DAILY LESSON Name of the TANQUE HIGH SCHOOL Learning Area English

LOG School
Name of the JAY ANN G. AROJADO Quarter 3rd Quarter
Teacher ANNE B. BASILONIA
Date February 20, 2024 Grade Level 10
I. OBJECTIVE Critique a literary selection using the structuralist/formalist
approach. (EN10WC-IIIg-14)
A. Performance The learner demonstrates communicative competence through his/her understanding of literature and other text types for a
Standards deeper appreciation of World literature, including Philippine literature.
B. Learning At the end of the lesson, the students will be able to:
Competency/Objectiv Critique a literary selection using the structuralist/formalist approach. ( EN10WC-IIIg-14)
e Code:
II. LEARNING
CRITIQUE A LITERARY SELECTION BASED ON STRUCTURALIST /FORMALIST APPROACH
CONTENT
A. Learning English-Quarter 3- Module 4: Critiquing a Literary Selection Based on Different Approaches
Resources
B. Teacher's Guide English-Quarter 3- Module 4: Critiquing a Literary Selection Based on Different Approaches
C. Textbook Pages
D. Additional
Reference from
Learning Resources
E. Other Learning
Resources
III. PROCEDURES PPST-RPMS Performance
Indicators
A. Reviewing the A. Preparatory Activities:
Previous Lesson 1. Prayer
or Presenting 2. Checking of Attendance
the New Lesson 3. Review of the Previous Lesson – (REMEMBERING)
a. What is critique?
b. What are the three parts of critique?
B. Establishing a INDICATOR 2:
purpose for the ACTIVITY – FINALLY FOUND YOU! – (ANALYZING) Used a range of teaching
lesson Direction: select the words that are present in the puzzle. strategies that enhance
learner achievement in
literacy numeracy and skills.
X C W P G A E L Z Q N S T I
S INDICATOR 4:
Managed classroom structure
T Q A N A L Y S I S O J K H K to engage learners,
individually, or in groups, in
R A P L O T C X Z A H E L E M meaningful exploration,
discovery, and hands-on
activities within a range of
U A D G J I Y A G H R S O O Q physical learning
environments
C Z B X B P Y G S D F G J R F
Students are going to find the
T P O I N T O F V I E W A I B words that are present in the
puzzled box. They are going
U F O A X F G E A N M O P E C to analyze the words for them
to discover and recognize the
R I E T V L P G H O T W R S O meaning of the words. They
will be encouraged to answer
A J F O R M A L I S T W E P N what is being asked.

L I T E R A R Y F A O Z G V F
I R A P P R O A C H N S I A I
S E T T I N G S E N E H L I C
T W D G J D A F M O O D A O T
F Z X C H A R A C T E R S H Y
STRUCTURALIST
 FORMALIST
ANALYSIS
THEORIES
APPROACHES
LITERARY
POINT OF VIEW
TONE
MOOD
CHARACTERS
PLOT
CONFLICT

C. Presenting Being a critical reader or consumer of literature and other art means being able to apply certain
Examples or standards, as they hold different perspectives about what carries meaning and in a work.
instances of the new
lesson As you write your own critique of a selection, different critical approaches may be applied. These
are the structuralist/formalist, moralist, Marxist, feminist, historical, and reader-response.

D. Discussing new What is a structuralist? INDICATOR 1:

concepts and Apply knowledge of content
practicing new skill The structuralist school of thought stems from linguistic theories of structure, which posit that within and across curriculum
#1 there is an underlying structure that organizes language and the way expresses our thoughts. teaching areas

This belief extends into a a philosophy that holds that there is a structure to everything, seeing an
organizing ode in music, economy, and even social life. A structuralist reading of story will pay
attention to the underlying elements that the text has in common with similar texts.

Structuralist believe that there is a deep structure that is universal to all members o a particular
genre: structural elements that are seen in all poems, all short stories, and so on. For example, a
structuralist may hold that all novels are expected to have a plot, characters, a setting, a core
conflict, and etc.

There are different structuralist approaches in literary analysis. For example, Northrop Frye
contributed the use of four mythoi to identify and categorize structures used in Western
Literature. Among these structures are the archetypal mythic or narrative structures: comedy,
 tragedy, romance, and satire; and the genres, such as prose, lyric poetry, drama, and so on. As
one might expect, these look not just at the features of the work itself (for example, a five-act
Shakespearean comedy) but at the way that work fits its genre by virtue of the patterns and
structures the work is organized by.

These are common questions asked in a structuralist analysis:

What patterns exist within the work that make it belong to the same class as other works like it?
(Consider Frye’s mythoi framework.)

What patterns within the text exist that may reflect patterns in the

Culture from which the text emerged? (This analyzes both the text and

The culture structurally.) What rules or codes of interpretation must be internalized in order to
decide what the text “means”?

E. Discussing new Formalism, for its part, is another classical school of criticism that examines a work’s intrinsic
concepts and new features. Unlike approaches that would follow, Formalism, as its name suggests, focuses on the INDICATOR 1:
skill #2 form of the work, assuming that the text itself contains the keys to understanding the text. Apply knowledge of content
within and across curriculum
Formalism appears to follow from classical principles of literary design, including Plato and teaching areas
Aristotle’s notion of organic unity. This principle refers to the internal consistency with which a
text’s theme is developed alongside its dramatic structure. A narrative or drama and plot arc that
has proper organic unity would have its scenes closely connected and commonly developing from
the core theme. All of the interdependent parts of the text would also work in harmony with the
theme, meaning each character, each line of dialogue, each setting detail, flows from that central
hub.

Formalist analysis tends to focus on these questions:

How do the parts of the text work together to make an inseparable whole (organic unity)?
How are the various elements of the work interconnected?

Is there a central passage in the text that can be pointed to as summing up the work?

Formalist approach to literature focuses on modes, genres discourse and forms. Formalistic critics
believe that all information essential to the interpretation of the literary work must be found
within the work itself. They are also interested in the work’s setting, characters, symbols and
point of view.
F. Developing mastery Read the story “The Story of Keesh” by Jack London in your English Learner’s Material 10 Book, INDICATOR 4:
(Leads to Formative Celebrating Diversity through World Literature on pages 299-305. Managed classroom structure
Assessment) to engage learners,
individually, or in groups, in
Activity 1. Fill Me Up! meaningful exploration,
discovery, and hands-on
Directions: Use the chart below t analyze the short story “The Story of Keesh.” Use the questions activities within a range of
provided as your guide. Write your answers on your paper. physical learning
environments
Title of the story:
The students will work with
Element Description their assigned groups. They
1. Character(s): who played th major roles in will cooperate and collaborate
the story? to come up with a
2. Setting: Where and when did the story take presentation per the given
place? task.
3. Conflict: What was the main problem in the
story? INDICATOR 5:
4. Plot: What happened in the story? What was Managed learner behavior
the story about? constructively by applying
5. Tone/Mood: What was the author’s attitude positive and non-violent
toward the subject? What kind of emotion do discipline to ensure learning-
you get after reading the story? focused environments
6. Point of View: Who is telling or narrating the
story? Is the character acting as narrator (First
person), or someone telling what s going on
(third person)?
G. Finding practical Activity : Read and Critique! INDICATOR 1:
applications of Trivia: Did you know that Benguet is a native term which refers to a lake where Apply knowledge of content
concepts and skills in water does not drain? within and across curriculum
daily living The name “Benguet” was once limited to the area of what is now the La teaching areas
Trinidad Valley, which was well-cultivated with rice, sweet potatoes, gabi, and
sugar cane by its original settlers. The natives there were generally Ibaloys. They are encouraged to give
Source: http://latrinidad.gov.ph/wp-content/uploads/2015/08/Brief-History.pdf their insights about the text
that can be applied to their
Directions: Read the story from Benguet and discover the origin of rice and small own lives.
streams.

The Origin of Rice and Streams

(Ibaloy Tale)
Once upon a time, there were two blind women. They were kindhearted, but
they were very poor. In order to eat, they had to beg from their neighbors and
sometimes they were driven away or given nothing. Nevertheless, they did not
complain but went on living each day as best as they could.
Once when they had no food for some time, they decided to walk to the next
village to try their luck there. They walked slowly, feeling footholds among the hilly
paths. When they had walked some distance, they bumped into a large rock. The
impact sent their bodies reeling. Dazed, they held on to each other and tried to get
back on their feet. But they had gone too long without food, and now they could not
even stand.
The rock opened magically, and out of its granite depths a young woman
emerged. She took the two blind women by the hand and let them inside. An old
woman seated them at a stone table and gave them food to eat. “Now tell what you
need,” said the old woman to them when they had finished their meal.
One of the blind women said, “I am always hungry. I need food, but I am too
blind and I cannot work for a living in the fields.”
The other replied, “I am always thirsty. I always need something to drink,
but I, too, am blind and I cannot find my way even to the smallest spring.”
The old woman gave the first woman a sack of rice that would never be
empty. To the other she gave a bottle of water that would never be drained dry.
They both thanked the old woman profusely and they felt their way back home.
They lived together happily, never wanting any more than what they already had.
After some time, though, they told each other that it was not right to keep to
themselves the good fortune that they had been given. So, the one who owned the
magic sack of rice took a handful of grain and sowed it; when the grain was
harvested she gave it to the people in the village. The one who owned the magic
bottle poured some of the water out onto the land where it changed into many
small brooks and streams. On their banks flowers soon grew, and to the streams
people came to fetch water for their various needs.

Source: The Origin of Tapuy and Other Cordillera Tales, Rosella Camte-Banhi,et.al pp.42-43
 10

When you read a selection it is very important to understand how your senses
work. Your understanding of images will play a key role in appreciating the text.
A. Directions: Write 5 words/phrases that appeal to your senses (sight, smell,
hearing, taste, touch).
1. _____________________________________
2. _____________________________________
3. _____________________________________
4. _____________________________________
5. ____________________________________________________________________________________________.
H. Making
generalizations and A. Answer the question:
abstractions about 1. What is structuralist?
the lesson 2. What is formalistic approach?

I. Evaluating learning INDICATOR 1:

Directions: Read and understand the selection “The Story of an Hour”. Analyze it Apply knowledge of content
using Formalist Approach. Be guided by the Checklist for Formalist within and across curriculum
Criticism (page 8) that you learned in this lesson. Use the graphic teaching areas
organizer provided on page 16 or you may create your own design for
the presentation of your analysis.

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 the 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!
"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.
Someone 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.
critiquing the selection “The Story of an Hour”.
J. Additional activities
for application or
remediation

IV. REMARKS
V. REFLECTION
A. No. of learners who earned 80% on the formative assessment
B. No. of learners who require additional activities for remediation
C. Did the remedial lessons work? No. Of learners who have caught up with
the lesson
D. No. of learners who continue to require remediation
E. Which of my teaching strategies worked well? Why did this work?
F. What difficulties did I encounter which my principal or supervisor can help
me solve?
G. What innovation or localized materials did I use/discover, which I wish to
share with other teachers?

Prepared by:

JAY ANN G. AROJADO ANNE B. BASILONIA