REFLECTION PAPER

First paragraph: I learned that…

Second paragraph: I realized that…

Third paragraph: If given a chance, I will…

CRITIQUE
Writing
CRITIQUE
-a detailed analysis and
assessment of somebody’s
work (book, essay, movie or
painting)in a detailed and
analytical way.
- means to examine something
critically.
- the art of criticism
 CRITICISM
Criticism finds fault
Criticism looks for what's lacking
Criticism condemns what it doesn't
understand
Criticism is spoken with a cruel wit and
sarcastic tongue
Criticism is negative
Criticism is vague and general
Criticism has no sense of humor
Criticism looks for flaws in the writer as
well as the writing
CRITIQUE
Critique looks at structure
Critique finds what's working
Critique asks for clarification
Critique's voice is kind, honest, and
objective
Critique is positive (even about what
isn't working)
Critique is concrete and specific
Critique insists on laughter, too
Critique addresses only what is on
the page
 What is the purpose of writing a
CRITIQUE PAPER?
• Evaluate somebody's work (a
book, an essay, a movie or a
painting) in order to increase
your understanding of it.
• Develop your techniques for the
critical evaluation of academic
texts.
WHAT’S IN IT FOR YOU?
A thoughtfully critical frame of
mind will help you to sort out
which types of information are
most vital and persuasive,
while also helping you to
develop a unique and
individualized perspective
on that new knowledge.
LITERARY
Theory
1.ANTAGONIST

2. EXPOSITION

3. IMAGERY

4. MOOD

5. PLOT

6.PROTAGONIST

7.SETTING

8.SYMBOL

9.THEME

10. IRONY
 What is a LITERARY THEORY?
• is the body of ideas and methods we use
in the practical reading of LITERATURE.
• formulates the relationship between
author and work;
• 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 refers to any
principles derived from internal
analysis of literary texts or from
knowledge external to the text that can
be applied in multiple interpretive
situations.
• Modern literary theory gradually emerges
in Europe during the nineteenth century
whose greatest influence was Friedrich
Nietzsche.

“Facts are not facts until they have

been interpreted. ”
 • an interpretive approach that
F emphasizes literary form and the
O study of literary devices within
the text, with the exclusion of
R
biographical, historical, or
M intellectual contexts.
A • The formalist approach interprets
the text through: SYMBOLISM,
L IMAGERY, and FORM.
I • Therefore, it only gives
S attention to the FORM of a
written work and LITERARY DEVICES
M operating in it.
 LITERARY FORMS
• is the organization, arrangement, or
framework of a literary work;
• the manner or style of constructing,
arranging, and coordinating the parts of a
composition for a pleasing or effective
result.

a) DRAMA - is essentially a performance art

dealing with the writing and production
of plays.
A composition in prose or verse
presenting in dialogue involving conflict
or contrast of character, one intended to
be acted on the stage – play.
PROSE
• is a form of language that has no
formal metrical structure.
• Language meant to convey meaning
in a more expansive and less
condensed way, frequently using
more complete logical or narrative
structures.
• Examples:
Novels, textbooks and newspaper
articles.
b.) PROSE FICTION
• is a literary form of prose
writing or story telling that
aims in enlighten its reader and
bringing to light an issue.
• aims at exposing an event as
something of concern or value.
Short Story
-"an invented prose narrative shorter
than a novel usually dealing with a few
characters and aiming at unity of effect
and often concentrating on the creation
of mood rather than plot."
c.) ESSAY
• is generally a short piece of writing
outlining the writer's perspective or
story.
• is a short form of literary composition
based on a single subject matter, and often
gives the personal opinion of the author.

THE FUNCTION OF AN ESSAY:

-depends upon the subject matter, whether
the writer wants to inform, persuade, explain, or
entertain.
-encourages students to develop concepts and
skills, such as analysis, comparison and
contrast, clarity, exposition, conciseness,
and persuasion.
d.) POETRY
• consists largely of oral or literary
works in which language is used in a
manner that is felt by its user and
audience to differ from ordinary prose.
• Poems frequently rely for their effect
on imagery, word association, and the
musical qualities of the language used.
The interactive layering of all these
effects to generate meaning is what
marks poetry.
 LITERARY DEVICES
• refers to the typical structures
used by writers in their works
to convey his or her message(s)
in a simple manner to his or her
readers.
• help readers to appreciate,
interpret and analyze a literary
work.
Literary Elements Literary Techniques
• have an inherent • are structures usually
existence in a word s or phrases in
literary piece and literary texts that
writers employ to
are extensively achieve not merely
employed by artistic ends but also
writers to develop readers a greater
a literary piece. understanding and
appreciation of their
literary works.
P LOT
SETTING METAPHOR
MOOD SIMILE
THEME IRONY
 Literary Elements
It is the logical sequence of events that develops a
Plot story.
It refers to the time and place in which a story takes
Setting place.
Protagonist It is the main character of story, novel or a play .

Antagonist It is the character in conflict with the Protagonist

Narrator A person who tells the story.

The manner in which a narrative is presented

Narrative comprising plot and setting.

When two or more characters of a narrative speak to

Dialogue one another.
It is n issue in a narrative around which the whole
Conflict story revolves.
Mood A general atmosphere of a narrative.

It is central idea or concept of a story.

 Literary Techniques
It is the use of figurative language to create visual
Imagery representations of actions, objects and ideas in our mind in
such a way that they appeal to our five senses.
Both compare two distinct objects and draws similarity
between them.
Simile SIMILE – a direct comparison of two unlike things (uses
Metaphor like or as)
METAPAPHOR – indirect comparison of two unlike things (does
not use like or as)

It is deliberate exaggeration of actions and ideas for the

Hyperbole sake of emphasis.

Personification It gives human characteristics to something not human.

It refers to the same consonant sounds in words coming

Alliteration together.
It is a literary technique in which an abstract idea is given
Allegory a form of characters, actions or events.
It is use of the words in such a way in which the intended
Irony meaning is completely opposite to their literal meaning.

Symbolism An object represents a larger idea.

 I thought a thought. But the thought
I thought wasn’t the thought I
thought I thought. If the thought I
thought I thought had been the
thought I thought, I wouldn’t have
thought so much.

Betty bought a bit of butter. But, the

butter Betty bought was bitter. So,
Betty bought a better butter, and it
was better than the butter Betty
bought before.
 • 1848, Karl Marx wrote the book
M The Communist Manifesto.
“He argued that all societies throughout history
A can be viewed as a struggle between two
different groups with differing amounts of
R power.”
• Karl Marx’s theory suggests that
X society is under industrial
capitalism. Society is ordered
I with capitalists where they work
for wages.
S “He believed that no one should have power over
another, that everyone should be equal.”
M
 • The theory sees the work of art
M as a product, directly or
indirectly, of the base structure
A of society.
• It attempts to reveal that the ultimate source of
R people’s experience is the socioeconomic system.
• Analyze and critique the
X development of class society and
especially of capitalism as well
I as the role of class struggles in
systemic economic, social,
S political change.
M
 WHAT DOES IT HAVE TO DO WITH
LITERATURE?
1. We analyze money, power and social
institutions (politics & religion).
2. Determine the class for major and minor
characters.(class affects the characters)
3. Analyze how the class affects the
characters’:
a. actions b. beliefs c. hopes d.
fears
4. Determine disparities between economic
classes.
 • An ideology which seeks not only
F to change the world but to
change it to the advantage of
E women.
M • Focuses on gender inequality.
• Explores the themes of
I discrimination, oppression,
patriarchy and stereotyping.
N • Thus, this theory focuses on how
I women are presented in
literature as subjects of socio-
S political, psychological, and
economic oppression.
M
 • It reveals how aspects of our
F culture are PATRIARCHAL - a system of
social organization that traces descent through the male
E line and bestows power and privilege to males on the
assumption of their physical and intellectual superiority
M over women.

I HOW DO WE ANALYZE USING FEMINIST

APPROACH?
N
1. Understand how gender affects
I characters in a work.
S 2. Understand societal values that
are reflected in the work.
M
 • This approach claims that the
R reader’s role cannot be
R separated from the understanding
E of the work; a text does not have
E
S meaning until the reader reads it
A and interprets it.
P
D
O • Readers are therefore not passive
E and distant, but are active
N
R consumers of the material
S presented to them.
-
E
 THE
Writing
PROCESS
 HOW TO CRITIQUE A PIECE OF
WRITING?
give the reader a sense of the
DESCRIBE writer’s overall purpose and
intent

examine how the structure and

ANALYZE language of the text convey its
meaning

state the significance or

INTERPRET importance of each part of the
text

make a judgment of the work’s

ASSESS worth or value
 The Critique Format for
FICTION/LITERATURE
Introduction
• name of author and work
• brief summary/description of work as
a whole
• focusing sentence indicating what
element you plan to examine
• general indication of overall
significance of work
Body
• literal description of the first major
element or portion of the work
• detailed analysis
• interpretation
• literal description of second major
element
• detailed analysis
• interpretation (including, if
necessary, the relationship to the
first major point)
• and so on
Conclusion
• overall interpretation of the elements
studied
• consideration of those elements within
the context of the work as a whole
• critical assessment of the value,
worth, meaning, or significance of the
work, both positive and negative
 The Critique Format for
NONFICTION
Introduction
• name of author and work
• general overview of subject and
summary of author's argument
• focusing (or thesis) sentence
indicating how you will divide the
whole work for discussion or the
particular elements you will discuss
 Body
• objective description of a major point
in the work
• detailed analysis of how the work
conveys an idea or concept
• interpretation of the concept
• repetition of description, analysis,
interpretation if more than one major
concept is covered
 Conclusion
• overall interpretation
• relationship of particular
interpretations to subject as a whole
• critical assessment of the value,
worth, or meaning of the work, both
negative and positive