21ST CENTURY LITERATURE - The story usually has one plot so it can be

SHORT STORY read in one sitting.

- piece of prose Fiction which can be
read in one sitting
- originated prom earlier storytelling in
the 17 century
- has no set length
- no official demarcation or limitation
between an anecdote, a short story
and novel in terms of word count
LENGTH
● Classic definition - readable in one
sitting
● Notable basis in terms of length -
Thomas Le Moineau (1846)
● Maximum word count - 1,000 - 4, 000
● Contemporary usage - relevont issues,
fiction no shorter than 1,000 and no
longer than 20,000
● Science Fiction and fantasy writers of
America - word count fewer than 7,500
● Stories fewer than 1000 words short
are Flash Fiction
VARIETIES OF FLASH FICTION
● Six-Word Story
● Twitterature - 280 characters
● Dribble/minisaga - 50 words
● Dribble/microfiction - 100 words
● Sudden Fiction - 750 words
● Flash Fiction - 1,000 words
ELEMENTS OF A SHORT STORY
• Character
• Plot
• Setting
CHARACTER
- is the person in a work of fiction and the
characteristic of a person”.
MOOD ON ATMOSPHERE - what feeling
is created at the beginning of the story? Is it
bright and cheerful or dark and frightening?
a). TRADITIONAL SEQUENCE
Beginning, Middle, Ending
b). IN MEDIAS RES
Middle, Beginning, Ending
c). FLASHBACK
- term used when a plot will travel back in a
certain period of time which is responsible for
the events in the middle of the story/ purpose
of the characters.
d). FORESHADOWING
- a literary device in which a writer gives an
advance/hint of what is to come later in the
story
SETTING
- time and location in which a story takes
place
9 TYPES OF CHARACTERS
IN FICTION
• Dynamic - changes throughout the story,
good or bad change due to something in the
story.
• Static - doesn't change much at all,
personality or background is revealed well.
• Foil - opposite of another character ,
reflect opposite traits
• Round - similar to dynamic change
throughout the story: gaining new traits.
• Stock- not big deal, not change, cliche
characters
• Protagonist - root of the story, part of the
driving force of the plot.
• Confidante - someone or something the
main character confides in, readers learn more
about the M.C. personality through this
• Antagonist - opposite of the protagonist,
oppose the main character
• Villain - similar to antagonist but evil, they
have evil motives and actions

PLOT
- Is how the author arranges events to
develop his/her basic idea, It is the sequence
of events in a story or play.
- The plot is a planned, logical series of
events, having a beginning, middle, and end.
ESSENTIAL PARTS OF PLOT ASPECT OF A STORY’S SETTING
1. Introduction - beginning of the story, PLACE - geographical location, where is the
characters and the setting is revealed
● Exposition - introduction of setting,
situation, and main characters: ex. -
Info about the setting, events
occuring befure the main plot,
characters back stories
● Conveyed through - dialogues,
flachbacks, character's thoughts,
bockground details, or narrator elling
a back story.
2. Rising Action - This is where the events
in the story become complicated and the
conflict in the story is revealed
3. Falling Action - The events and
complications begin to resolve themselves.
The reader knows what has happened next
and if the conflict was resolved or not (events
between climax and denouement).
CONFLICT
–It is the opposition of forces which ties one
incident to another and makes the plot move.
Without it there is no plot.
2 TYPES OF CONFLICT CLIMAX
1) External - A struggle with a force - This is the highest point of interest and the
outside one's self.
2) Internal - A struggle within one's self; a
person must make some decision, overcome
pain, quiet their temper, resist an urge, etc.
KINDS OF CONFLICT TYPES OF CLIMAX
1) Man vs. Man (physical) - The ● Destructive –
leading character struggles with his
physical strength against other men,
forces of nature, or animals.
2) Man vs. Circumstances
(classical) - The leading character
struggles against fate, or the
circumstances of life facing him/her.
3) Man vs. Society (social) - The
leading character struggles against
ideas, practices, or customs of other
people.
4) Man vs. Himself/ Herself
(psychological) - The leading
character struggles with
himself/herself; with his/her own soul,
ideas of right or wrong, physical
limitations, choices, etc.
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, elc?
SOCIAL CONDITIONS - what is the daily
life of the characters like? (writing that focuses
on the speech, dress, mannerisms, customs,
etc)
● Geographical
● Historical
● Cultural : Food and Delicacies,
traditions, customs, beliefs and Fashion
● Speech and Dialect
● Personalities
• Complication /Rising Action - series of
relevant incidents that creates suspense,
interest and tension.
• Crisis – the decisive moment for the
protagonist and his commitment to a course of
action
turning point of the story. The reader wonders
what will happen next; will the conflict be
resolved or not?
a villain dies,
destroying the motivation and the
ability to cause conflict
● Constructive – instead of being
resolved by ending something, it can be
resolved by starting something new
● Transformative – revealing the
solution to a mystery; confusion to
understanding
● Resolution - the point when the
conflict is resolved
● Denouement – it is the ending of the
story. Any mysteries, secrets, questions
which remain after the resolution are
solved or explained, the final outcome
or untangling of events in the story.
PRACTICAL RESEARCH II - you may write the number in words if it is
THE CONCEPTUAL FRAMEWORK only a small number then enclose the number
in parentheses;
Conceptual Framework- Explains
- if a number is part of measurement, statistic
abstract concepts and ideas through graphics
or money, it should be written in figures and;
or diagrams.
- percentage should be rounded up or down to
Theoretical Framework- Explains a whole number.
theories and principles that can support your
study.
Acronyms
-Acronyms should be written full the first time
CONCEPTUAL FRAMEWORK MODELS you used it.
1. IPO Model - (Input-Process-Output), is -However, if the writer is referring to
used when researchers try to isolate the something that is known by its acronym, then
factor that causes the problem. the acronym can be used first followed by the
full name in parentheses.
2. THE IV-DV or PC MODEL IV-DV
(IV=Independent Variable, DV=Dependent Operational Definition
Variable and PC stands for Predictor- -It is making the concept or the thing
Criterion) meaningful by specifying the way your
research should measure such concept.
- This model is used when researchers want to -You need to provide an evidence or
highlight relationships of the variables. sometimes measurement to give a definition
- Predictor refers to Independent to a word.
Variable while Criterion refers to the
Dependent Variable.
DESIGN AND DATA COLLECTION
TECHNIQUE
3. THE P MODEL
Experimental research design
-This is ‘Propose a Program’ Model, this
one does not only shows relationships of the -To test or examine a thing under a controlled
variables but also offers something at the and uncontrolled group to determine its
end. validity.

4. THE PO MODEL (PO stands for Non-Experimental research design

Proposed Original) - Its focus is around the variables the way
- Iit only means, the researchers can design they naturally exist on earth.
their conceptual framework on their own way.
Still, it has to be scientific. Example: Why did you choose to vote for
● In writing numbers... candidate X? Kindly explain your reason/s:

5. Likert Scale – a five-point scale to 2. Dichotomous questions

determine the respondent’s answer to your
questions with one end being the most
positive answer and the other end being the
most negative answer.
6. Contingency questions – Intended
for certain respondents only, depending on
the provided answers.
– has two possible answers: often either
yes/no, true/false, or agree/disagree.
Example: HIV/AIDS is transmitted through
saliva. ____ True ____ False
3. Multiple-response questions
– it provides more than one answer.
4. Matrix questions DATA COLLECTION TECHNIQUE
– These are the ratings you want respondents With the use of these techniques, you would be
able to get your needed data.
to choose for each statement.
-Survey Questionnaire
-Additive Transitions
-Pretest/Posttest
-Adversative Transitions
-Treatment or Intervention
-Causal Transitions
-Sequential Transitions

For EXPERIMENTATION or SURVEY QUESTIONNAIRE

EXPERIMENTAL RESEARCH,
- it includes treatment with pretest and
post-test.
a. Treatment - Evaluation
b. Pre-test - Treatment - Post-test
c. Pre-test - Multiple Treatments - Post-test
d. Pre-test - Treatment - Immediate Post-test
- 6 mos. - Post-test - 1 yr. - Post-test.
DESIGNING YOUR CONCEPTUAL
FRAMEWORK
1. Take note of these in making your
illustration or diagram.
-The variables should be put in a box.
Arrow indicates causal relationship
or process.
-Line indicates connection or correlation.
2. Make sure that you familiarize yourself
with the variables in your study.
3. Do not forget to indicate below the
diagram the words, Figure #. Paradigm of the
Study.
4. After designing your conceptual
framework, explain it in words briefly to
help your reader further understand the
diagram you designed.
RESEARCH LANGUAGE
When you write your research…
- always use a third-person point-
of-view which means no using of ‘I’
and ‘we,’ and;
- you should write as clearly, as simply,
and as briefly as possible.
Remember:
- Be careful on your choice of words.
- Be consistent on your terms.
- Observe the element of continuity.
- A structured set of questions administered to
the respondents personally, by telephone, by
mail, or by electronic means.
- This should be approved by credible people
before distributing it to your respondents.
BASIC PRINCIPLE IN DESIGNING
SURVEY QUESTIONNAIRE
- Balance between your need to get the
maximum amount of
information and from disenfranchising the
respondent.
- Avoid “survey fatigue” or questionnaires that
are too long.
- Surveys must also be clear and can easily
understand by
your respondents.
- Avoid “Double-barreled questions.”
THE 3 B’S
- Be content-wise.
- Be clear with your questions.
- Be sure that it is reliable and valid.
TYPES OF SURVEY QUESTIONNAIRE
1. Open-ended questions - it does not have a
predetermined options or answers. These
questions typically ask the “how” and “why” of
something.
MEASUREMENT SCALE
1. Nominal Scale – it shows the classification
of things based on specific criteria.
2. Ordinal Scale - it indicates the rank or
hierarchical order of things.
3. Interval/Ratio Scale - showing equal
differences or intervals between points on a
scale in an arbitrary manner.

TRANSITION WORD AND PHRASES

-Be conscious in how you connect sentences
within paragraph and how you break them
into sections.
21st Century Literature ARTISTS AND THEIR RESPECTIVE
WHAT IS MEDIUM? MEDIUMS
Medium - is simply defined as the 1. Sculptor - stone, metal, wood, found
material/s or substance/s used by the artist
to produce a work. An artist can have all
kinds of concepts in mind, but without the
different types of medium, those concepts
will remain as intangible ideas. The kinds of
mediums artists use in producing their
artworks are what turns their intangible
visions into tangible pieces that one can
actually see, touch, hear, or listen to, and
even taste.
CLASSIFICATION OF ART
ACCORDING TO MEDIUM
1. Practical - these are primarily mean to DRAWING MEDIUMS AND MATERIALS
be functional in everyday life. It serves a
purpose that goes beyond their aesthetic
composition.
2. Environmental - it is a range of works
or practices that involve the use of space, it is
analysed the way they interact with their
surroundings and nature.
3. Pictorial - it is a kind of an artwork that
is predominantly visual and spatial.
4. Auditory - are examples of creative
works that engage the sense of hearing, while
not being necessarily musical in nature.
5. Musical - it a kind of creative work that
harnesses a logical arrangement of sounds—
one of the most common is rhythm and is
observable in music and dance.
6. Narrative - it is a creative work that
follows a sequential story structure, such as
events unfolding across time, foremost
applied in the literary sense, but also
encompasses other media that follows this
sequential logic.
7. Dramatic - a classification of art that is
often tied up with theatre, and is used to
describe works done, by a performance-
based representation.
a). Finer tips or size
- are mostly used for detailing
b). Thicker pen tips
- are used mainly for bigger drawings and
labelling.
objects
2. Architect- concrete, metal, stone, wood
3. Painter- pigment, paint
4. Musician- musical instruments
5. Dancer- body language, movement
6. Theatre- may utilize several art forms and
mediums
7. Photography and Cinema - camera,
film, sound and video recorder, and other
related equipments
8. Writers and Novelists- words from
their mighty pen
Drawing mediums and materials vary in kind
and composition. These drawing mediums are
as follows:
• Graphite/Pencil
• Pen and ink
• Charcoal
• Paper
1. Charcoal - Charcoal is a kind of organic
drawing medium made from burnt wood.
2 TYPES OF CHARCOAL
a. Vine - Kind of charcoal that comes in thin
sticks and is easy to blend and erase.
b. Compressed - Kind of charcoal pressed
into a wooden casing; creates darker shades
than vine charcoal.
2. Graphite - commonly known as pencil, it is
a drawing medium made from a soft mineral,
more common, easier to use, and not as messy
as charcoal.
- "H graphites or pencils have lighter
shades while "B" graphites are the
ones with darker shades, almost
resembling charcoal.
- "HB" and "F" graphites -are the
middle range types.
3. Pen - Like graphite or pencil, pen has
different variations in terms of point size,
ranging from 0.05 to 0.8 or even thicker.
suitable for all kinds of painting.
4. Acrylic - it is composed of water-soluble
synthetic pigments that become
water-resistant when dry.
5. Brushes - is used to spread and transfer
paint onto a surface.
THREE COMPONENTS OF PAINT
1. Pigment - pertains to minerals and
substances that give a paint its colour. It can
be natural or synthetic.
2. Binder - it is the material that holds the
pigment together, and allows it to stick to a
surface.
3. Solvents - pertain to liquids that are used
to control the viscosity or the thickness/
thinness of the paint.
DIFFERENT KINDS OF PAINT
1. Oil-based paints - are first used
predominantly during the early Renaissance
period. This paint dries slowly given its thick
viscosity.
2. Water-soluble paints
a. Watercolour - the most popular kind of
water-soluble paint. It is a kind of paint
whose pigment is made usually from
grounded gum arabic, applied using brush
and water on a surface. Some of it also
comes in rectangular palettes, while some
kinds come in tubes.
b. Gouache - is a kind of water-soluble paint
which is a mixture of transparent watercolour
with a water-soluble white chalk.
3. Tempera - is a type of paint that consists
of natural pigments and egg. This paint is
predominantly used during the Middle Ages.
DIFFERENT KINDS OF BRUSH BASED
ON MATERIAL
1. Bristle - a kind of brush that is made from
pig's fur and is used mostly for impressionist
paintings, traditional Chinese and Japanese
art.
2. Sable - it comes from sable or weasel fur
and is considered expensive. It is mainly used
for watercolour and oil painting.
3. Nylon - these brushes are synthetic, it is
commonly used nowadays since they are
cheaper than other types of brushes and
almost the same texture with sable and it is
CLASSIFICATION OF BRUSHES
BY SHAPE
1. Dome-shaped - this type of brush cover
more areas and are primarily used to paint
clouds. It is also used for applying make-up.
2. Pointed/Round - Used for details and
linear markings.
3. Flat - This type of brush is ideal for board
strokes.
The size of brushes are coded in numeric
designations from 000-8 in French scale and
0-12 in the English scale.
OTHER FORMS OF MEDIA
1. Printmaking - it involves the repeated
transferring of an original image from a
prepared surface called matrix/printing plate
onto another surface, usually paper or canvas.
● Style - is something that is distinct to
artists. There is no general or just one
style across different artists, unlike with
techniques that can be applied by
artists regardless of their own personal
style.
● Drawing - is usually the first step in
producing two-dimensional artworks. It
is done by using dry media such as
charcoal and graphite, as well as ink.
2. Mixed Media - Refers to works of art that
combine various mediums.
3. Collage - it is made by creating pictures
composed of various cut-outs from print
media (magazines, newspapers, photographs).
• Multimedia Art - it is a kind of art that
combines texts, graphics, video, and sound
into a single masterpiece or artwork.
• Three-dimensional media or 3D
- are artworks that are no longer "flat",
lThree-dimensional artworks already have
depth. Solid shapes, volume, and the
interesting use of space are some of the
elements that challenge three-dimensional
artists in search of their own style.
An example of 3D is Sculpture.
6. Dabbing - it is a painting technique where
one uses a corner of a sponge or even a piece
of towel to dab on accents of colour.
 KINDS OF DRAWING
KINDS OF SCULPTURE 1. Sketching - it is done at the "spur of the
1. Relief - Relief is a kind of wall-mounted moment" and it is considered to be the most
sculpture where the elements are raised from fundamental type of drawing.
a flat surface. Relief sculptures can be: 2. Life Drawing - A kind of drawing that is
a. Bas or Low-relief
based directly upon the observation of a
b. Medium-relief
par-ficular subject (e.g. still life and figure
c. High-relief
drawing)
2. Free-standing - are not attached to any
3. Perspective Drawing - A drawing in
background and have a front and back.
which the artist creates 3D objects on a 2D
These sculptures can be looked at all sides.
plane.
3. Constructed Sculpture - these sculp- Commonly used in urban planning, interior or
tures are made by constructing together industrial design, and architecture. It is also
different pieces of material or medium such sometimes used by optical illusionists.
as wood and metal in order to create one,
whole, constructed piece.
DRAWING TECHNIQUES
4. Kinetic Sculpture - a kind of sculpture
1. Shading - it is a technique that uses light
where its most basic element is movement.
and shadow, or the varying degrees of values,
5. Installation Art - it is a contemporary
giving the work characteristics of depth and
3D art form that involves arrangement of
texture.
objects in an exhibition space.
a. Hatching - it is a type of shading that is
accomplished by drawing thin lines that run in
TECHNIQUES the same direction.
- it is when artists use and manipulate b. Cross-hatching - it is a kind of hatching
materials to achieve desired formal effect,
that is accomplished by criss-crossing lines.
and communicate the desired concept, or
c. Blending - it is a type of shading that is
meaning, according to his or her own
accomplished by subtly changing the value
personal style.
little by little.
d. Stippling - it is a type of shading that uses
PAINTING tiny dashes to create tonal values.
- it is the application of colour to a surface,
e. Pointillism - it is a type of shading that
usually on a canvas, through the use of the
utilizes tiny dots, instead of dashes, to create
different kinds of brushes, palette knives, and
values.
sometimes even our own hands and fingers.
f. Scribbling - it is achieved by moving the
pencil/pen in small, random motions.
PAINTING TECHNIQUES
1. Dry brush - it is a painting technique
that is achieved by applying paint that is
undiluted by water using a dry brush. It
creates a strong and intense colour blending.
2. Washing - it is achieved by applying
watered-down paint to apply translucent
washes on the surface.
3. Pointillism - is a kind of painting
technique as well and is done by applying
layers of various tiny paint dots to create
depth in an image, as well as texture.
4. Impasto - it is done by simply using a
palette knife to scrape up a bit of paint and
apply it to a chosen work surface.
5. Flicking - it is a technique that uses a
fairly wet brush. One can flick paint onto a
work surface for an uneven splatter effect.

INTRODUCTION TO
PHILOSOPHY
PROBLEM OF SUFFERING
2 TYPES OF EVIL
1. Physical evil - consequences of
natural events or phenomenon
2. Moral evil - evil due to man’s abuse
of freedom
The Problem of evil has been the center of
debate since the time of the Ancient Greeks
and even up to our contemporary era. For
this existence of evil is not compatible with
the existence of an all-powerful God.
Attributes of God:
- Omnipotent (all powerful),
Why can't He control the evil in the world? -
Benevolent (Good or Loving)
Why is He indifferent to man?
- Omniscient (All-knowing)
Why can’t he prevent evil from happening?
Does God really EXIST?
Atheism
- From Greek ‘A’ – ‘not’ and Theos –
‘God’
- The doctrine of disbelief in a supreme
being
Existentialism
- its first move is to make every man aware
of what he is and to make the full
responsibility of his existence rest on him
because of man’s anxiety, existential
movement had desired for stable human
condition.” In other words, the existential
attitude is a straight forward reaction
against the swift dehumanization of man,
brought by the phenomenon of angst.
1. The problem of suffering does not
constitute a disproof of God’s existence.
- In the light of Thomas Aquinas, all created
beings are changing. The world is created so
it is subject to change. Accordingly, whatever
in motion entails imperfection. Our finite
cosmos is in the state of motion so it follows
that it is in the state of imperfection.
2. God is like a surgeon who operates on us
and knows best on how to heal us. –C.S. Lewis
-The entire surgical procedure is painful but
we will be alright in the end. If God stopped in
the middle of the surgery then all of that pains
that we bear are worthless.
3. The consequences of eliminating the
phenomenon of suffering in the world.
-It is a great misleading notion that if
suffering in the world is eliminated, the only
fruit will be good. But we must bear in our
minds that suffering is not completely bad at
all. Besides, if God will remove all the pains
and sufferings in this world, it is more chaotic.
4. If the world is freed from all physical evil
and if all human suffering will be eliminated,
and if God created a perfect world, man will be
entering into the realm of the self-a perfect
total universe.
-Our attitude in questioning the existence of
God whenever we experience human anxiety
and suffering is just an attitude to bend reality
into our own.
•Lack of the use of reason, such is the case
with children or insane persons, acts of people
who are asleep or under influence of
hypnosis, alcohol, or other drugs.
• Also, there is indirect responsibility if the
cause of the loss of control is voluntary. Quick,
nearly automatic reactions, called primo-primi
acts. It is a reflex and nearly instantaneous
reaction, such as withdrawing one’s hand after
suffering an electric shock, in which the will
does not have time to intervene.
•Acts performed under violence or threat of
violence are acts of man. This includes
physical or—in some cases—moral violence.
EPICUREANISM
•Pleasure is our starting point when whenever
we choose or avoid anything and it is this, we
make our aim, the factor considered in making
choices therefore lies in the principle of what is
the most pleasurable.
PHILOSOPHY OF THE GOLDEN MEAN
• In Eastern Philosophy (Taoism), a person
must practice moral values and virtues in his
daily life. This person is more
concerned with living a balanced life. Taoist
also adapt a free flowing, relative and unitary THE SELF IN THE REALM OF
view of everything. The Tao philosophy is one PRETENTIONS
in which self-moves towards seeking balance
and harmony within oneself, between self
and nature, and between self and society DECEPTION
(Hwang, 2009). - pretends to be another person to be
accepted by others.
PHILOSOPHY OF THE SUMMUM - He pretends to be someone other than
himself which he is not. If the other
BONUM person accepts his projected false
• Augustine of Hippo’s Concept of the
image, communicative manifestation of
Summum Bonum means that the moment
the self is impossible to unfold.
man approaches the Ultimate Good, he also
- ”Just be true to yourself. Let others
reaches happiness in life, in this context,
recognize your own uniqueness. Don’t
meaning of life. Some may find happiness in
pretend.”
the material world and things. But Augustine
would claim that this is just delusive
happiness. MANIPULATION
- “I create your world and you must only
think, feel and act within its
EXISTENTIAL FREEDOM boundaries. Your world view and your
• Man is an unfinished project” who has the
understanding about the world are
inescapable ability to choose who he or she
according to the world that I have
wants to be.” - Jean-Paul Sartre
created for you. You act according to
the image that I set. As you do it, I find
MORAL RESPONSIBILITY satisfaction and security.”
• Man as a moral and free being acts
according to his intellect and will. Our SELF-CENTEREDNESS
precious freedom must not be understood - “The ‘I’ sees only itself as the basis of
according to what we want. truth and of social existence. The I is
• It should not be wasted but be considered the center of the relationship.
as a wonderful gift towards moral
responsibility. MARTIN BUBER’S PHILOSOPHY
“I-Thou” vs. “I-IT”
SYNDERESIS I-Thou
- The innate principle in the moral
- People who treat other people
consciousness of every person which directs
genuinely as persons do not and will
the agent to do good and avoid evil.
not reduce the other into either I or it.
The I treats the person as Thou—as
SOURCES OF MORALITY another person who is different from
Moral Object the I
- The object chosen is good toward
which the will deliberately directs I-It
itself. It is the matter of a human act. - The treatment of the other is reduced
It is the performed action. into the status of an object—an It.
Intention
- resides in the acting subject. It is an
element essential to the moral
evaluation of an action. The end is the
first goal of the intention and
indicates the purpose of the action.
Moral Principle
- The end cannot justify the means.
- Hindi kayang itama ng magandang
intensiyon ang maling gawa.
THE REVOLT OF
EXISTENTIAL ATHEISM
“Atheistic existentialism, which I represent . . .
states that if God does not exist, there is at
least one being in whom existence precedes
essence, a being who exists before he can be
defined by any concept, and this being is
man, or, as Heidegger says, human reality.”
- Jean-Paul Sartre
“EXISTENCE PRECEDES ESSENCE”
• Sartre’s philosophical camp of
existentialism becomes an invitation to
re-examine human life. Sartrean atheism is a
philosophy born of despair . . . the feeling of
anxiety and loss that is marked by this
philosophy is rooted in fear.
Ignace Lepp. Atheism in Our Time. (USA:
The Macmillan Company, 1963.) p. 118.
• In order to overcome anxiety and despair,
we must become a single individual by
constantly choosing to be ourselves and not
somebody else.” Being the sovereign maker
of himself, man has the power to become
someone because there is no God who gives
purpose to the universe.
RESPONSE TO THE PHENOMENON OF
SUFFERING AND THE DISTORTION
OF EXISTENTIAL ATHEISM
- One way to characterize suffering is
to see it as an evil. Thomas Aquinas
would say that evil is a privation of
good. In other evil is an absence.
Whatever lacks goodness is evil. We
suffer because there is lack.
- Circumstance is a secondary element
of a moral act. They contribute to
increasing or diminishing the moral
goodness or evil of human acts (for
example, the amount of a theft). They
can also diminish or increase the
agent's responsibility (such as acting
out of a fear of death).
APPROACHES TO MORALITY
“Deontological Ethics”
Δεον (Deon) = obligation/duty
λογος (logos) = speaking/study
MAN AS MORAL BEING
Our goal is to realize that all actions have
consequences. Man is not just a rational being
who acts according to reason. Man also acts
according to his will and intellect. Therefore,
every human person is a moral being.
• Morality
- What makes a person good or bad?
- What makes an action right or wrong?
- Why should we try to become good?
WHAT IT MEANS TO BE HUMAN?
- Man is a moral being or agent because he
has intellect and will. The intellect is the
capacity to know what is true. The will is
capacity to decide and pursue what is good.
Every human person is a moral being because
he/she has the capacity to be master of
his/her actions, to know and decide for every
action.
Intellect + Will = Human
HUMAN ACTIONS
• An act where the person is the master
because he/she acts with full knowledge and
of his own will. These are acts that proceed
from a deliberate will. The will is properly
enlightened by the knowledge supplied by the
intellect.
ACTS OF MAN
• Those acts performed without being
mastered. In principle, acts of man are not the
concern of morals, since they are not
voluntary. The natural acts of vegetative and
sense faculties: digestion, beating of
the heart, growth, corporal reactions, and
visual or auditory perceptions.
• We share the same situations wherein we can
create shared meanings. These meanings
become bases for our collective actions and
beliefs. Nonetheless, these shared meanings
do not eliminate our own individuality.
“The self exists in so far as it treats itself as
being for another, with reference to another.”
-Gabriel Marcel
“Man cannot become himself in isolation.”
-Karl Jaspers
KANT’S MORAL PHILOSOPHY
• Act only in such a way that you would want NON-RELATIONAL SELF OR SELF IN
your actions to become a universal law, ISOLATION
applicable to everyone in a similar situation.
• Act in such a way that you always treat
humanity (whether oneself or other), as both
the means of an action, but also as an end.
SOURCES OF MORALITY
● Divine Command Theory:
● Natural Rights Theory
● Contractarian Ethics
● Pluralistic Deontology
● Consequentialism
● Utilitarianism
● Hedonism
● Egoism
● Asceticism
● Altruism
● Virtue Ethics
ARISTOTELIAN ETHICS
- Eudaimonia means happiness. It depends
on the quality of choice a person makes in
doing his choice, a deliberate action towards
one’s purpose.
DIMENSIONS OF THE
● When one consciously leaves the
communicative situation, consequently
he can’t unveil and discover himself.
● It is a rupture of possibility of life of
communion.
Man can only realize himself, his full potential
in the face of the other; without the encounter
with an ‘other’, the ‘I' will not be aware of its
uniqueness. To say I am already to
acknowledge the other. It is in open
communication that a human being’s true self
can manifest himself to other human beings
and experience self-realization.
TOWARDS SELF-CONSCIOUSNESS
Self-consciousness can never be achieved in
isolation;it is a product of our interaction with
the world. - Georg Wilhelm Friedrich Hegel
BUBBER’S DIALOGUE
“A dialogue doesn’t always have to be an
exchange of words ... Encounter

INTERSUBJECTIVITY AND THE

HUMAN PERSON
with others as embodied subject is not just as
some physical presence, but a personal
experience of presence as communion.”

EDMUND HUSSERL’S CONEPT OF

EMPATHY
“...we do have access to the consciousness of
the other through our own consciousness.”

EMMANUEL LEVINAS’
RESPONSIBILITY
“The face of the other compels us to respond
to its needs.”

The face is not a simple perception of the

face but seeing it exposed and vulnerable
and recognizing what it needs: We are called
to be responsible in the face of the other
because we substitute ourselves for the other.
 MARKETING MIX (7P’S)
ENTREPRENEURSHIP Product
Price
Identify the Target Market Price
• Is the market real? Promotions
• Is the market big enough? People
• Will we be profitable? Process
Physical
CREATING A COMPELLING MESSAGE
POSITIONING - communicating the Consumer Decision Process
overall positive impression of a brand • Problem Recognition
relative to competition. • Information Search
• Evaluation of Alternatives
RELEVANT,UNIQUE,& • Purchase Decision
WELLCOMMUNICATED • Post-Purchase Decision

9 WAYS TO CREATE VALUE INNOVATION

- Better - Easier - is about having a new way of
- Closer - Larger doing things with commercial
- Rarer - Prestige success.
- Faster - Different
- Cheaper Solve > In a Novel Way > Pain Points

COMMUNICATION 4 COMPETENCIES OF AN INNOVATOR

- a compelling message not 1. Critical Thinking - offering new
communicated deprives the ways to solve defined problems
entrepreneur of his brand's 2. Collaboration - developing the
awareness. right relationships to attain
objectives
CUSTOMER BONDING STRATEGY 3. Communication - making people
Awareness, Trial, Repeat understand and accept your
message
WAYS TO COMMUNICATE 4. Creativity - forming a mental
POSITIONING image or new idea about the
• Price future
• Product Attribute
• Product Category
• Product Source SCENIC GUIDE
• User Segment - Special
• Usage Behavior - Crisis
• Experience/Feeling - Else
• Against Competition - Not
- If
VALUE PROPOSITION - Constraint
Superior
Parity
Inferior
Different
Environment HOW TO KILL INNOVATION
1. Protecting Financials
How to Improve Creativity and be an 2. Culture of Complacency, Status Quo,
Innovator: & Conservative Mindset
A. Knowledge Update 3. Limited Paradigm
1. Read 4. Arrogance & Pride
2. Watch 5. Focus on Other Strengths
3. Online Browsing 6. Industry Conditions
7. Lack of an Idea Channel
B. Process 8. Operational Issues
4. Conversations 9. Lack of the Right Marketing Talent
5. Think Like a Child 10. Focus & Lack of Vision
6. Probe
7. Rest and Recreation

C. Reflections
8. Openness
9. Mind Mapping
10. ME Time

D. Experiences
11. Inspiration
12. Travel

8 TIPS TO CREATE AN INNOVATION

MINDSET
1. Hiring
2. Training
3. Idea Channel & Champion
4. Behavioral Requirement
5. Focus
6. Bottom Line
7. Reward & Recognition
8. Time

5 TIPS ON INNOVATING THE

BUSINESS MODEL
1. From Facts to Assumptions
2. From Pain Points to Pain Killers
3. From Competitor's Strength to
Competitor's Weakness
4. From Non-Users to Users
5. From Niche to Mainstream