ELEMENTS OF SHORT

STORY
ANTI-HERO

1. Walter White from the TV show "Breaking Bad":

Walter is a high school chemistry teacher who, after
being diagnosed with cancer, turns to making and
selling methamphetamine to secure his family's
financial future. He is driven by desperation and the
belief that he is doing the right thing for his family,
but his actions are often unethical and violent.
ANTI-HERO

1.Deadpool from the comic book series of the same

name: Deadpool is a mercenary and assassin who
often breaks the fourth wall and is known for his
sarcastic and irreverent sense of humor. He is
morally ambiguous and often engages in violent
and destructive behavior, but is also capable of
acts of kindness and compassion.
ANTI-HERO

1.Rorschach from the graphic novel

"Watchmen": Rorschach is a vigilante who is
driven by a strict moral code and a desire for
justice, but his methods are brutal and he often
engages in torture and murder. He is
uncompromising in his beliefs and is willing to
do whatever it takes to achieve his goals.
ANTI-HERO

1. Michael Corleone from the film "The Godfather":

Michael is the youngest son of a powerful mafia
boss who reluctantly takes over the family business
after his father is shot. He is initially portrayed as a
reluctant hero who is forced to make difficult
decisions, but over time he becomes increasingly
ruthless and willing to engage in violence and
corruption.
ANTI-HERO

1.Lisbeth Salander from the novel "The Girl with

the Dragon Tattoo": Lisbeth is a highly skilled
computer hacker who has been the victim of abuse
and trauma throughout her life. She is emotionally
closed off and often engages in revenge fantasies
and violent acts, but is also fiercely independent
and protective of those she cares about.
FOIL: In literature, a "foil" is a character who contrasts with
another character in order to highlight particular qualities or traits.

1. In William Shakespeare's play "Hamlet," the

character of Hamlet is contrasted with his friend
Horatio. While Hamlet is impulsive, emotional, and
prone to rash decisions, Horatio is calm, level-
headed, and rational. Horatio's presence serves to
emphasize Hamlet's erratic behavior and to
highlight the contrast between his own flaws and
Horatio's virtues.
FOIL

1. In J.K. Rowling's Harry Potter series, the characters

of Harry Potter and Draco Malfoy serve as foils for
one another. Harry is kind-hearted, courageous, and
selfless, while Draco is selfish, arrogant, and cruel.
The contrast between the two characters emphasizes
Harry's admirable qualities and underscores the
importance of his moral code.
FOIL

1. In F. Scott Fitzgerald's novel "The Great Gatsby," the

character of Jay Gatsby is contrasted with his
neighbor Tom Buchanan. While Gatsby is romantic,
idealistic, and driven by his pursuit of the American
Dream, Tom is cynical, materialistic, and self-
absorbed. The contrast between the two characters
highlights the tension between the American Dream
and the realities of the world in which they live.
FOIL

1.In Charlotte Bronte's novel "Jane Eyre," the

character of Jane is contrasted with her love
interest Mr. Rochester. Jane is independent,
intelligent, and moral, while Rochester is
brooding, secretive, and flawed. The contrast
between the two characters underscores Jane's
strengths and highlights Rochester's weaknesses.
FOIL

1. In Herman Melville's novel "Moby-Dick," the characters

of Captain Ahab and his first mate Starbuck serve as foils
for one another. Ahab is obsessed with revenge and is
willing to risk everything to pursue his goal, while
Starbuck is rational, cautious, and concerned with the
safety of the crew. The contrast between the two
characters emphasizes the destructive nature of Ahab's
obsession and highlights the importance of reason and
prudence.
CONFIDANTE: In literature, a "confidante" is a character who is
trusted and confided in by the protagonist, often providing advice or
support.

1.In William Shakespeare's play "Romeo and

Juliet," the character of Friar Lawrence serves
as a confidante to both Romeo and Juliet. He
provides them with advice, guidance, and
support throughout the play, and helps them to
plan their secret marriage and subsequent
escape from Verona.
CONFIDANTE

1.In F. Scott Fitzgerald's novel "The Great

Gatsby," the character of Nick Carraway
serves as a confidante to Jay Gatsby. Nick is
one of the few people who knows the truth
about Gatsby's past, and he is sympathetic to
Gatsby's romantic dreams and aspirations.
CONFIDANTE

1.In Harper Lee's novel "To Kill a Mockingbird,"

the character of Calpurnia serves as a
confidante to Scout and Jem Finch. Calpurnia
is the family's housekeeper and surrogate
mother figure, and she provides guidance and
support to the children as they navigate the
complexities of life in the segregated South.
CONFIDANTE

1.In Jane Austen's novel "Pride and Prejudice,"

the character of Charlotte Lucas serves as a
confidante to Elizabeth Bennet. Charlotte is
Elizabeth's best friend and provides her with
practical advice and support throughout the
novel, particularly with regard to her romantic
relationships.
CONFIDANTE

1.In J.R.R. Tolkien's "The Lord of the Rings," the

character of Samwise Gamgee serves as a
confidante to Frodo Baggins. Sam is Frodo's
loyal friend and companion throughout his
quest to destroy the One Ring, and he provides
emotional support and encouragement when
Frodo is struggling.
DYNAMIC CHARACTER: In literature, a "dynamic character" is one who undergoes
significant changes or growth throughout the course of a story. Here are some examples of
dynamic characters:

1. In Charles Dickens' novel "A Christmas Carol," the

character of Ebenezer Scrooge is a dynamic
character. At the beginning of the story, Scrooge is a
miserly and selfish man who cares only about
money. Through the course of the story, he is visited
by three ghosts who show him the error of his ways
and inspire him to become a more compassionate
and generous person.
DYNAMIC CHARACTER: In literature, a "dynamic character" is one who undergoes
significant changes or growth throughout the course of a story. Here are some examples of
dynamic characters:

1. In J.K. Rowling's Harry Potter series, the character of

Severus Snape is a dynamic character. Throughout the
series, Snape is depicted as a cold and bitter
individual who seems to harbor a deep dislike for
Harry Potter. However, as the story unfolds, it is
revealed that Snape's past is much more complex than
initially thought, and that he has been working behind
the scenes to protect Harry and help defeat Voldemort.
DYNAMIC CHARACTER: In literature, a "dynamic character" is one who undergoes
significant changes or growth throughout the course of a story. Here are some examples of
dynamic characters:

1. In F. Scott Fitzgerald's novel "The Great Gatsby," the

character of Jay Gatsby is a dynamic character. At the
beginning of the story, Gatsby is a mysterious and
enigmatic figure who seems to be living the American
Dream. However, as the story unfolds, it becomes clear
that Gatsby's past is much more complex than initially
thought, and that he is driven by a deep longing for the
past and for his lost love, Daisy Buchanan.
DYNAMIC CHARACTER: In literature, a "dynamic character" is one who undergoes
significant changes or growth throughout the course of a story. Here are some examples of
dynamic characters:

1. In Harper Lee's novel "To Kill a Mockingbird," the

character of Scout Finch is a dynamic character. At
the beginning of the story, Scout is a young girl
who is innocent and naive. Through the course of
the story, she is exposed to the racism and prejudice
that exists in her town, and she becomes more
aware of the injustices that exist in society.
DYNAMIC CHARACTER: In literature, a "dynamic character" is one who undergoes
significant changes or growth throughout the course of a story. Here are some examples of
dynamic characters:

1. In William Shakespeare's play "Hamlet," the character

of Hamlet is a dynamic character. Throughout the
play, Hamlet is depicted as a moody and indecisive
individual who is haunted by the death of his father.
However, as the story progresses, he becomes more
aware of the corruption and deceit that surrounds him,
and he becomes more determined to seek revenge for
his father's murder.
STATIC CHARACTER: In literature, a "static character" is one
who remains largely unchanged throughout the course of a story.

 Here are some examples of static characters:

1.In William Shakespeare's play "Macbeth,"
the character of Lady Macbeth is a static
character. She remains ruthless and
manipulative throughout the play, and her
desire for power and ambition never wavers.
STATIC CHARACTER: In literature, a "static character" is one
who remains largely unchanged throughout the course of a story.

1.In J.D. Salinger's novel "The Catcher in

the Rye," the character of Holden
Caulfield is a static character. He remains
cynical and disillusioned throughout the
novel, and his views on life and society
do not change significantly.
STATIC CHARACTER: In literature, a "static character" is one
who remains largely unchanged throughout the course of a story.

1.In George Orwell's novel "1984," the

character of Big Brother is a static
character. He remains the embodiment
of the oppressive regime throughout the
novel, and his power and authority over
the citizens of Oceania never wavers.
STATIC CHARACTER: In literature, a "static character" is one
who remains largely unchanged throughout the course of a story.

1.In Harper Lee's novel "To Kill a

Mockingbird," the character of Bob
Ewell is a static character. He remains a
racist and abusive individual throughout
the novel, and his behavior never
changes.
STATIC CHARACTER: In literature, a "static character" is one
who remains largely unchanged throughout the course of a story.

1.In F. Scott Fitzgerald's novel "The Great

Gatsby," the character of Tom Buchanan
is a static character. He remains arrogant
and selfish throughout the novel, and his
views on race and class do not change.
ROUND CHARACTER: In literature, a "round character" is one
who is complex and multifaceted, with a realistic personality and
behavior.

 Here are some examples of round characters:

1.In J.K. Rowling's Harry Potter series, the
character of Hermione Granger is a round
character. She is intelligent, brave, and loyal,
but also has flaws such as being overly
critical and a bit of a know-it-all.
ROUND CHARACTER: In literature, a "round character" is one
who is complex and multifaceted, with a realistic personality and
behavior.

1.In Jane Austen's novel "Pride and

Prejudice," the character of Elizabeth
Bennet is a round character. She is witty,
independent, and outspoken, but also has
flaws such as being quick to judge and
holding grudges.
ROUND CHARACTER: In literature, a "round character" is one
who is complex and multifaceted, with a realistic personality and
behavior.

1.In Fyodor Dostoevsky's novel "Crime

and Punishment," the character of
Raskolnikov is a round character. He is
intelligent and compassionate, but also
struggles with guilt and a desire for
power and control.
ROUND CHARACTER: In literature, a "round character" is one
who is complex and multifaceted, with a realistic personality and
behavior.

1.In Gabriel Garcia Marquez's novel "One

Hundred Years of Solitude," the character of
Colonel Aureliano Buendia is a round
character. He is a skilled military strategist
and leader, but also struggles with loneliness
and a desire for meaning in his life.
ROUND CHARACTER: In literature, a "round character" is one
who is complex and multifaceted, with a realistic personality and
behavior.

1.In Toni Morrison's novel "Beloved," the

character of Sethe is a round character.
She is a strong and resilient woman who
has survived slavery, but also struggles
with guilt and trauma related to her past
experiences.
FLAT CHARACTER: In literature, a "flat character" is one who
lacks depth and complexity, and is often a stereotype or a one-
dimensional figure.

 Here are some examples of flat characters:

1.In William Shakespeare's play "Romeo and
Juliet," the character of Paris is a flat character.
He is portrayed as a wealthy and handsome
suitor for Juliet, but we do not learn much else
about his personality or motivations.
FLAT CHARACTER: In literature, a "flat character" is one who
lacks depth and complexity, and is often a stereotype or a one-
dimensional figure.

1.In J.R.R. Tolkien's "The Lord of the

Rings," the character of Gimli is a flat
character. He is a dwarf warrior who
values honor and loyalty, but we do not
learn much else about his character
beyond these traits.
FLAT CHARACTER: In literature, a "flat character" is one who
lacks depth and complexity, and is often a stereotype or a one-
dimensional figure.

1.In E.B. White's "Charlotte's Web,"

the character of Templeton the rat
is a flat character. He is portrayed
as greedy and self-serving, without
much depth or complexity.
FLAT CHARACTER: In literature, a "flat character" is one who
lacks depth and complexity, and is often a stereotype or a one-
dimensional figure.

1.In Nathaniel Hawthorne's "The Scarlet

Letter," the character of Mistress
Hibbins is a flat character. She is a witch
who is part of the community of
outcasts, but we do not learn much else
about her beyond this stereotype.
FLAT CHARACTER: In literature, a "flat character" is one who
lacks depth and complexity, and is often a stereotype or a one-
dimensional figure.

1.In George Orwell's "Animal Farm,"

the character of Mollie the horse is a
flat character. She is portrayed as
vain and selfish, without much depth
or complexity beyond these traits.
STOCK CHARACTER: In literature, a "stock character" is a
character that is instantly recognizable as belonging to a specific
group or stereotype.

Here are some examples of stock characters:

The "damsel in distress" is a stock character

commonly found in fairy tales and adventure stories.
This character is typically a young, beautiful woman
who is in peril and needs to be rescued by a male
hero.
STOCK CHARACTER: In literature, a "stock character" is a
character that is instantly recognizable as belonging to a specific
group or stereotype.

The "mad scientist" is a stock character

often found in science fiction and horror
stories. This character is typically a
brilliant but unstable scientist who is
obsessed with a particular invention or
experiment.
STOCK CHARACTER: In literature, a "stock character" is a
character that is instantly recognizable as belonging to a specific
group or stereotype.

The "villain" is a stock character

commonly found in many different genres.
This character is typically a malevolent or
evil figure who opposes the protagonist.
STOCK CHARACTER: In literature, a "stock character" is a
character that is instantly recognizable as belonging to a specific
group or stereotype.

The "sidekick" is a stock character

commonly found in adventure and
superhero stories. This character is
typically a loyal companion to the hero,
providing support and assistance.
STOCK CHARACTER: In literature, a "stock character" is a
character that is instantly recognizable as belonging to a specific
group or stereotype.

The "wise old mentor" is a stock character

often found in fantasy and adventure stories.
This character is typically an older and wiser
individual who provides guidance and advice
to the hero.
 The difference among 3rd person
omniscient, third person limited
omniscient, and 3rd person objective
or dramatic relates to the perspective
from which the story is being told
and the level of access to the
thoughts and feelings of the
characters. Here are some brief
explanations of each:
 Third person omniscient: In this point of
view, the narrator knows all the thoughts
and feelings of all the characters in the story.
The narrator can provide insights into the
motivations and inner workings of every
character, even if they are not present in the
scene. This perspective allows the reader to
have a broad understanding of the story's
events and characters.
 Third person limited omniscient: In this point of
view, the narrator only knows the thoughts and
feelings of one particular character in the story at
a time. The narrative is still in the third person,
but the perspective shifts from character to
character as the story progresses. This
perspective allows for a more intimate
understanding of one character's experience,
while still maintaining some distance and
objectivity.
 Third person objective or dramatic: In this point of
view, the narrator does not have access to the
thoughts or feelings of any of the characters in the
story. The narrator simply reports the events as
they happen, without providing any insights into
the characters' internal experiences. This
perspective creates a sense of detachment and
objectivity, and allows the reader to draw their
own conclusions about the characters based solely
on their actions and dialogue.
HISTORICAL CRITICISM
 The goal of the historical approach is to
understand a work of literature in its
historical and cultural context. This approach
seeks to examine how historical and cultural
factors have influenced the creation and
reception of a literary work, and how the
work itself reflects and participates in larger
cultural and historical conversations of its
time.
 Traditional historical criticism
 a literary theory that focuses on the historical
context in which a work of literature was
produced, and examines how the work
reflects and responds to that context. While
this approach is more commonly applied to
written works, it can also be used to analyze
films set in a specific historical period.
 Goyo: Ang Batang Heneral (2018): Directed by Jerrold Tarog, this historical biopic follows
the story of General Gregorio del Pilar, a young Filipino general during the Philippine-
American War. The film explores the political and social context of the time, including the
tensions between the Philippine revolutionaries and the American colonizers.

 Heneral Luna (2015): Also directed by Jerrold Tarog, this film tells the story of General
Antonio Luna, another Filipino general during the Philippine-American War. The film depicts
the political and military conflicts that shaped this period of Philippine history, and the
challenges faced by the revolutionary forces.

 Sakay (1993): Directed by Raymond Red, this biographical drama tells the story of Macario
Sakay, a Filipino revolutionary leader who fought against American colonization in the early
20th century. The film portrays Sakay as a hero and a symbol of resistance against foreign
oppression.

 Overall, these movies use historical events and figures as the basis for their stories, and
attempt to provide a deeper understanding of Philippine history and culture. They can be
analyzed through a traditional historical criticism lens to examine how they reflect and
 New historicism
 a literary theory that focuses on the
interconnection between literature and the
social, cultural, and historical context in
which it was produced. Here are some
examples of movies in the Philippines that can
be analyzed through a New historicism lens
 Oro, Plata, Mata (1982): Directed by Peque Gallaga, this epic film is set during World War II
in the Philippines, and follows the lives of two aristocratic families as they navigate the
Japanese occupation. The film portrays the social hierarchies and cultural values of the time,
and explores themes of power, wealth, and identity.

 Bayaning Third World (1999): Directed by Mike de Leon, this mockumentary film follows
two filmmakers as they attempt to make a movie about Jose Rizal, the Philippine national
hero. The film critiques the way history is constructed and represented in Philippine society,
and questions the validity of traditional historical narratives.

 Honor Thy Father (2015): Directed by Erik Matti, this crime thriller is based on a true story
and explores the issues of religion, politics, and corruption in contemporary Philippine
society. The film portrays the interconnectedness between social and economic structures, and
how they impact individual lives and actions.

 Overall, these movies use historical events and figures as a means to explore broader social
and cultural issues, and challenge the traditional historical narratives that have been
constructed. They can be analyzed through a New historicism lens to examine how they
 New literary historicism
 literary theory that focuses on the intersection
between literature and history, examining how
literature can reflect and reshape our
understanding of the past. Here are some
examples of movies in the Philippines that can
be analyzed through a New literary
historicism lens
 Ang Larawan (2017): Directed by Loy Arcenas, this musical drama is based on the play "A Portrait of the
Artist as Filipino" by Nick Joaquin. The film tells the story of two sisters living in pre-World War II
Manila, and explores themes of art, identity, and cultural heritage. The film uses the story of the two sisters
to explore the broader cultural and historical context of pre-war Manila.

 Himala (1982): Directed by Ishmael Bernal, this drama film tells the story of a young girl who claims to
have seen the Virgin Mary in a small town in the Philippines. The film explores themes of faith, religion,
and the impact of colonialism on Philippine culture. The film can be analyzed through a New literary
historicism lens to examine how it reflects and responds to the social and historical context of the time it
was produced.

 Jose Rizal (1998): Directed by Marilou Diaz-Abaya, this historical biopic tells the story of the life of Jose
Rizal, the Philippine national hero. The film explores the political and cultural context of the late 19th
century Philippines, and examines the impact of Spanish colonialism on Philippine society. The film can
be analyzed through a New literary historicism lens to examine how it reshapes our understanding of the
life and legacy of Jose Rizal, and how it contributes to the broader discourse on Philippine history and
identity.

 Overall, these movies use literature and storytelling as a means to explore broader historical and cultural
themes, and to reflect on the ways in which the past shapes the present. They can be analyzed through a
New literary historicism lens to examine how they contribute to our understanding of Philippine history
 Here are some examples of movies in the Philippines that use a
historical approach:

 Heneral Luna (2015): Directed by Jerrold Tarog, this film tells the story of General Antonio Luna, a Filipino general during the Philippine-
American War. The film explores Luna's struggle to unite the Filipino forces against the American colonizers.

 Jose Rizal (1998): Directed by Marilou Diaz-Abaya, this film is a biographical drama about the life of Philippine national hero, Jose Rizal. It
depicts his struggle against the Spanish colonial rule in the Philippines, as well as his work as a writer and nationalist.

 Dekada '70 (2002): Directed by Chito S. Roño, this film is an adaptation of a novel of the same title by Lualhati Bautista. It tells the story of a
middle-class family during the Martial Law era in the Philippines, and their struggle for freedom and democracy.

 Bonifacio: Ang Unang Pangulo (2014): Directed by Enzo Williams, this film is a biographical drama about the life of Philippine revolutionary
leader, Andres Bonifacio. The film portrays Bonifacio's role in the Philippine Revolution against Spanish colonial rule.

 Oro, Plata, Mata (1982): Directed by Peque Gallaga, this film is set during World War II in the Philippines, and depicts the lives of two families
from different social classes. The film explores themes of class, identity, and survival during wartime.

 Overall, these movies use historical events and figures as the basis for their stories, and attempt to provide a deeper understanding of Philippine
history and culture.
READER-RESPONSE
CRITICISM
 READER-RESPONSE

 The goal of reader-response approach is to

understand a work of literature as a product of
the interaction between the reader and the text.
This approach emphasizes the role of the reader
in creating meaning from a literary work, and
focuses on how the reader's own experiences,
beliefs, and values shape their interpretation of
the text.
 The goal of the reader-response approach is
to encourage readers to engage with a text on
a personal level and to explore their own
responses to the work. By doing so, readers
can gain a deeper understanding of
themselves and the world around them, as
well as the ways in which literature reflects
and shapes cultural and social values.
 Overall, the goal of the reader-response
approach is to shift the focus from the
author's intentions or the historical context
of a work, to the reader's own experiences
and responses to the text. It encourages
readers to actively participate in the
process of meaning-making, and to
recognize the importance of their own
perspectives in shaping their understanding
 It's important to note that the reader-response approach is a literary theory that focuses on the
interaction between the reader and the text, rather than on specific works of literature or movies.
However, some movies in the Philippines may be analyzed through a reader-response lens. Here
are some examples:

 That Thing Called Tadhana (2014): Directed by Antoinette Jadaone, this romantic comedy follows two strangers who
meet at an airport and decide to go on a spontaneous road trip. The film invites viewers to reflect on their own experiences
of love, heartbreak, and self-discovery.

 Kita Kita (2017): Directed by Sigrid Andrea Bernardo, this romantic comedy-drama tells the story of a Filipina tourist
guide who falls in love with a Japanese man. The film explores themes of cultural identity, language barriers, and the
complexities of human relationships.

 Smaller and Smaller Circles (2017): Directed by Raya Martin, this crime thriller is based on the novel of the same title by
F.H. Batacan. The film follows two Jesuit priests who investigate a series of murders in Manila, and highlights issues of
corruption, social inequality, and the role of religion in Philippine society.

 Overall, these movies invite viewers to engage with the characters and themes on a personal level, and to reflect on their
own experiences and values. The viewer's response to the film is shaped by their own cultural and social background, and
can vary from person to person.