they are
taught never to leave a person behind alive. The civilian starts to sympathize with th e
soldier's inner conflict. Soyinka is exposing through his poem how innocent civilians
are killed by soldiers without a reason able cause during war, while also sympathizes
with the soldier's inner conflict of knowing that they have to kill but not why or wh at it
accomplishes. Soyinka is shedding light on how pointless war is when the cause is
unknown and exposing the human condition of completing actions without much
thought as long as it comes from a higher power.
Generalization:
➢ A literary comparison is an essay that examines two or more works in relation to one
another. It examines a select set of similarities and differences. When reading for
analysis, you are not reading for a surface understanding, you are reading to
understand why things happen and what the deeper meaning behind a character
is, or a setting, or an event.
➢ “Loot” by Nadine Gordimer is quite an extraordinary story. It is not a lineal
narrative, not even a coherent one. It is pervaded by poetry and symbolism. It
has a dream-like texture. It can be read as an allegory of South Africa´s attitude
towards their recent past. And, in more general terms, as an attempt to think over the
relations between life and desire and, on the other hand, the relations between
memory and social links. No doubt it can be understood in different ways.
➢ Wole Soyinka's poem Civilian and Soldier was written as a response to the rising
violence in his native Nigeria in late 1966, a situation that soon led to a three-year-
long civil war. In the poem, Soyinka presents a civilian who has recently been shot to
death, speaking as a ghost to the man who shot him. He is not angry at the soldier,
buthe is certain that the soldier does not understand the cause of his own actions, or
why he is spreading destruction across the land. He imagines the day that the soldier
will be killed in combat, and thinks that then, finally , it will be time to teach him a
lesson about life.
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PRACTICE EXERCISE 1: Based on the literary piece that you have read, write a
simple comparative analysis of the story in terms of their tradition.
COMPARATIVE ANALYSIS
PRACTICE EXERCISE 2:Write down the similarities and differences of the two
literary pieces similar to the given above in terms of their author’s background
and beliefs using comparative analysis.
COMPARATIVE ANALYSIS
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\
PRACTICE EXERCISE 3: Given the excerpts, compare and contrast the two literary
pieces.
Tenth of December:
Speaking of Halloween, she remembered last year, when their cornstalk column
hadtipped their shopping cart over. Gosh, how they’d laughed at that! Oh, family
laughterwas golden; she’d had none of that in her childhood, Dad being so dour and
Mom soashamed. If Mom and Dad’s cart had tipped, Dad would have given the cart a
despairingkick and Mom would have stridden purposefully away to reapply her lipstick,
distancingherself from Dad, while she, Marie, would have nervously taken that horrid
plastic armyman she’d named Brady into her mouth.
Oblivion Stories: “Good Old Neon”
Basically I was in that state in which a man realizes thateverything he sees will outlast
him. As a verbal construction I knowthat’s a cliché. As a state in which to actually be,
though, it’s some-thing else, believe me. Where now every movement takes on a kindof
ceremonial aspect. The very sacredness of the world as seen (thesame kind of state Dr.
G. will try to describe with analogies to oceansand whitecaps and trees, you might recall
I mentioned this already).This is literally about one one-trillionth of the various thoughts
andinternal experiences I underwent in those last few hours, and I’ll spareboth of us
recounting any more, since I’m aware it ends up seemingsomewhat lame. Which in fact
it wasn’t, but I won’t pretend it wasfully authentic or genuine, either. A part of me was still
calculating, performing — and this was part of the ceremonial quality of that
lastafternoon.

PRACTICE EXERCISE 4 :Get yourself a partner, it can be your mother, father,
siblings or classmate, then pick your most favorite literary piece of all time and
using a Venn Diagram write down their similarities and differences in terms of
their traditions.
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EVALUATION: In a simple paragraph, write a comparative analysis of th e

traditions found in two literacy pieces. Use the space provided below.
REFERENCES CITED:
https://en.wikipedia.org/wiki/Tenth_of_December:_Stori es
https://en.wikipedia.org/wiki/Oblivion:_Stories
http://mumpsimus.blogspot.com/2010/01/loot-by-nadine-gordimer.html
http://famouspoetsandpoem s.com/poets/wol e_soyinka/poems/22482
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OBJECTIVE: Make a comparative analysis of the elements of the various 21st century
literature from across the globe. (EN12Lit-IId-25)

Before we start our lesson, let us first define Comparative Analysis.
Comparative Analysis is an intellectual activity in which you

examine the similarities and differences between two or more
things in order to come to new insights or conclusions about those
things.
Elements of Literature
1. CHARACTER
• Protagonist - the leading character or one of the major characters in a drama,
movie, novel, or other fictional text.
• Antagonist - a person who is opposed to, struggles against, or competes with
another; opponent
2. THEME
• The theme of a piece of fiction is its view about life and how people behave.
• You extract it from the characters, action and setting that make up the story.
• The writer's task is to communicate on a common ground with the reader.
Here are some ways to uncover the theme in a story:
• Check out the title. Sometimes it tells you a lot about the theme.
• Notice repeating patterns and symbols. Sometimes these lead you to the
theme.
• What are the details and particulars in the story? What greater meaning may
they have?
3. PLOT
• plot is a causal sequence of events, the "why" for the things that happen in th e
story. The plot draws the reader into the characters’ lives and helps the reader
understand the choices that the characters make.
4. SETTING
• place - geographical location. Where is the action of the story taking
place?
• time - When is the story taking place? (historical period, time of day, year,
etc.)
• weather conditions - Is it rainy, sunny, stormy, etc?
• social conditions - What is the daily life of the characters like? Does the
story contain local colour (writing that focuses on the speech, dress,
mannerisms, customs, etc. of a particular place)
Page 19 of 23

5. POINT OF VIEW
Remember, someone is always between the reader and the action of the story.
That someone is telling the story from his or her own point of view. This angle of
vision, the point of view from which the people, events and details of a story are
viewed, is important to consider when reading a story.
Types of Point of View:
• Objective Point of View
With the objective point of view, the writer tells what happens without
stating more than can be inferred from the story's action and dialogue.
The narrator never discloses anything about what the characters think
or feel, remaining a detached observer.
• Third Person Point of View
Here the narrator does not participate in the action of the story as one of
the characters but lets us know exactly how the characters feel. We
learn about the characters through this outside voice.
• First Person Point of View
In the first-person point of view, the narrator does participate in the action
of the story. When reading stories in the first person, we need to realize
that what the narrator is recounting might not be the objective truth. We
should question the trustworthiness of the accounting.
• Omniscient and Limited Omniscient Points of View
A narrator who knows everything about all the characters is all knowin g,
or omniscient.
A narrator whose knowledge is limited to one character, either major or
minor, has a limited omniscient point of view.
6. CONFLICT
It creates plot. The conflicts we encounter can usually be identified as one of
four kinds.
• Human versus Human
Conflict that pits one person against another.
• Human versus Nature
This involves a run-in with the forces of nature.
• Human versus Society
The values and customs by which everyone else lives are being
challenged.
• Human versus Self
Internal conflict. Not all conflict involves other people.
7. TONE
In literature, tone is the emotional coloring or the emotional meaning of the
work and provides an extremely important contribution to the full meaning. In
spoken language, it is indicated by the inflection of the speaker's voice. The
emotional meaning of a statement may vary widely according to the tone of voice
with which it is uttered; the tone may be ecstatic, incredulous, despairing, resigned,
etc.
Tone can be determined by three points:
• An author's attitude or focus point toward his/her subject. In this concern,
the tone can be realistic, somber, depressing, romantic, adventurous, etc.
• The devices used to create the mood and atmosphere of a literary work. In
. this sense, the tone consists of alliteration, assonance, consonance,
diction, imagery, metre, theme, symbolism, irony, etc.
• The musical quality in language. Here, the tone depends upon the sounds
of words, their arrangement and their sequence.
Page 20 of 23

Generalization:
➢ Literary comparison is an essay that examines two or more works in relation to
one another. It examines a select set of similarities and differences. When
reading for analysis, you are not reading for a surface understanding, you are
reading to understand why things happen and what the deeper meaning behind
a character is, or a setting, or an event.
➢ The most important thing about literature elements is that all the elements are
essential in making an exciting narrative to the reader. The plot intrigues the
reader into the characters' life helping us to understand the choices that make
the character.
➢ Literary elements are the fundamental building blocks of writing, and they play
an important role in helping us write, read, and understand literature. You migh t
even saythat literary elements are the DNA of literature.

PRACTICE EXERCISE 1:
Using a Venn Diagram, compare, and contrast the two stories in terms of
their Characters.
LOB’S GIRL By Joan Aiken
Sandy is five years old. Her brother, Don, is twelve, and twins Tim and Tess are
three. They are enjoying a day at the beach with their father while their mother prepares
the Christmas puddings at home. Even though Christmas is still months away, Jean wants
to be ready for the holiday. While Don and Mr. Pengelly work on the father's fishing boat,
Sandy is supposed to look after the twins, who have a tendency to get into trouble. She is
about to check on them when she is tackled by a large dog. The owner, Mr. Dodsworth, is
an elderly man with a limp who is vacationing in Cornwall. Since Lob is much younger and
more energetic than him, he has difficulty checking Lob's enthusiasm. He apologizes for
Lob's behavior. Lob invites Sandy to play fetch with him.
HACHI: A DOG’S TALE
Eleven year old Robbie is giving an oral class report on the topic of "My Hero", his
chosen subject, Hachi, who on the surface is an unusual choice. Several years earlier,
Parker Wilson, who lives in Bedridge in suburban New York City, is a college
music/performing arts professor, he who makes the train commute to/from the city every
working day. It is on one of those routine days going home that he finds at the Bedridge
Station a puppy, who he eventually will learn was being shipped somewhere unknown,
with the shipping tag lost. He also learns from Ken, a Japanese professor friend, that the
dog is a Japanese breed called an Akita, and that the Japanese character on the dog's
collar tag is the number eight - "hachi". Parker does whatever he can to find out who the
dog belongs to, and although his many acquaintances around the train station do their
small part in helping Parker, no one is willing to take the dog, even temporarily. So Parker
takes the dog home, despite he and his wife Cate long having dismissed the idea of
having a dog. However Parker is able to convince her to let the dog stay temporarily.
Eventually on the high probability that they will never find the dog's owner, Cate, upon
seeing the interaction between the two, lets Parker permanently keep the dog, who he has
since named Hachi.
Page 21 of 23

Using a Venn Diagram, compare the two stories in terms of their Setting.
It began on the beach, the summer when Sandy was five, Don, her older brother,
twelve, and the twins were three. Sandy was really Alexandra, because her grandmother
had a beautiful picture of a queen in a diamond tiara and high collar of pearls. It hung by
Granny Pearce’s kitchen sink and was as familiar as the doormat. When Sandy was born
everyone agreed that she was the living spit of the picture, and so she was called
Alexandra and Sandy for short.
Cornwall, a fishing town located in southeast England. The main character is a
young girl named Sandy Pengelly. She lives in Cornwall with her father and mother, Bert
and Jean, and her three siblings: Don, Tim, and Tess. They are enjoying a day at the
beach with their father while their mother prepares the Christmas puddings at home.
Ten days after Mr. Dodsworth picked him up, Lob is back at the Pengellys' house.
It began on the beach, the summer when Sandy was five, Don, her older brother,
twelve, and the twins were three. Sandy was really Alexandra, because her grandmother
had a beautiful picture of a queen in a diamond tiara and high collar of pearls. It hung by
Granny Pearce’s kitchen sink and was as familiar as the doormat. When Sandy was born
everyone agreed that she was the living spit of the picture, and so she was called
Alexandra and Sandy for short. Parker Wilson, who lives in Bedridge in suburban New
York City, is a college music/performing arts professor, he who makes the train commute
to/from the city every working day. It is on one of those routine days going home that he
finds at the Bedridge Station a puppy, who he eventually will learn was being shipped
somewhere unknown, with the shipping tag lost.
Using a Venn Diagram, compare the two stories in terms of their Theme.
"Lob's Girl" is simply of how one dog changes the life of a young girl, providing her
with a loyal companion who fills her childhood with joy. However, this story is also a
representation of love itself through the characters' relationships. It studies the effects that
people's decisions have on one another, for better or worse, and it shows how love allows
children to overcome adversity. Lob's affection towards Sandy is simple and pure. There is
no ulterior motive. Sandy does not want Lob because he is an expensive dog or because
he will make her more popular around the town. There is a sense of mutual understanding
that serves as the basis for their enduring friendship. To put it simply, they just "get each
other."
Page 22 of 23

A loyal dog named Hachiko. This very special friend would accompany his master
to the train station every day and return each afternoon to greet him after work. Sadly his
master goes to work one day, but dies at work and never returns to the station. Hachiko
faithfully returns to the same spot at the station that evening, and every day until the last
day of his life, to wait for his beloved master. During his daily visits, Hachiko touches the
lives of many who work near and commute through the train station square. He teaches
the local people love, compassion and above all, unyielding loyalty. Today, a bronze
statue of Hachiko sits in his waiting spot outside the Shibuya station in Japan as a
permanent reminder of his devotion and love.
EVALUATION: Why is it important for you to know the different

elements of the literary piece you read? Is it a great help?
Why? Write your answer on the space provided below.
REFERENCES CITED:
https://tavistocktutors.com/blog/context-in-english-literature-gcse-and-a-level#mobile-widget\
https://www.imdb.com/title/tt1028532/plotsummary
https://www.coursehero.com/lit/Lobs-Girl/plot-summary/
https://www.imdb.com/title/tt1028532/plotsummary
Page 23 of 23

21st Century Literature Genres and Structures

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MODULES IN

1ST SEM- QUARTER 2 – WEEK 4

Name: ____________________________________________________ Track/Strand: _______________

DEPARTMENT OF EDUCATION- NATIONAL CAPITAL REGION

YOUR LESSON FOR TODAY:

21ST CENTURY LITERATURE GENRE AND STRUCTURES

• 50 % of the narrative is presented without words.

• Combines three media: book, movie/video, and internet website.

Name: ____________________________________________________ Track/Strand: _______________

• Blog, email, IM format narratives

CHICK LIT OR CHICK LITERATURE

• Is a style of fictional literature of extreme brevity?

• Is a genre of speculative fiction dealing with imaginative concepts such as futuristic

• Also known as literary non-fiction or narrative non-fiction.

• Digital poetry that uses links using hypertext mark-up

Name: ____________________________________________________ Track/Strand: _______________

ARE YOU READY TO PRACTICE?

CHICK LIT OR CHICK LITERATURE

Name: ____________________________________________________ Track/Strand: _______________

Name: ____________________________________________________ Track/Strand: _______________

3. Is there any literary genre or structure present in the story?

2.Who is the author of the literary piece?

3.What literary genre was used in the literary piece?

4.What is the theme of the story?

Writer: KRISHA MAE C. BUCAYU, PCWHS

Name: ____________________________________________________ Track/Strand: _______________

DEPARTMENT OF EDUCATION- NATIONAL CAPITAL REGION

YOUR LESSON FOR TODAY:

21st Century Elements

Types of Point of View:

• Objective Point of View

Name: ____________________________________________________ Track/Strand: _______________

• Third Person Point of View

• First Person Point of View

• Omniscient and Limited Omniscient Points of View

Tone can be determined by three points:

ARE YOU READY TO PRACTICE?

Name: ____________________________________________________ Track/Strand: _______________

"The Story of An Hour"

Name: ____________________________________________________ Track/Strand: _______________

"Free! Body and soul free!" she kept whispering.

ARE YOU READY TO PRACTICE?

Name: ____________________________________________________ Track/Strand: _______________

ARE YOU READY TO PRACTICE?

Writer: KRISHA MAE BUCAYU, PCWHS

Name: ____________________________________________________ Track/Strand: _______________

DEPARTMENT OF EDUCATION- NATIONAL CAPITAL REGION

YOUR LESSON FOR TODAY:

Comparative Analysis is an intellectual activity in which you examine the

“Loot” by Nadine Gordiner

Life of Nadine Gordiner

“Civilian and Soldier” by Wole Soyinka

Name: ____________________________________________________ Track/Strand: _______________

lesson about life.

Name: ____________________________________________________ Track/Strand: _______________

ARE YOU READY TO PRACTICE?

ARE YOU READY TO PRACTICE?

Name: ____________________________________________________ Track/Strand: _______________

ARE YOU READY TO PRACTICE?

Name: ____________________________________________________ Track/Strand: _______________

EVALUATION: In a simple paragraph, write a comparative analysis of th e

Writer: KRISHA MAE BUCAYU, PCWHS

Name: ______________________________________ Track/Strand: _

Name: ______________________________________ Track/Strand: _

Name: ______________________________________ Track/Strand: _

Name: ______________________________________ Track/Strand: _

Name: ______________________________________ Track/Strand: _

Name: ______________________________________ Track/Strand: _

Name: ______________________________________ Track/Strand: _

Name: ______________________________________ Track/Strand: _

Name: ______________________________________ Track/Strand: _

Name: ______________________________________ Track/Strand: _

Name: ______________________________________ Track/Strand: _

Name: ______________________________________ Track/Strand: _

Name: ______________________________________ Track/Strand: _

Name: ______________________________________ Track/Strand: _

Name: ______________________________________ Track/Strand: _

Name: ______________________________________ Track/Strand: _

Name: ______________________________________ Track/Strand: _

Name: ______________________________________ Track/Strand: _

Name: ______________________________________ Track/Strand: _

Name: ______________________________________ Track/Strand: _