Stylistics and Discourse Analysis ‫ ׀‬Page 1 of 17

STYLISTICS AND
DISCOURSE ANALYSIS
COGNATE ELE 1

MARTIN DAVE R. ENOPEQUIS, LPT

OSMEÑA COLLEGES College of Teacher Education

Aspire…Achieve…Advance!
 Stylistics and Discourse Analysis ‫ ׀‬Page 2 of 17

LITERARY PROSE AND DRAMA STYLISTICS

MODULE 2

OVERVIEW

A literary genre is a category of literary composition. Genres may be determined by literary technique, tone, content,
or even (as in the case of fiction) length. They generally move from more abstract, encompassing classes, which are
then further sub-divided into more concrete distinctions. The distinctions between genres and categories are flexible
and loosely defined, and even the rules designating genres change over time and are fairly unstable

Much of current classical literary genres starting with the ideologies of Aristotle as outlined in his famous treatises,
Rhetoric and Poetics. In the treatise Rhetoric, Aristotle arranges rhetorical literary genres into three categories: the
deliberative, forensic, and epideictic. He further categorizes genres of poetry in his treatise Poetics, where he also
creates three different genre forms: the epic, tragedy, and comedy. Aristotle's ideas regarding literary genre were
fine-tuned through the work of other scholars.

Genres can all be in the form of prose or poetry. Additionally, a genre such as satire, allegory or pastoral might
appear in any of the above, not only as a subgenre (see below), but as a mixture of genres. Finally, they are defined
by the general cultural movement of the historical period in which they were composed.

LEARNING OUTCOMES

 Review prose genres, literary views and theories, and devices/characteristics in the light of stylistic study.
 Discuss survey of prose authors, their unique styles and purposes of writing such texts;
 Determine the characteristics of Prose and Drama
 Define Prose and dramatic meaning, and stylistics analysis of prose

LEARNING EXPERIENCES & SELF-ASSESSMENT ACTIVITIES (SAA)

ACTIVITY:

MY THOUGHTS. State/write your prior knowledge and understanding about PROSE and DRAMA.
(See ACTIVITY ANSWER SHEET on the succeeding pages.)

ANALYSIS:

Given the picture with a saying on it, analyze and explain them based on your understanding and perception.
(See ANALYSIS ANSWER SHEET on the succeeding pages.)

OSMEÑA COLLEGES College of Teacher Education

Aspire…Achieve…Advance!
 Stylistics and Discourse Analysis ‫ ׀‬Page 3 of 17

ABSTRACT

PROSE refers to written or spoken language that is not in poetic

form, whether in rhythm, rhyme, or structure. Drama is a performing art in
which actors use dialogue and actions to tell a story or convey a message to
a viewing audience. In most cases, dramatic works are written down so that
the performers can memorize and rehearse the lines before performing them
live.

The written form of a drama takes the structure of a script. While prose is
written in paragraph form, dramatic scripts are written as lines of dialogue,
with the speaker's name clearly designated before each line. Instructions for
the director about the set or for the performers about their actions are
written in notes, usually set in italics, before or between the lines of
dialogue. These notes are usually quite sparse, because the director will
determine a significant amount of the choreography and will teach it to the
actors during rehearsals.

Thus, when one reads the script of a drama instead of seeing it performed, one misses out on a great deal of description
that would explain the characters' movements and expressions. Prose allows the author, depending on the chosen point of
view, to describe inner thoughts and feelings of characters. Drama requires that characters' thoughts either be spoken
aloud or portrayed via body language and movement.

Another factor to consider when differentiating between drama and prose is that dramatic scripts can be written in either
prose or verse or in a combination. William Shakespeare wrote much of his drama in iambic pentameter. However, he
often alternated between prose and poetry in his plays, with the lines of lower-class characters written in prose and those
of upper-class characters written in poetry. A scene that contained great import might use more obvious rhyme and meter,
while a less significant scene would be written in more prosaic language.

DRAMA refers to plays, which are written to be acted on a stage by

people playing the parts of characters. Prose is usually meant to be read privately
by an individual (though speeches are almost always written in prose) and is the
kind of writing we associate with both fiction and nonfiction books. Think of
drama as plays and prose as novels, short stories or essays.

Drama is more traditionally connected to cultures with lower literacy, where people
could watch and listen to stories they might not be able to read. Prose is connected
to the rise of literacy, as well as the ever-lowering costs of printing. Both being
able to read and afford printed matter meant people could go off privately with a
book, journal or pamphlet and read and ponder the work in solitude, though prose
works were often read aloud as well, both in the home and, in the case of
pamphlets, on the street.

Though the division is not sharp, drama is associated with community: the idea is that people go en masse to see a
performance. Prose is often tied to the rise of the private individual, reading alone.

OSMEÑA COLLEGES College of Teacher Education

Aspire…Achieve…Advance!
 Stylistics and Discourse Analysis ‫ ׀‬Page 4 of 17

ALL TIME BEST PROSE AUTHORS

Some of world’s most influential people in history have been writers. These authors have captured some of history’s
greatest moments, creating records that have shaped social and political history and reflecting on an ever-changing world
and the foibles of the human condition. A list all time best prose writers is always going to be subjective list of course, but
here is our current list of the world’s best prose writers:

WILLIAM SHAKESPEARE (1564 -1616)

Best known for: King Lear, Romeo & Juliet, Hamlet

An English poet, playwright and actor, widely regarded as the greatest writer in
the English language. Shakespeare wrote 39 plays, 154 sonnets, two long
narrative poems and a few other verses. His plays have been translated into
every major living language and are performed more often than those of any
other playwright. His early plays were primarily comedies and histories, which
are regarded as some of the best work ever produced of this type. He then wrote
mainly tragedies including Hamlet, Othello, King Lear and Macbeth until about
1608, when he wrote tragicomedies.

FYODOR DOSTOEVSKY (1821-1881)

Best known for: Crime and Punishment, Demons, The Idiot

A Russian novelist, short story writer, essayist, journalist and philosopher.

Dostoyevsky’s works explore human psychology in the troubled times
politically, socially and spiritually in 19th-century Russia. His work
involves philosophical and religious themes. Dostoevsky wrote 11 novels,
three novellas, 17 short stories and numerous other works that have
influenced future authors both in and outside of Russia. Many literary
critics rate him as one of the greatest psychologists in all world literature
genres. His 1864 novella Notes from Underground is considered to be one
of the first works of existentialist literature.

LEO TOLSTOY (1828-1910)

Best known for: War and Peace, Anna Karenina, A Confession

Count Lev Nikolayevich Tolstoy was a Russian writer famous for his realist
fiction. He first achieved literary acclaim in his twenties with his semi-
autobiographical work. Tolstoy also wrote short stories, several novellas as well
as plays and numerous philosophical essays. Tolstoy’s ideas on non-violent
resistance, which he wrote about in The Kingdom of God Is Within You, were
to have a profound impact on Mohandas Gandhi, Martin Luther King, Jr., and
James Bevel.

OSMEÑA COLLEGES College of Teacher Education

Aspire…Achieve…Advance!
 Stylistics and Discourse Analysis ‫ ׀‬Page 5 of 17

VICTOR HUGO (1802-1885)

Best known for: Les Misérables, The Hunchback of Notre-Dame, Odes et
Ballades

One of the greatest French writes, Hugo was a poet, novelist, and
dramatist of the Romantic movement. Many of his works have inspired
music, both during his lifetime and after his death, including the musicals
Notre-Dame de Paris and Les Misérables. He also campaigned for social
causes such as the abolition of capital punishment. Later in life Hugo
became a passionate supporter of republicanism, after years of being a
committed royalist, and his work touches upon most of the significant
political and social issues and the artistic trends of his time.

CHARLES DICKENS (1812-1870)

Best known for: Great Expectations, A Christmas Carol, Bleak House

An English writer and social critic, Dickens was famous in his own lifetime,
giving lectures and performing readings. By the 20th century critics and scholars
had recognised him as a literary genius for his realism, comedy, prose style,
unique characterisations and social criticism, while others complained his work
was sentimental and lacked psychological depth. Despite his lack of formal
education, Dickens edited a weekly journal for 20 years, wrote 15 novels, five
novellas, hundreds of short stories and non-fiction articles. His novels were
mostly published in monthly or weekly instalments which kept readers in
suspense and allowed him to modified his plot and
character development based on feedback.

J. R. R. TOLKIEN OBE (1892-1973)

Best known for: The Lord of the Rings, The Hobbit, The Silmarillion

John Ronald Reuel Tolkien was an English writer, poet, philologist, and professor at
Oxford University. Tolkien’s extensive notes and unpublished manuscripts, including The
Silmarillion that were published after his death, together with The Hobbit and The Lord of
the Rings, form a connected body of tales, poems, fictional histories, invented languages,
and literary essays about a fantasy world called Arda and Middle-earth within it.

GEORGE ORWELL (1903-1950)

Best known for: 1984, Animal Farm

Born Eric Arthur Blair, George Orwell was an English novelist, essayist, journalist and
critic. His work is marked by lucid prose, awareness of social injustice, opposition to
totalitarianism, and outspoken support of democratic socialism. His non-fiction works
include The Road to Wigan Pier about his life in the north of England, and Homage to
Catalonia about his experiences in the Spanish Civil War. It is thanks to Orwell that we
have the terms Big Brother, Thought Police, Room 101, memory hole, newspeak,
doublethink, proles, unperson, and thoughtcrime

OSMEÑA COLLEGES College of Teacher Education

Aspire…Achieve…Advance!
 Stylistics and Discourse Analysis ‫ ׀‬Page 6 of 17

MARK TWAIN (1835-1910)

Best known for: Adventures of Huckleberry Finn, The Adventures of Tom Sawyer

Born Samuel Langhorne Clemens, Mark Twain was an American writer, humorist,
entrepreneur, publisher, and lecturer. He was to become known as the father of
American literature. His short story The Celebrated Jumping Frog of Calaveras
County was published in 1865 and brought international attention.
Twain earned a great deal of money from his writings and lectures, but he invested in
ventures that lost most of it—such as the Paige Compositor, a mechanical typesetter
that failed because of its complexity and imprecision. He filed for bankruptcy in the
wake of these financial setbacks, but in time overcame his financial troubles with the
help of Henry Huttleston Rogers. He eventually paid all his creditors in full, even
though his bankruptcy relieved him of having to do so. Twain was born shortly after
an appearance of Halley's Comet, and he predicted that he would "go out with it" as
well; he died the day after the comet made its closest approach to the Earth.

EDGAR ALLAN POE

Best known for: The Raven, The Tell-Tale Heart, The Cask of Amontillado

American writer, editor, and literary critic, Poe is best known for his poetry and
short stories, particularly his tales of mystery and the macabre. Poe is generally
considered the inventor of the detective fiction genre and helped the emerging
science fiction genre.

Poe switched his focus to prose and spent the next several years working for literary
journals and periodicals, becoming known for his own style of literary criticism. His
work forced him to move among several cities, including Baltimore, Philadelphia,
and New York City. He married his 13-year-old cousin, Virginia Clemm, in 1836,
but Virginia died of tuberculosis in 1847. In January 1845, Poe published his poem
"The Raven" to instant success. He planned for years to produce his own journal
The Penn (later renamed The Stylus), but before it could be produced, he died in
Baltimore on October 7, 1849, at age 40. The cause of his death is unknown and has
been variously attributed to disease, alcoholism, substance abuse, suicide, and other
causes.
Poe and his works influenced literature around the world, as well as specialized fields such as cosmology and
cryptography. He and his work appear throughout popular culture in literature, music, films, and television. A number of
his homes are dedicated museums today. The Mystery Writers of America present an annual award known as the Edgar
Award for distinguished work in the mystery genre.

JANE AUSTEN (1775-1817)

Best known for: Pride & Prejudice, Sense & Sensibility, Emma

An English novelist known best for her six major novels, which interpreted, critiqued
and commented on the English landed gentry at the end of the 18th century. Austen’s
plots often explore the dependence of women on marriage for economic security and
the pursuit of favourable social standing. Her works were published anonymously and
gave a critique of the novels written in the second half of the 18th century, to become
part of the transition to 19th-century literary realism. Her use of biting irony, along
with her realism and social commentary, have earned her acclaim among critics and
scholars.

OSMEÑA COLLEGES College of Teacher Education

Aspire…Achieve…Advance!
 Stylistics and Discourse Analysis ‫ ׀‬Page 7 of 17

LITERARY THEORY
“Literary theory” is the body of ideas and methods we use in the practical reading of literature. By literary theory we refer
not to the meaning of a work of literature but to the theories that reveal what literature can mean. Literary theory is a
description of the underlying principles, one might say the tools, by which we attempt to understand literature. All literary
interpretation draws on a basis in theory but can serve as a justification for very different kinds of critical activity. It is
literary theory that formulates the relationship between author and work; literary theory develops the significance of race,
class, and gender for literary study, both from the standpoint of the biography of the author and an analysis of their
thematic presence within texts.

Literary theory offers varying approaches for understanding the role of historical context in interpretation as well as the
relevance of linguistic and unconscious elements of the text. Literary theorists trace the history and evolution of the
different genres—narrative, dramatic, lyric—in addition to the more recent emergence of the novel and the short story,
while also investigating the importance of formal elements of literary structure. Lastly, literary theory in recent years has
sought to explain the degree to which the text is more the product of a culture than an individual author and in turn how
those texts help to create the culture.

1. TRADITIONAL LITERARY CRITICISM

Academic literary criticism prior to the rise of “New Criticism” in the United States tended to practice traditional literary
history: tracking influence, establishing the canon of major writers in the literary periods, and clarifying historical context
and allusions within the text.

2. FORMALISM AND NEW CRITICISM

“Formalism” is, as the name implies, an interpretive approach that emphasizes literary form and the study of literary
devices within the text. The work of the Formalists had a general impact on later developments in “Structuralism” and
other theories of narrative. “Formalism,” like “Structuralism,” sought to place the study of literature on a scientific basis
through objective analysis of the motifs, devices, techniques, and other “functions” that comprise the literary work. The
Formalists placed great importance on the literariness of texts, those qualities that distinguished the literary from other
kinds of writing.

The “New Criticism,” so designated as to indicate a break with traditional methods, was a product of the American
university in the 1930s and 40s. “New Criticism” stressed close reading of the text itself, much like the French
pedagogical precept “explication du texte.” As a strategy of reading, “New Criticism” viewed the work of literature as an
aesthetic object independent of historical context and as a unified whole that reflected the unified sensibility of the artist.
T.S. Eliot, though not explicitly associated with the movement, expressed a similar critical-aesthetic philosophy in his
essays on John Donne and the metaphysical poets, writers who Eliot believed experienced a complete integration of
thought and feeling.

3. MARXISM AND CRITICAL THEORY

Marxist literary theories tend to focus on the representation of class conflict as well as the reinforcement of class
distinctions through the medium of literature. Marxist theorists use traditional techniques of literary analysis but
subordinate aesthetic concerns to the final social and political meanings of literature. Marxist theorist often champion
authors sympathetic to the working classes and authors whose work challenges economic equalities found in capitalist
societies.

4. STRUCTURALISM AND POSTSTRUCTURALISM

Like the “New Criticism,” “Structuralism” sought to bring to literary studies a set of objective criteria for analysis and a
new intellectual rigor. “Structuralism” can be viewed as an extension of “Formalism” in that that both “Structuralism” and
“Formalism” devoted their attention to matters of literary form (i.e. structure) rather than social or historical content; and
that both bodies of thought were intended to put the study of literature on a scientific, objective basis.

OSMEÑA COLLEGES College of Teacher Education

Aspire…Achieve…Advance!
 Stylistics and Discourse Analysis ‫ ׀‬Page 8 of 17

“Poststructuralism” is less unified as a theoretical movement than its precursor; indeed, the work of its advocates known
by the term “Deconstruction” calls into question the possibility of the coherence of discourse, or the capacity for language
to communicate. “Deconstruction,” Semiotic theory (a study of signs with close connections to “Structuralism,” “Reader
response theory” in America (“Reception theory” in Europe), and “Gender theory” informed by the psychoanalysts
Jacques Lacan and Julia Kristeva are areas of inquiry that can be located under the banner of “Poststructuralism.”

5. NEW HISTORICISM AND CULTURAL MATERIALISM

“New Historicism,” a term coined by Stephen Greenblatt, designates a body of theoretical and interpretive practices that
began largely with the study of early modern literature in the United States. “New Historicism” in America had been
somewhat anticipated by the theorists of “Cultural Materialism” in Britain, which, in the words of their leading advocate,
Raymond Williams describes “the analysis of all forms of signification, including quite centrally writing, within the actual
means and conditions of their production.” Both “New Historicism” and “Cultural Materialism” seek to understand
literary texts historically and reject the formalizing influence of previous literary studies, including “New Criticism,”
“Structuralism” and “Deconstruction,” all of which in varying ways privilege the literary text and place only secondary
emphasis on historical and social context.

6. ETHNIC STUDIES AND POSTCOLONIAL CRITICISM

“Ethnic Studies,” sometimes referred to as “Minority Studies,” has an obvious historical relationship with “Postcolonial
Criticism” in that Euro-American imperialism and colonization in the last four centuries, whether external (empire) or
internal (slavery) has been directed at recognizable ethnic groups: African and African-American, Chinese, the subaltern
peoples of India, Irish, Latino, Native American, and Philipino, among others. “Ethnic Studies” concerns itself generally
with art and literature produced by identifiable ethnic groups either marginalized or in a subordinate position to a
dominant culture. “Postcolonial Criticism” investigates the relationships between colonizers and colonized in the period
post-colonization. Though the two fields are increasingly finding points of intersection—the work of bell hooks, for
example—and are both activist intellectual enterprises, “Ethnic Studies and “Postcolonial Criticism” have significant
differences in their history and ideas.

7. GENDER STUDIES AND QUEER THEORY

Gender theory came to the forefront of the theoretical scene first as feminist theory but has subsequently come to include
the investigation of all gender and sexual categories and identities. Feminist gender theory followed slightly behind the
reemergence of political feminism in the United States and Western Europe during the 1960s. Political feminism of the
so-called “second wave” had as its emphasis practical concerns with the rights of women in contemporary societies,
women’s identity, and the representation of women in media and culture.

8. CULTURAL STUDIES
Much of the intellectual legacy of “New Historicism” and “Cultural Materialism” can now be felt in the “Cultural
Studies” movement in departments of literature, a movement not identifiable in terms of a single theoretical school, but
one that embraces a wide array of perspectives—media studies, social criticism, anthropology, and literary theory—as
they apply to the general study of culture. “Cultural Studies” arose quite self-consciously in the 80s to provide a means of
analysis of the rapidly expanding global culture industry that includes entertainment, advertising, publishing, television,
film, computers and the Internet. “Cultural Studies” brings scrutiny not only to these varied categories of culture, and not
only to the decreasing margins of difference between these realms of expression, but just as importantly to the politics and
ideology that make contemporary culture possible.

“Cultural Studies” became notorious in the 90s for its emphasis on pop music icons and music video in place of canonical
literature, and extends the ideas of the Frankfurt School on the transition from a truly popular culture to mass culture in
late capitalist societies, emphasizing the significance of the patterns of consumption of cultural artifacts. “Cultural
Studies” has been interdisciplinary, even antidisciplinary, from its inception; indeed, “Cultural Studies” can be understood
as a set of sometimes conflicting methods and approaches applied to a questioning of current cultural categories.

OSMEÑA COLLEGES College of Teacher Education

Aspire…Achieve…Advance!
 Stylistics and Discourse Analysis ‫ ׀‬Page 9 of 17

FOUR COMMON TYPES OF PROSE

Prose can vary depending according to style and purpose. There are four distinct types of prose that writers use:

 NONFICTIONAL PROSE. Prose that is a true story or factual account of events or information is nonfiction.
Textbooks, newspaper articles, and instruction manuals all fall into this category. Anne Frank’s Diary of a Young
Girl, composed entirely of journal excerpts, recounts the young teen’s experience of hiding with her family in
Nazi-occupied Netherlands during World War II.
 FICTIONAL PROSE. A literary work of fiction. This is the most popular type of literary prose, used in novels
and short stories, and generally has characters, plot, setting, and dialogue.
 HEROIC PROSE. A literary work that is either written down or preserved through oral tradition, but is meant to
be recited. Heroic prose is usually a legend or fable. The twelfth-century Irish tales revolving around the mythical
warrior Finn McCool are an example of heroic prose.
 PROSE POETRY. Poetry written in prose form. This literary hybrid can sometimes have rhythmic and rhyming
patterns. French poet Charles Baudelaire wrote prose poems, including “Be Drunk” which starts off: “And if
sometimes, on the steps of a palace or the green grass of a ditch, in the mournful solitude of your room.

DRAMA CHARACTERISTICS
CHARACTERS: Characters play an important role in the drams whether it is a major or minor one. A brief description
of each character should be included in the drama. For example, Troy Maxson is the main character of the August
Wilson’s ‘Fences’. Other characters like Troy’s wife (Rose) and friend (Jim Bono) are related to the main character.

PLOT: Plot comprises exposition, a rising action as well as a falling action, climax and resolution. After the exposition,
the main conflict comes and finally, the resolution that provides a conclusion.
Symbol: The use of gestures, objects or persons is needed to showcase the inner meaning that is beyond the literal. The
objects establish the meaning. However, to define a symbol, a particular object can be used in a brief scene that represents
the symbolic strength.

Let’s have a look for different types of play

TRAGEDY: A play, which is written based on a social, religious or personal issue. In tragedy, a series of actions are
developed with a noticeable magnitude of characters. Most importantly, it is not narrative as it provides actions. In
tragedy, the protagonist carries a tragic flaw and sometimes, the character shows the arrogance or pride and it ends with
an unavoidable downfall.

COMEDY: Comedy showcases the sense of rebirth and hence, this type of drama usually ends with the wedding or
expectation of new generation. Here, characters are represented in a comic and absurd ways.

MELODRAMA: In melodrama, the problem is occurred by the external forces and sometimes, the protagonist becomes
the victim of the situation. Here, good and bad characters are distinctly presented.

TRAGICOMEDY: This type of drama portrays the life or situation in a realistic way. Here, the characters and plot are
nonjudgmental and it ends unpredictably. In short, it is a mix of tragedy and comedy.

DRAMATIC CONVENTION: It relates to the breaking of illusion of reality.

MONOLOGUE: When a character gives a long speech to a silent listener on the stage.

SOLILOQUY: When an alone character reveals the personal thoughts to the audience.

ASIDE: When a character secretly makes a remark to the audience and the other characters cannot listen.

OSMEÑA COLLEGES College of Teacher Education

Aspire…Achieve…Advance!
 Stylistics and Discourse Analysis ‫ ׀‬Page 10 of 17

PROSE ANALYSIS METHODOLOGY

Most poems are short, and so it is possible to analyse a whole text. And when analysing poetry we noticed that we could
get a long way by concentrating on foregrounded features: particularly deviation and parallelism.

On the other hand, for novels and short stories, because they are much longer, stylistic analysis can only be done on
selected extracts which are representative or specially interesting for some reason. And one of the results of this extra
length is that effects in prose are often spread through whole texts, or textual extracts, and so, just looking at foregrounded
features will not necessarily reveal enough of what we need to show. This is why we have developed a prose methodology
checksheet to use for prose analysis, and which we will use when discussing the passage from Bilgewater, which you have
just done some initial work on.

The complete methodology checksheet can be found further down the menu of this topic, and we suggest that you have a
quick look through it after you have read this page and before you do the rest of the 'Bilgewatery' work. First, though, it
will be helpful if we say a little about the purpose and structure of the checksheet.

The checksheet, like the other checksheets we have provided so far, is meant to help you be systematic in your work and
not miss important 'hidden' linguistic features and patterns. But it is essential to notice that not everything you
systematically examine will turn out to be important interpretatively. When we write up stylistic analyses for essay,
articles or books, not surprisingly, the areas which turned out not to be very revealing are omitted from discussion. But
you still need to do the initial systematic work in order to find out what the most relevant aspects of analysis are.

The checksheet you can find on the Methodology Checksheet page has four general sections:

I. LEXIS
II. GRAMMAR
III. FOREGROUNDED FEATURES (INCLUDING FIGURES OF SPEECH)
IV. COHESION AND CONTEXT

OSMEÑA COLLEGES College of Teacher Education

Aspire…Achieve…Advance!
 Stylistics and Discourse Analysis ‫ ׀‬Page 11 of 17

OSMEÑA COLLEGES College of Teacher Education

Aspire…Achieve…Advance!
 Stylistics and Discourse Analysis ‫ ׀‬Page 12 of 17

APPLICATION:

Answer the following questions:

1. After taking the whole lesson, what do you think now is the importance of
learning the LITERARY PROSE and DRAMA STYLISTICS?
2. Why do we need to know or familiarize the characteristics of Drama?

OSMEÑA COLLEGES College of Teacher Education

Aspire…Achieve…Advance!
 Stylistics and Discourse Analysis ‫ ׀‬Page 13 of 17

SELF-ASSESSMENT ACTIVITIES (SAA) SHEET

ACTIVITY ANSWER SHEET
MY THOUGHTS. State/write your prior knowledge and understanding about PROSE and DRAMA.

ANALYSIS ANSWER SHEET

Given the picture with a saying on it, analyze and explain them based on your understanding and perception.

______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
OSMEÑA COLLEGES
______________________________________________________________________________
College of Teacher Education
______________________________________________________________________________
Aspire…Achieve…Advance!
________
 Stylistics and Discourse Analysis ‫ ׀‬Page 14 of 17

APPLICATION ANSWER SHEET

1. After taking the whole lesson, what do you think now is 2. Why do we need to know or familiarize the
the importance of learning the LITERARY PROSE characteristics of Drama?
and DRAMA STYLISTICS? _____________________________________________
_________________________________________________ _____________________________________________
_________________________________________________ _____________________________________________
_________________________________________________ _____________________________________________
_________________________________________________ _____________________________________________
_________________________________________________ _____________________________________________
_________________________________________________ _____________________________________________
_________________________________________________ _____________________________________________
_________________________________________________ _____________________________________________
_________________________________________________ _____________________________________________
_________________________________________________ _____________________________________________
_________________________________________________ _____________________________________________
KEY POINTS
_________________________________________________ _____________________________________________
_________________________________________________ _____________________________________________
 A literary genre is a category of literary
_________________________________________________ composition. _____________________________________________
 Genres may be determined by literary technique, tone, content, or even (as in the case of fiction) length.
_________________________________________________ _____________________________________________
 They generally move from more abstract, encompassing classes, which are then further sub-divided into more
_________________________________________________ _____________________________________________
concrete distinctions.
_________________________________________________ _____________________________________________
 PROSE refers to written or spoken language that is not in poetic form, whether in rhythm, rhyme, or structure.
_________________________________
 Drama is a performing art in which actors use dialogue and _____________________________________________
actions to tell a story or convey a message to a
viewing audience. ___________
 In most cases, dramatic works are written down so that the performers can memorize and rehearse the lines before
performing them

END OF MODULE ASSESSMENT

Now that you have finished the review of the various concepts outlined above, it is now time for an
assessment to see how far you have improved. On every module’s “End of Module Assessment” (this part),
write your answers on separate sheet/s provided. (See separate sheets for the questions.)

LOOKING AHEAD

Congratulations for making it till the end of this module! If you aced the assessments, I am happy for you.
If you have not reached your desired level of competence, just keep going! Remember that an expert was once a
beginner. The next topic will deal on the LITERARY POETRY STYLISTICS. Happy learning!

OSMEÑA COLLEGES College of Teacher Education

Aspire…Achieve…Advance!
 Stylistics and Discourse Analysis ‫ ׀‬Page 15 of 17

SELF-ASSESSMENT ACTIVITIES (SAA) ANSWER KEY

ACTIVITY
A. Your answers will be based on your interpretation and schema.

ANALYSIS
A. Your answers will be based on your interpretation and schema.

APPLICATION
Kindly refer your answers on the module/discussion.

SELF AND MODULE EVALUATION

This part requires you to rate the quality of the module to help you continuously improve the
development of this learning module. This also asks you to rate your learning experience for each of the
modules. Rate the module using the following:
1 - Strongly disagree
2 - Disagree
3 - Agree
4 - Strongly agree
The learning module 1 2 3 4

Please check the appropriate column.

was engaging
allowed for self-checking (SAAs)
developed in gradual, manageable steps
provided independent, self-paced learning
contained relevant information I needed

SELF-EVALUATION
Rate the extent of your learning in this module using the scale below. Check the column corresponding
to your rating in the space provided. Do not hesitate to contact me if you need further assistance.

4 - I’m an expert. I understand and can teach a friend about it.

3 - I’m a Practioner. I understand and can cite examples on the topics given.
2 - I’m an apprentice. I understand if I get help or look at more examples.
1 - I’m a novice. I do not understand the topic.
My Learning: 1 2 3 4
I can now

Please check the appropriate column.

Review prose genres, literary views and theories, and devices/characteristics in the
light of stylistic study.
Discuss survey of prose authors, their unique styles and purposes of writing such
texts;
Determine the characteristics of Prose and Drama, Define Prose and dramatic
meaning, and stylistics analysis of prose

OSMEÑA COLLEGES College of Teacher Education

Aspire…Achieve…Advance!
 Stylistics and Discourse Analysis ‫ ׀‬Page 16 of 17

END OF MODULE ASSESSMENT ANSWER SHEET

(Please do not forget to provide information on this part)
Name: _____________________________________________ Course& Year: _____________
Module Number and Title: ______________________________________________________
Contact number & email (if any):_______________________________
Date accomplished: ________________________

A. IDENTIFICATION. Identify the common types of prose based on the following terms given, whether it applies
under, FICTIONAL, NONFICTONAL, HEROIC and PROSE POETRY. Write your answers on the space provided.

__________________ 1. NOVELS
__________________ 2. ESSAY
__________________ 3. EPIC
__________________ 4. JOURNALS
__________________ 5. TALES
__________________ 6. BIOGRAPHY
__________________ 7. POEMS
__________________ 8. REACTION PAPER
__________________ 9. SHORT STORY
__________________ 10. JOKES

B. REFLECTION. Write your reflection of what you have realized/learned in this whole lesson.

_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________

C. REACTION PAPER.
Choose one of the all-time best prose authors given above, and have a researched or look for their best known
article/composition and make a 300-500 words Reaction Paper. Write it in any paper of your preference.

OSMEÑA COLLEGES College of Teacher Education

Aspire…Achieve…Advance!
 Stylistics and Discourse Analysis ‫ ׀‬Page 17 of 17

OSMEÑA COLLEGES College of Teacher Education

Aspire…Achieve…Advance!