Cruz, Pejie Rose M.

BSED 3-1
Project in SPENG19
Prof. Teresita Quiambao

 Submit a summary of critical approaches with corresponding text for application.

1. Formalist Criticism: This approach regards literature as “a unique form of human

knowledge that needs to be examined on its own terms.” All the elements necessary for
understanding the work are contained within the work itself. Of particular interest to the
formalist critic are the elements of form—style, structure, tone, imagery, etc.—that are
found within the text. A primary goal for formalist critics is to determine how such
elements work together with the text’s content to shape its effects upon readers.
2. Biographical Criticism: This approach “begins with the simple but central insight that
literature is written by actual people and that understanding an author’s life can help
readers more thoroughly comprehend the work.” Hence, it often affords a practical
method by which readers can better understand a text. However, a biographical critic
must be careful not to take the biographical facts of a writer’s life too far in criticizing the
works of that writer: the biographical critic “focuses on explicating the literary work by
using the insight provided by knowledge of the author’s life.... [B]iographical data should
amplify the meaning of the text, not drown it out with irrelevant material.”
3. Historical Criticism: This approach “seeks to understand a literary work by
investigating the social, cultural, and intellectual context that produced it—a context that
necessarily includes the artist’s biography and milieu.” A key goal for historical critics is
to understand the effect of a literary work upon its original readers.
4. Gender Criticism: This approach “examines how sexual identity influences the creation
and reception of literary works.” Originally an offshoot of feminist movements, gender
criticism today includes a number of approaches, including the so-called “masculinist”
approach recently advocated by poet Robert Bly. The bulk of gender criticism, however,
is feminist and takes as a central precept that the patriarchal attitudes that have
dominated western thought have resulted, consciously or unconsciously, in literature “full
of unexamined ‘male-produced’ assumptions.” Feminist criticism attempts to correct this
imbalance by analyzing and combatting such attitudes—by questioning, for example,
why none of the characters in Shakespeare’s play Othello ever challenge the right of a
husband to murder a wife accused of adultery. Other goals of feminist critics include
“analyzing how sexual identity influences the reader of a text” and “examin[ing] how the
images of men and women in imaginative literature reflect or reject the social forces that
have historically kept the sexes from achieving total equality.”
5. Psychological Criticism: This approach reflects the effect that modern psychology has
had upon both literature and literary criticism. Fundamental figures in psychological
criticism include Sigmund Freud, whose “psychoanalytic theories changed our notions of
human behavior by exploring new or controversial areas like wish-fulfillment, sexuality,
the unconscious, and repression” as well as expanding our understanding of how
 “language and symbols operate by demonstrating their ability to reflect unconscious
fears or desires”; and Carl Jung, whose theories about the unconscious are also a key
foundation of Mythological Criticism. Psychological criticism has a number of
approaches, but in general, it usually employs one (or more) of three approaches:
An investigation of “the creative process of the artist: what is the nature of literary genius
and how does it relate to normal mental functions?”
The psychological study of a particular artist, usually noting how an author’s biographical
circumstances affect or influence their motivations and/or behavior.
The analysis of fictional characters using the language and methods of psychology.
6. Sociological Criticism: This approach “examines literature in the cultural, economic
and political context in which it is written or received,” exploring the relationships
between the artist and society. Sometimes it examines the artist’s society to better
understand the author’s literary works; other times, it may examine the representation of
such societal elements within the literature itself. One influential type of sociological
criticism is Marxist criticism, which focuses on the economic and political elements of art,
often emphasizing the ideological content of literature; because Marxist criticism often
argues that all art is political, either challenging or endorsing (by silence) the status quo,
it is frequently evaluative and judgmental, a tendency that “can lead to reductive
judgment, as when Soviet critics rated Jack London better than William Faulkner, Ernest
Hemingway, Edith Wharton, and Henry James, because he illustrated the principles of
class struggle more clearly.” Nonetheless, Marxist criticism “can illuminate political and
economic dimensions of literature other approaches overlook.”
7. Mythological Criticism: This approach emphasizes “the recurrent universal patterns
underlying most literary works.” Combining the insights from anthropology, psychology,
history, and comparative religion, mythological criticism “explores the artist’s common
humanity by tracing how the individual imagination uses myths and symbols common to
different cultures and epochs.” One key concept in mythlogical criticism is the archetype,
“a symbol, character, situation, or image that evokes a deep universal response,” which
entered literary criticism from Swiss psychologist Carl Jung. According to Jung, all
individuals share a “‘collective unconscious,’ a set of primal memories common to the
human race, existing below each person’s conscious mind”—often deriving from
primordial phenomena such as the sun, moon, fire, night, and blood, archetypes
according to Jung “trigger the collective unconscious.” Another critic, Northrop Frye,
defined archetypes in a more limited way as “a symbol, usually an image, which recurs
often enough in literature to be recognizable as an element of one’s literary experience
as a whole.” Regardless of the definition of archetype they use, mythological critics tend
to view literary works in the broader context of works sharing a similar pattern.
8. Reader-Response Criticism: This approach takes as a fundamental tenet that
“literature” exists not as an artifact upon a printed page but as a transaction between the
physical text and the mind of a reader. It attempts “to describe what happens in the
reader’s mind while interpreting a text” and reflects that reading, like writing, is a creative
process. According to reader-response critics, literary texts do not “contain” a meaning;
meanings derive only from the act of individual readings. Hence, two different readers
may derive completely different interpretations of the same literary text; likewise, a
 reader who re-reads a work years later may find the work shockingly different. Reader-
response criticism, then, emphasizes how “religious, cultural, and social values affect
readings; it also overlaps with gender criticism in exploring how men and women read
the same text with different assumptions.” Though this approach rejects the notion that a
single “correct” reading exists for a literary work, it does not consider all readings
permissible: “Each text creates limits to its possible interpretations.”
9. Deconstructionist Criticism: This approach “rejects the traditional assumption that
language can accurately represent reality.” Deconstructionist critics regard language as
a fundamentally unstable medium—the words “tree” or “dog,” for instance, undoubtedly
conjure up different mental images for different people—and therefore, because
literature is made up of words, literature possesses no fixed, single meaning. According
to critic Paul de Man, deconstructionists insist on “the impossibility of making the actual
expression coincide with what has to be expressed, of making the actual signs [i.e.,
words] coincide with what is signified.” As a result, deconstructionist critics tend to
emphasize not what is being said but how language is used in a text. The methods of
this approach tend to resemble those of formalist criticism, but whereas formalists’
primary goal is to locate unity within a text, “how the diverse elements of a text cohere
into meaning,” deconstructionists try to show how the text “deconstructs,” “how it can be
broken down ... into mutually irreconcilable positions.” Other goals of deconstructionists
include (1) challenging the notion of authors’ “ownership” of texts they create (and their
ability to control the meaning of their texts) and (2) focusing on how language is used to
achieve power, as when they try to understand how a some interpretations of a literary
work come to be regarded as “truth.”
Cruz, Pejie Rose M.
BSED 3-1
Quiz in SPENG19
Prof. Teresita Quaimbao

2. Critical evaluation of the course; (100 points)

2.1. What insights, concepts, and principles did I learn in the course?
2.2 Did I learn the skills necessary to teach English and Literature?

Answers:

2.1. As a major in English student, Literary Criticism has taught me a lot when it
comes in analyzing a text. My strategy in digging up about a certain text has
expanded into more creative and comprehensive way. Not only had I learned
about many other narratives, authors, and poems but I also learned how to
analyze each of the text with its corresponding literary criticism approach just like
the Hidden Figures, which I used Feminism. In the story by Gilman, The Yellow
Wallpaper, I have also used feminism and psychological approach. Poems like
that of Dylan Thomas and Robert Frost, I have learned to use poem analysis and
incorporate it with social and biological approaches. Also, in analyzing short
stories, I have learned to use the plot analysis, character analysis, point of view
and theme analysis in order to understand the flow of the story in a much simpler
way.

2.2. Yes, I did learn the skills necessary to teach English and Literature. I am not
saying that I already everything but at least I can say that I have learned a lot of
things which in the future I could teach my students.
Cruz, Pejie Rose M.
BSED 3-1
LAS #s 1-5 in SPENG19
Prof. Teresita Quiambao
------------------------------------------
LAS #1.
What are the five basic sentence
pattern? Give five examples each. 5. Subject-Verb-Noun
Examples:
1. Subject-Verb I am the teacher.
Examples: Jon is a carpenter.
The boy plays. The boy is a student.
Jack eats. Rica is a teacher.
Sara sits. Ronald is a driver.
Sita cries.
Rama runs.

2. Subject-Verb-Object
Examples:
The girl pets the cat.
I love apples.
Bill kicks the ball.
Cassey eats the cake.
Margie rolls the carpet.

3. Subject-Verb-Adjective
Examples:
Lisa is pretty.
They are nice.
I am sad.
You are kind.
Jerry is talented.

4. Subject-Verb-Adverb
Examples:
Maria laughs loudly.
The dog jumps high.
Apples are everywhere.
Alyssa runs slowly.
Jake walks quickly.
LAS #2.
Arrange the stories based on the structure of narrative text (setting, characters, plot
development, point of view and theme)

1. Tell-tale Heart by Edgar Allan Poe

2. The Necklace by Guy de Maupassant
--------------------------------------------------------------

Tell-tale Heart by Edgar Allan Poe

Settings
- The setting of the story takes place in the sitting room of a house at night. 
Characters
The Narrator
- Our narrator is such a wreck, it's hard not to feel sorry for him. He's nervous ("very
dreadfully nervous"), paranoid, and physically and mentally ill. He doesn't know the
difference between the "r...
The Old Man
- The old man is even more of a mystery than the narrator, partly because we only see
him through the narrator's skewed perspective. We know he has money (the narrator
shows the old man's "treasures"...
The Three Policemen
- The three policemen don't really have any characteristics. Yet, they play a major role
in driving the plot of the narrator's story, so we should at least consider them. They
seem to be conscientiou...
A Neighbor
- The neighbor plays a small but important role in the narrator's story. As noted in the
old man's "Character Analysis," the neighbor shows us that the narrator and/or the
old man are alienated from...

Plot Development
Exposition
- The narrator wants to show that he's not insane, and offers a story as proof. In that
story, the initial situation is the narrator's decision to kill the old man so that the
man's eye will stop looking at the narrator.

Conflict
- The narrator goes to the old man's room every night for a week, ready to do the dirty
deed. But, the sleeping man won't open his eye. Since the eye, not the man, is the
problem, the narrator can't kill him if the offending eye isn't open.
 Complication
- This isn't much of a complication. The man has to wake up in order for the narrator to
kill him. If the man still wouldn't wake up after months and months of the narrator
trying to kill him, now that would be a conflict.

Climax
- The narrator kills the old man with his own bed and then cuts up the body and hides
it under the bedroom floor.

Suspense
- The narrator is pretty calm and collected when the police first show up. He gives
them the guided tour of the house, and then invites them to hang out with him in the
man's bedroom. But, the narrator starts to hear a terrible noise, which gets louder,
and louder, and…

Denouement
- Well, the noise gets even louder, and keeps on getting louder until the narrator can't
take it anymore. Thinking it might make the noise stop, the narrator tells the cops to
look under the floorboards.

Conclusion
- Up to this moment, the narrator doesn't identify the sound. It's described first as "a
ringing," and then as "a low, dull, quick sound – much such a sound as a watch
makes when enveloped in cotton" (9). Only in the very last line does the narrator
conclude that the sound was "the beating of [the man's] hideous heart!" (10)

Point of View
- ''The Tell-Tale Heart'' is told through the first-person point of view, which means that
the story is being told from the narrator's perspective. The first-person point of view
of this story is especially important because it allows readers to see into the mind of
Poe's unreliable narrator.
Theme
- The main themes in "The Tell-Tale Heart" are the madness and sanity, the
pressure of guilt, and the passage of time. Madness and sanity: the narrator's
attempt to prove his sanity as he explains his meticulous plans for killing the old man
only prove his madness.
 The Necklace by Guy de Maupassant

Setting
- The setting of "The Necklace" is late-nineteenth-century Paris. Specific settings
include Madame Loisel's apartment, her friend Madame Forestier's home, the ball,
streets, and the detailed scenes created by Madame Loisel's imagination.
Characters
Mathilde Loisel
- The protagonist of the story. Mathilde has been blessed with physical beauty but not
with the affluent lifestyle she yearns for, and she feels deeply discontented with her
lot in life. When she prepares to attend a fancy party, she borrows a diamond
necklace from her friend Madame Forestier, then loses the necklace and must work
for ten years to pay off a replacement. Her one night of radiance cost her and
Monsieur Loisel any chance for future happiness.
Monsieur Loisel
- Mathilde’s husband. Monsieur Loisel is content with the small pleasures of his life but
does his best to appease Mathilde’s demands and assuage her complaints. He loves
Mathilde immensely but does not truly understand her, and he seems to
underestimate the depth of her unhappiness. When Mathilde loses the necklace,
Monsieur Loisel sacrifices his own future to help her repay the debt. He pays dearly
for something he had never wanted in the first place.
Madame Forestier
- Mathilde’s wealthy friend. Madame Forestier treats Mathilde kindly, but Mathilde is
bitterly jealous of Madame Forestier’s wealth, and the kindness pains her. Madame
Forestier lends Mathilde the necklace for the party and does not inspect it when
Mathilde returns it. She is horrified to realize that Mathilde has wasted her life trying
to pay for a replacement necklace, when the original necklace had actually been
worth nothing.

Plot Development
Exposition
- Set in Paris, France in 1880. A young middle-class woman dreams of a lifestyle far
beyond her reach. One day, her husband comes home with tickets to attend a very
affluent party, and she is excited to attend, but upset that she will look dowdy.
Rising Action
- At the ball, Mme. Loisel is a hit, everyone loves her. Upon leaving she reaches for
the necklace, and finds it missing. After days of searching, she and her husband
decide to replace it with a one that looks identical. The replacement cost more
money than they make, and it takes them ten years to pay it off.

Conflict
- Mathilde Loisel is not wealthy, yet she dreams to be. Her husband gives her money
to buy a dress, but she is not satisfied until she asks a wealthy friend for a necklace
to borrow.
 Climax
- After ten years of hard work and struggles, the couple pays off all their debts.
Falling Action
- One day Mathilde is walking to the market and sees the friend that she borrowed the
necklace from. She decides to tell her what happened.
Resolution
- The friend Mme. Forestier, tells Mathilde that the necklace was “false”, a fake. The
reader is left contemplating the irony of the situation.

Point of View
- The point of view of this story is that of a third person narrator. The story is not told
from the point of view of Madame Loisel or anyone else who is actually involved in
the story. Instead, it is just some uninvolved narrator. The narrator is omniscient.
Theme
- The main themes in "The Necklace" are greed, deceptive appearances, and beauty
and vanity. Greed: Mathilde Loisel's overwhelming desire to live a life of luxury blinds
her to the comforts she already possesses and ultimately leads to her losing what
wealth and status she initially has.
LAS #3.
1. Submit the Plot analysis of The Necklace
Submit the character analysis of The Necklace
Submit the point of view anakysis of The Necklace

2. Submit the Plot analysis of Tell-tale Heart

Submit the character analysis of the Tell-tale Heart
Submit the point of view analysis of the Tell-tale Heart

3, Apply the approach that will be applicable to the text and defend it.

Plot Analysis of The Necklace

Exposition

- Set in Paris, France in 1880. A young middle-class woman dreams of a

lifestyle far beyond her reach. One day, her husband comes home with
tickets to attend a very affluent party, and she is excited to attend, but
upset that she will look dowdy.

Major Inciting Conflict

- Mathilde Loisel is not wealthy, yet she dreams to be. Her husband gives
her money to buy a dress, but she is not satisfied until she asks a wealthy
friend for a necklace to borrow.

Rising Action

- At the ball, Mme. Loisel is a hit, everyone loves her. Upon leaving she
reaches for the necklace, and finds it missing. After days of searching,
she and her husband decide to replace it with a one that looks identical.
The replacement cost more money than they make, and it takes them ten
years to pay it off.

Climax

- After ten years of hard work and struggles, the couple pays off all their
debts.

Falling Action

- One day Mathilde is walking to the market and sees the friend that she
borrowed the necklace from. She decides to tell her what happened.

Resolution

- The friend Mme. Forestier, tells Mathilde that the necklace was “false”, a
fake. The reader is left contemplating the irony of the situation.
Character Analysis of The Necklace

Madame Loisel

- Beautiful Mathilde Loisel was born into a family of clerks, and her utter conviction
that her station in life is a mistake of destiny leads her to live her life in a constant
rebellion against her circumstances. Although she has a comfortable home and
loving husband, she is so unsatisfied that she is virtually oblivious of everything but
the wealth she does not have. Her desire for wealth is a constant pain and turmoil.
She cannot visit her wealthy friend Madame Forestier without being overcome with
jealousy, and the idea of going to a party without expensive clothes drives her to
tears. Mathilde is a raging, jealous woman who will do anything in her power to
reverse the “mistake of destiny” that has plunged her into what she perceives as a
wholly inappropriate and inadequate life.

Mathilde is happy at only one point in “The Necklace”: on the night of the party, when
her new dress and borrowed jewels give her the appearance of belonging to the
wealthy world she aspires to. Fully at ease among the wealthy people at the party,
Mathilde feels that this is exactly where she was meant to be—if it hadn’t been for
the mistake of destiny. She forgets her old life completely (her husband dozes in an
empty room for most of the night) and immerses herself in the illusion of a new one.
Her moment of happiness, of course, is fleeting, and she must spend the next ten
years paying for the pleasure of this night. However, her joy was so acute—and her
satisfaction, for once, so complete—that even the ten arduous years and her
compromised beauty do not dull the party’s memory. Just as Mathilde was oblivious
to the small pleasures that her life once afforded her, she is oblivious to the fact that
her greed and deception are what finally sealed her fate.

Monsieur Loisel

- Monsieur Loisel’s acceptance and contentment differ considerably from

Mathilde’s emotional outbursts and constant dissatisfaction, and although
he never fully understands his wife, he does his best to please her. When
he comes home bearing the invitation to the party, he expects Mathilde to
be excited and is shocked when she is devastated. He cannot understand
why Mathilde will not wear flowers to the party in lieu of expensive jewelry
—in his view, that they cannot afford expensive jewelry is simply a fact of
their life, not something to be railed against. When Monsieur Loisel tries
to appease Mathilde, he does so blindly, wanting only to make her happy.
When she declares that she cannot attend the party because she has
nothing to wear, he gives her money to purchase a dress. While she
complains she has no proper jewelry, he urges her to visit Madame
Forestier to borrow some. When she dances all night at the party, he
dozes in a coat room and allows her to enjoy herself.

Monsieur Loisel’s eagerness and willingness to please Mathilde becomes

his downfall when she loses the necklace. He is the one to venture back
into the cold night to search for the necklace in the streets, even though
he is already undressed and has to be at work in a few short hours. He is
the one who devises a plan for purchasing a replacement necklace and
 orchestrates the loans and mortgages that help them pay for it. Although
this decision costs him ten years of hard work, he does not complain or
imagine an alternate fate. It is as though his desires do not even exist—
or, at the very least, his desires are meaningless if they stand in the way
of Mathilde’s. The money he gives her for a dress had been earmarked
for a gun, but he sacrifices this desire without a word—just as he mutely
sacrifices any hope of happiness after he buys the necklace. Rather than
force Mathilde to be accountable for her actions, he protects her,
ultimately giving up his life so that she can relish her one moment of well-
dressed happiness.

Madame Forestier

- Mathilde’s wealthy friend. Madame Forestier treats Mathilde kindly, but

Mathilde is bitterly jealous of Madame Forestier’s wealth, and the
kindness pains her. Madame Forestier lends Mathilde the necklace for the
party and does not inspect it when Mathilde returns it. She is horrified to
realize that Mathilde has wasted her life trying to pay for a replacement
necklace, when the original necklace had actually been worth nothing.

Point of View Analysis of The Necklace

- Guy de Maupassant utilizes third person limited narration in his short
story "The Necklace." Using the third person limited point of view, the
reader knows the thoughts and feelings of one character, primarily the
main character in the story, and all the characters are described using the
pronouns 'he,' 'she,' or 'they.' Unlike the third person omniscient point of
view, where the reader knows the thoughts and feelings of every
character, the third person limited narrator allows Guy de Maupassant to
create a surprise ending. In the story, Mathilde Loisel's thoughts and
feelings are vividly described and the reader senses that she is a
completely superficial, shallow woman, who values appearances and
desperately wishes to experience a life of luxury. Her husband's thoughts
and feelings are rather insignificant and Madame Forestier's thoughts are
never revealed.
 Plot Analysis of the Tell-tale Heart

Exposition

- The narrator is introduced. He wishes to prove his sanity to the readers despite
having killed a man over his deformed eye.

Major Inciting Conflict

- The narrator lives in the same building as an old man who has a disturbing eye.
The narrator says that it is deformed, looking like a vulture's eye with a film
covering it.

Rising Action

- Over the next eight days the narrator plots killing the old man to get rid of the
"eye". Each night he enters the old man's room with a lantern until he sees the
eye.

Climax

- Finally, one evening, the old man wakes up and screams. Then the narrator pulls
the man off the bed and smothers him with his mattress until he can no longer
hear the old man's heart beating.

Falling Action

Summoned by a neighbor, the police arrive, citing that someone reported a scream.
The narrator tries to cover up by saying it was him that screamed, and that the old
man was out of town.

Resolution

The story ends when the narrator believes he hears a ticking noise that grows louder
and louder. He believes that it is the sound of the old man’s heart and confesses to
the police.

Character Analysis of Tell-tale Heart

Narrator

- Like many of Poe’s other main characters, the narrator of “The Tell-Tale Heart” is
unreliable. The narrative unfolds as he confesses his crimes to an unknown third
party (and by extension, the readers). Rather than being concerned with his crimes
or the consequences of his actions, the narrator is obsessed with proving his sanity.
He uses evidence of the systematic precision with which he carried out the murder.
 However, these overly meticulous actions ironically prove his insanity rather than his
sanity. The narrator claims that he suffers from “nervousness” that causes an “over-
acuteness of the senses.” This is the only explanation he gives for his motives and
obsession with the old man’s eye.

Old Man

- The old man has a clouded, pale, blue eye, which is the only thing that the narrator
describes about his appearance. The narrator claims that he loved the old man, but it
is unclear what the relationship is between them. The narrator mentions that the old
man has “gold” but does not indicate that he works for the old man. He might be a
tenant in the old man’s house or both men had rented rooms in a boardinghouse; he
might be some kind of caretaker. There is evidence for and speculation about all
types of relationships between the two characters, but it is important to note that the
narrator keeps their relationship a mystery; he reduces the old man to nothing more
than his eye.

Point of View Analysis of Tell-tale Heart

- ''The Tell-Tale Heart'' is told through the first-person point of view, which means that
the story is being told from the narrator's perspective. The first-person point of view
of this story is especially important because it allows readers to see into the mind of
Poe's unreliable narrator.
LAS #4.

1. Make a critical evaluation of The Necklace using Formalist Approach

2. Do a critical review of Don Quixote dela Mancha using Formalist Approach/
Psychological Approach
3. Make a literary discussion of Tell-tale Heart using Psychological Approach

Critical Evaluation of The Necklace (Formalist Approach)

- The Necklace lends itself to analysis from the formalist perspective because of the
deeply meaningful symbols referenced in the story. The necklace itself, for which the
story was named, is a deeply meaningful symbol. The assumption that the necklace
is more than simply a necklace, but a deeply meaningful symbol that gives insight
into the deeper meaning of the story paves the way for a Formalist reading of this
story.

The assumption that symbols that appear in a story are important to understanding
the overall meaning of a story can be applied to a formalist reading of The Necklace.
A compelling argument can be made that the necklace itself in the story is the most
important symbol in attempting to understand the story. The necklace isn’t just a
necklace, and only by defamiliarizing oneself with this familiar object can the reader
discover what this symbol actually stands for. To find meaning in this story from a
Formalist perspective, one must only look at the text (Bertens). What objects or ideas
present in The Necklace actually stand for other concepts? In The Necklace, the
necklace that Mathilde borrowed is a key symbol in interpreting the meaning of the
story.

From a formalist perspective, the symbol of the necklace the is key to interpreting the
story. The necklace, though it appeared beautiful and very valuable, was actually
worthless. The necklace symbolizes the main character, Mathilde’s, obsession with
her own beauty and being perceived as wealthy. Like the necklace, Mathilde is
beautiful, but she doesn’t have much worth as a person. She wasn’t born into a
wealth family, as she tries to appear, and she doesn’t have any skills that would
allow her to be independent without needing a husband. She was deceived by
Madame Forestier into believing that the necklace was valuable in the same way she
deceived her husband into sacrificing everything for her (De Maupassant).

The Necklace can easily be interpreted from a formalist perspective if the reader

becomes defamiliarized with common everyday objects that appear in the story and
view the necklace itself as a symbol of the main character’s place in society. Both
Mathilde and the necklace are beautiful, but neither has the monetary worth they
appear to have. This interpretation is based entirely on the content and language of
the story and doesn’t require the reader to be familiar with the author’s life or other
works, or with the society and time period in which it was written. This formalist
interpretation stands on its own and relies on the text itself.
Critical Review of Don Quixote dela Mancha (Psychological Approach)

- Many critics maintain that the impulse that prompted Miguel de Cervantes (1547 –
1616) to begin his great novel was a satiric one: He desired to satirize chivalric
romances. As the elderly Alonso Quixano the Good (if that is his name) pores over
the pages of these books in his study, his “brain dries up” and he imagines himself to
be the champion who will take up the vanished cause of knighterrantry and wander
the world righting wrongs, helping the helpless, defending the cause of justice, all for
the greater glory of his lady Dulcinea del Toboso and his God.

As he leaves his village before dawn, clad in rusty armor and riding his broken-down
nag, the mad knight becomes Don Quixote de la Mancha. His first foray is brief, and
he is brought back home by friends from his native village. Despite the best efforts of
his friends and relations, the mad old man embarks on a second journey, this time
accompanied by a peasant from his village, Sancho Panza, who becomes the
knight’s squire. The Don insists on finding adventure everywhere, mistaking
windmills for giants, flocks of sheep for attacking armies, puppet shows for real life.
His squire provides a voice of down-to-earth reason, but Quixote always insists that
vile enchanters have transformed the combatants to embarrass and humiliate him.
Don Quixote insists on his vision of the ideal in the face of the cold facts of the world;
Sancho Panza maintains his proverbial peasant wisdom in the face of his master’s
madness.
In their travels and adventures, they encounter life on the roads of Spain. Sometimes
they are treated with respect— for example, by “the gentleman in green” who invites
them to his home and listens to Quixote with genuine interest—but more often they
are ridiculed, as when the Duke and Duchess bring the knight and squire to their
estate only for the purpose of mocking them. Finally, a young scholar from Quixote’s
native village, Sampson Carrasco, defeats the old knight in battle and forces him to
return to his home, where he dies peacefully, having renounced his mad visions and
lunatic behavior.

Literary discussion of Tell-tale Heart (Psychological Approach)

- Edgar Allan Poe's "The-Tell Tale Heart" delves into the human psyche as it entails
the story of an unnamed narrator who tells the tale of the murder he commits.
Undergoing an emotional rollercoaster of pleasure and guilt, Poe's protagonist
maintains his claim to sanity and a sense of reality. Poe articulates many tone and
rhythm changes to create a sense of tension representing the narrator's mental
condition. Throughout the narrative, the narrator struggles to reassure that there is
nothing wrong with him and that he is completely normal. Exploring the themes of
madness, guilt, and a false sense of reality, Poe's narrator suffers from a sense of
false narrative, a trait characteristic of schizophrenia. In addition, the narrator
demonstrates episodes of delusions, auditory hallucinations, diminished emotional
responses, and significant disturbances to his normal routine which all allude to
schizophrenia. I will utilize the DSM-5 criteria, literary criticisms, and other
publications to show the audience the schizophrenic nature of Poe's narrator. I plan
on discussing the DSM-5 criteria for schizophrenia and demonstrating how the
narrator meets those criteria in several circumstances. Utilizing vivid imagery and a
scattered style, Poe explores the mental depths of a man suffering from
schizophrenia.
LAS #5.

1. Present your own analysis about the argument of William Faulkner in Man will prevail.
(20 pts)

According to William Faulkner, he believes that man will not merely endure: he will
prevail. He is immortal, not because he alone among creatures has an inexhaustible
voice, but because he has a soul, a spirit capable of compassion and sacrifice and
endurance. The poet's, the writer's, duty is to write about these things. It is his privilege
to help a man endure by lifting his heart, by reminding him of the courage, honor, hope,
pride, compassion, pity and sacrifice which has been the glory of his past. The poet's
voice need not merely be the record of man, it can be one of the props, the pillars to help
him endure and prevail. In this paragraph, the author wants to give a tribute to all the
men for being a responsible to their doings and actions.

2. Write an interpretation on the moral and social relevance of the text Hidden figures. (20
pts)

My interpretation when I watched the Hidden Figures movie is that in general we are not
superior to others. Whatever races, religion, or country we belong we should not be
racist and not to be entitled. Skin color and physical appearance are not the basis to
degrade a person in fact we are all equal and unique. It’s already 21st century, and being
racist makes you a person with lack of understanding and for me racist people are the
one to be avoided because they make the environment and society toxic.

3. Apply the literary approach Feminism on the text Hidden Figures using the parts of the
essay (introduction, body and conclusion).

Hidden Figures shows the struggle of the three black American women. Seeing the cast
of the movie, we all know that the movie will be focused to the three women and the
circumstances that they will encounter in their life. In the movie ‘Hidden Figures’, the
three of them encountered trials in their life but they proved that they are women and
they can do things that people in the society think that they can’t. In my conclusion, we
are all equal and gender doesn’t matter if we can do things and if makes us happy.
READING REPORT in LITERARY CRITICISM – SPENG19
(Subject Code & Description)

Date: FINALS

The title of the book/ article I have read is:

________________________________________________________

AUTHOR’S LOGIC: The author is conveying the message/idea of:

Example: “Green” branding of businesses has gone too far and no longer carries the same sort of
impact it once did. Today, so many people are concerned with the environment that many businesses try
to represent themselves as being “green.” They want to have a reputation for being environmentally
conscious.
Literary criticism is the comparison, analysis, interpretation, and/or evaluation of works of literature.
Literary criticism is essentially an opinion, supported by evidence, relating to theme, style, setting or
historical or political context.

STUDENT’S LOGIC: Provides learners with an opportunity to reflect and think about how they actually solve
problems and how a particular set of problem solving strategies is appropriate for achieving their goal. What is to be
accomplished/learned?

Example: In support of the Supermarket “Green” initiatives, I bring my own shopping bags for grocery
shopping and say no to plastic bags.
Knowing how to analyze, compare, interpret, and evaluate a text is essential in becoming an English
teacher because you will be the one to impart to the students the relevance of reading comprehension
which is very essential to mold them into becoming globally competent students of their generation.

VISION: MAN OF GOD – VIR ENIM DEI. “A leading transformational leadership institution with a
unique Gabrielian Culture of Discipline, Socially Responsible, Interdependent, Functionally
Productive, Godly Individuals and reaching the marginalized to thrive in the global community.

In aligning to the Vision and Mission of the College, I can apply what I have learned from my readings by:
Example: Being more aware about eco-friendly practices you can adopt at home so that we can make a positive
difference as socially responsible graduates.
As a socially responsible individual, I will do my best to learn basic and fundamentals about English
language and literature in order for me to become an effective and efficient teacher after the end of the
course,
Prepared by: Checked by:

CRUZ, PEJIE ROSE M. Prof. Teresita Quiambao Student

Professor
LEARNING DIARY in LITERARY CRITICISM – SPENG19
(Subject Code & Description)

Date: FINALS

I learned in our prayer that always pray to our Lord God and trust on his work every
day to your life.

My action today is to put down notes all my learnings to this subject.

In our lessons for today, I have learned about:

Literary criticism, the reasoned consideration of literary works and issues. It applies, as a term, to
any argumentation about literature, whether or not specific works are analyzed. Plato’s cautions
against the risky consequences of poetic inspiration in general in his Republic are thus often
taken as the earliest important example of literary criticism. The functions of literary criticism
vary widely, ranging from the reviewing of books as they are published to systematic theoretical
discussion. In general, to interpret something is to make it personally meaningful. Our brain
takes raw data from the senses and makes it meaningful by relating it to our previous
experiences. We may, for example, respond to a loud noise by saying "That sounded like a
gunshot." When we read or hear a sentence, we put the words together into a meaningful whole,
rather than just noting their separate dictionary definitions. Most everyday language is fairly
straightforward and requires little interpretation. A liberal and a conservative who read a
newspaper editorial against the death penalty may disagree with each other on that particular
issue, but (unless the editorial is badly written) they will agree that the writer is against capital
punishment. That is, they won't have different interpretations of what the article means.
Language usually requires special interpretation, however, when it is ambiguous or unclear. In
order to clarify a sarcastic statement, for example, we may ask a question like "What did you
mean by that remark?" or "Are you serious?" Because literature (other than propaganda) presents
us with more than one possible meaning, interpreting literature requires more care and attention
than does responding to an essay. Approaching literature with an inquiring attitude helps
maintain this fruitful complexity.
in my own words, and apply them in our activities.

VISION: MAN OF GOD – VIR ENIM DEI. “A leading transformational leadership insti
tution with a unique Gabrielian Culture of Discipline, Socially Responsible, Interdependent,
Functionally Productive, Godly Individuals and reaching the marginalized to thrive in the
global community.
I can connect my learning today with the vision and mission of our school by:
I’ll use my learnings to my everyday life in order to be a good and also to contribute on my
community.
Prepared by: Checked by:
PEJIE ROSE M. CRUZ TERESITA QUIAMBAO

Student Professor/ Instructor