English for Academic and Professional Purposes G-11 Q1-M2, Cheat Sheet of English

Download English for Academic and Professional Purposes G-11 Q1-M2 and more Cheat Sheet English in PDF only on Docsity! SENIOR HIGH SCHOOL English for Academic and Professional Purposes Quarter 1 - Module 2 Reaction Paper and Concept Paper ar DELIVERY MODE Department of Education e Republic of the Philippines English for Academic and Professional Purposes Alternative Delivery Mode Quarter 1 - Module 2: Reaction Paper and Concept Paper First Edition, 2020 Republic Act 8293, section 176 states that: No copyright shall subsist in any work of the Government of the Philippines. However, prior approval of the government agency or office wherein the work is created shall be necessary for exploitation of such work for profit. Such agency or office may, among other things, impose as a condition the payment of royalties. Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names, trademarks, etc.) included in this book are owned by their respective copyright holders. Every effort has been exerted to locate and seek permission to use these materials from their respective copyright owners. The publisher and authors do not represent nor claim ownership over them. Published by the Department of Education — Region X — Northern Mindanao. Development Team of the Module Writers: Noemi M. Abellanosa and Ma-an C. Actub Content Editor: Malyn P. Vidal Language Editor: Janet M. Abao Proofreader: Marcres R. Lee Illustrator: Mary Grace S. Ladoroz Layout Artist: Rheza Mae M. Pacut Development Team: Chairperson: Dr. Arturo B. Bayocot, CESO III Regional Director Co-Chairpersons: Dr. Victor G. De Gracia Jr. CESO V Assistant Regional Director Jonathan S. dela Pefia, PhD, CESO V Schools Division Superintendent Rowena H. Para-on, PhD Assistant Schools Division Superintendent Mala Epra B. Magnaong, Chief ES, CLMD Members: Neil A. Improgo, PhD, EPS-LRMS; Bienvenido U. Tagolimot, Jr., PhD, EPS-ADM; Erlinda G. Dael, PhD, C/D Chief, Maria Teresa M. Absin, EPS (English); Celieto B. Magsayo, LRMS Manager, Loucile L. Paclar, Librarian II; Kim Eric G. Lubguban, PDO II Regional Evaluator: Marjorie C. Tagacay — Lanao del Norte Division Printed in the Philippines by Department of Education - Alternative Delivery Mode (DepEd-ADM) Office Address: Masterson Avenue, Upper Balulang, Zone 1, Cagayan de Oro City, Cagayan de Oro, Lalawigan ng Misamis Oriental Telefax: E-mail Address: TABLE OF CONTENTS Page No. OVERVIEW 1 MODULE CONTENT 1 PRETEST 3 Lesson 1 Activity 1 7 Activity 2 12 Activity 3 13 Activity 4 16 Activity 5 17 Lesson 2 Activity 1 19 Activity 2 27 Activity 3 28 Activity 4 29 Lesson 3 Activity 1 33 Activity 2 35 Activity 3 35 Activity 4 36 Activity 5 37 Lesson 4 Activity 1 39 Activity 2 43 Activity 3 47 Activity 4 48 POST TEST 50 REFERENCES 53 WHAT I NEED TO KNOW For the Learners Congratulations for completing module 1! You have come to module 2. You are now ready for the next step of learning English for Academic and Professional Purposes. This module will let you try to write different technical or scientific reports applicable to your strand. This is already the last part of the course so give it your best efforts. To learn more effectively, do not forget to enjoy learning. Good luck! Module Content This is where you start to write reaction papers and concept papers which are needed in your future careers. These will also allow you to become critical thinkers and creative writers. These are the competencies covered in the lessons: e Uses appropriate critical writing a critique such as formalism, feminism, etc. (CS_EN11/12A-EAPP-Id-f-16) e Writes an objective/balanced review or critique of a work of art, an event or a program (CS_EN11/12A-EAPP-Id-f-18) e Determines the ways a writer can elucidate on a concept by definition, explication and clarification (CS_EN11/12A-EAPP-Ig-j-20) e Compare and contrast various kinds of concept papers: Home Economics; Agri. Fishery; I.A; ICT (CS_EN11/12A-EAPP-lg-j-23) e Presents a novel concept or project with accompanying visuals/ graphic aids (CS_EN11/12A-EAPP-Ig-j-24) To do well in this module, you need to remember the following: 1. Please DO NOT write anything in this module. Write your answers in your notebook. 2. Read texts carefully so that you can easily comprehend what you are reading. 3. Answer questions with all honesty. Success does not come from copying from others. It is made possible by trying hard on your own so that you can learn even from your mistakes. 4. Review your answers. It is safe to go back and think about what you have written. This can help you lessen if not avoid errors. 5. Follow instructions given and ask if there is something that you did not understand. 6. Do the tasks given and do not delay in submitting requirements. This can help you avoid having a pile of unfinished activities. 7. Feel free to communicate with your teacher. There is no harm in asking for clarification so that you will not be lost in confusion. 8. Remember to review every time you are done answering the activities. 9. Have fun as you learn. This course is very important no matter what your strand is. When you have fun, you can easily learn the lessons. a For the Facilitator Your role is to help learners be able to do more critical thinking and apply strategies that will help them express their ideas. Encourage the learners to create their own outputs and assist them in the lessons that they may find difficult. Please take note of the following: . Explain to the learners the different parts of the module and how it should be used. . Do not give points to their answers in the process questions; rather, use their responses as your formative assessment. This will give you an idea of how the learners process their understanding. . Monitor their answers and remember to give feedback whenever necessary. Every time they submit an output, give your feedback so that they can immediately correct and adjust. . The self -review will help you assess how ready they are for the next lesson. See what they have chosen so that you can help them if they have chosen the icon that refers to having more difficulty. . Use the What’s More activities as scaffolds for them to do the What | Can Do activity which is the application part of the lesson. As a facilitator, you do not need to do lectures since the module is vey talking to the learner. God Bless! 14. This critical approach assumes that language does not refer to any external reality. It can assert several, contradictory interpretations of one text. A. Structuralism B. Deconstructionism C. Formalist Criticism D. Mimetic Criticism 15. A critic examining John Milton's "Paradise Lost" focuses on the physical description of the Garden of Eden, on the symbols of hands, seed, and flower, and on the characters of Adam, Eve, Satan, and God. He pays special attention to the epic similes and metaphors and the point of view from which the tale is being told. He looks for meaning in the text itself, and does not refer to any biography of Milton. He is most likelya___ critic. A. Formalist B. Mimetic C. Reader Response D. Feminist 16. This literary critic warned: "We must remember that the greater part of our current reading matter is written for us by people who have no real belief in a supernatural order . . . And the greater part . . . is coming to be written by people who not only have no such belief, but are even ignorant of the fact that there are still people in the world so 'backward' or so ‘eccentric’ as to continue to believe." A. Matthew Arnold B. C.S. Lewis C. T.S. Eliot D. G.K. Chesterton 17. A critic of Thomas Otway's "Venice Preserv'd" wishes to know why the play's conspirators, despite the horrible, bloody details of their obviously brutish plan, are portrayed in a sympathetic light. She examines the author's life and times and discovers that there are obvious similarities between the conspiracy in the play and the Popish Plot. She is most likely a critic. A. Tory B. Historical C. Feminist D. Psychological 18. This poet might be described as a moral or philosophical critic for arguing that works must have "high seriousness." A. T.S. Eliot B. Virginia Woolf C. Elizabeth Browning D. Matthew Arnold 19. A critic examining Pope's "An Essay on Man" asks herself: How well does this poem accord with the real world? Is it accurate? Is it moral? She is most likely a critic. A. Mimetic B. Formalist C. Feminist D. Reader Response 20. One of the potential disadvantages of this approach to literature is that it can reduce meaning to a certain time frame, rather than making it universal throughout the ages. A. Historical B. Feminist C. Formalist D. Mimetic CRITICAL APPROACHES IN WRITING A CRITIQUE WHAT I NEED TO KNOW Learning Objectives: At the end of the lesson, the learners shall be able to 1. define critique; 2. identify the various approaches writing a critique; 3. criticize the texts using the different approaches of criticism; and 4. apply the appropriate critical approaches in writing your critique. WHAT'S NEW ACTIVITY 1. SAY SOMETHING ACTIVITY Directions: Take a look at this picture and give at least five (5) points that you see in the picture. Write your answers in your notebook. Process Questions: Write your answers in your notebook. 1. How did you find the picture? 2. By looking at the picture, are you thinking about the beautiful nature? 3. What about the location? 4. Did it cross to your mind who is responsible of taking care of the nature? 5. What about the feeling of the lady jumping onto the water? 6. Did you ask yourself if you would want to do the same? 7 patriarchal attitudes that have dominated western thought have resulted, consciously or unconsciously, in literature “full of unexamined ‘male-produced’ assumptions.” 3. 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 “examining 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.” Feminist Criticism examines images of women and concepts of the feminine in myth and literature; uses the psychological, archetypal, and sociological approaches; often focuses on female characters who have been neglected in previous criticism. Feminist critics attempt to correct or supplement what they regard as a predominantly male-dominated critical perspective. Questions to be asked for Feministic Approach . How are women’s lives portrayed in the work? . ls the form and content of the work influenced by the writer's gender? . How do male and female characters relate to one another? Are these relationships sources of conflict? Are these conflicts resolved? . Does the work challenge or affirm traditional views of women? . How do the images of women in the story reflect patriarchal social forces that have impeded women’s efforts to achieve full equality with men? What marital expectations are imposed on the characters? What effect do these expectations have? G. What behavioral expectations are imposed on the characters? What effect do H mo OWD> m these expectations have? . Ifa female character were male, how would the story be different (and vice versa)? |. How does the marital status of a character affect her decisions or happiness? 4. Historical: 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. Questions to be Asked for Formalistic Approach A. How does it reflect the time in which it was written? B. How accurately does the story depict the time in which it is set? C. What literary or historical influences helped to shape the form and content of the work? D. How does the story reflect the attitudes and beliefs of the time in which it was written or set? (Consider beliefs and attitudes related to race, religion, politics, gender, society, philosophy, etc.) . What other literary works may have influenced the writer? What historical events or movements might have influenced this writer? mm 10 G. How would characters and events in this story have been viewed by the writer's contemporaries? H. Does the story reveal or contradict the prevailing values of the time in which it was written? Does it provide an opposing view of the period’s prevailing values? |. How important is it the historical context (the work's and the reader's) to interpreting the work? 5. 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. 6. Structuralism focused on how human behavior is determined by social, cultural and psychological structures. It tended to offer a single unified approach to human life that would embrace all disciplines. The essence of structuralism is the belief that “things cannot be understood in isolation, they have to be seen in the context of larger structures which contain them. For example, the structuralist analysis of Donne's poem, Good Morrow, demands more focus on the relevant genre, the concept of courtly love, rather than on the close reading of the formal elements of the text. 7. Sociological focuses on man’s relationship to others in society, politics, religion, and business. Questions to be asked for Sociological Approach What is the relationship between the characters and their society? Does the story address societal issues, such as race, gender, and class? How do social forces shape the power relationships between groups or classes of people in the story? Who has the power, and who doesn’t? Why? How does the story reflect the Great American Dream? How does the story reflect urban, rural, or suburban values? What does the work say about economic or social power? Who has it and who doesn't? Any Marxist leanings evident? . Does the story address issues of economic exploitation? What role does money play? How do economic conditions determine the direction of the characters’ lives? Does the work challenge or affirm the social order it depicts? Can the protagonist's struggle be seen as symbolic of a larger class struggle? How does the microcosm (small world) of the story reflect the macrocosm (large world) of the society in which it was composed? L. Do any of the characters correspond to types of government, such as a dictatorship, democracy, communism, socialism, fascism, etc.? What attitudes toward these political structures/systems are expressed in the work? 770 OWD> Aor ®D Now, you have learned the basic principles of writing criticisms. Let's apply our skill by doing these activities. 11 WHAT I CAN DO ACTIVITY 2 Directions: Summarize what you have read by completing the table with what you understood. Write your answers in your notebook. APPROACHES IN WHAT IT IS HOW IT IS DONE Cuireem (DEFINITION) (TECHNIQUE IN WRITING) Example: This approach regards A primary goal for formalist literature as “a unique form _ critics is to determine how Formalism of human knowledge that elements of form (style, needs to be examined on structure, tone, imagery, its own terms.” etc.) work together with the text's content to shape its effects upon readers. 12 (8) | am sure this will be increasingly done by our president, by consistent personal example she has set a pattern for others to follow. | know she is bent on pursuing the battle against corruption with ever more forceful and energetic action. But we know, we know that she and those around her cannot do this all by themselves. As citizens, we must go “into an action mode ourselves.” The task cannot be done without us. (9) We must begin, rather, where we can begin, with ourselves we must ask: What can we do about it? What in our own heart, in our own attitudes, in our own practices, must be changed? What sacrifices must we ourselves do to make a positive contribution of deeds, to put under control this chronic illness in our society, and in our culture? (10) If all we do is talk and talk, and throw dirt at each other-forgetting to mind the ship and its engines, and steer it in mine-filled waters-why, we will still be taking and quarrelling when our ship goes down into the sea! (11) If everyone in this church this morning, in Ninoy’s memory, pledge before the Lord that for one year, “Bayan Muna, Bago ang Sarili’, would really be made an operative guideline, could it not mark at least a beginning? If for one year, just to get going, we would make the principle govern our deeds, our conduct in society, would that not be smart already? How can we “dream the impossible dream” and promise to follow the stars” if we have become too calloused to do even this? Answer the questions given: Write your answers in your notebook. 1. What critical approach did he use? Explain why you think that is the approach. 2. Do you agree with the author or not? Why or why not? What you have read is an example of how one expresses opinions using one approach in criticism. This can be a good model for you to study and follow. 15 ACTIVITY 4 Directions: Read the poem “Adam”, by Hugh Cook critically. Criticize it using formalistic and feministic approaches. Write your answers on your notebook. ADAM by Hugh Cook “Eden is boring. Nothing explodes. There are no trains to fall off the tracks. And Adam finds himself With something missing. Comic books? Broadband? Balsamic vinegar? Pachinko? Razor blades? Plasma TV? He's aware of an itch And scratching Has yet to be invented. He eyes the fruit, The One Forbidden Thing. "Not yet," says the serpent, Who's seen the script. But Adam is engineered for impatience: Quests, missions, objectives, Grails unholy or otherwise. "Out!" says the angel. And Adam shrugs, Loses the core, Strides to the open gate. Something on two legs Is running after him.” Cook, Hugh - Adam. 2003 16 ACTIVITY 5 Directions: Read or silently sing this song entitled “Bahay” by Gary Granada. Make your criticism by completing the graphic organizer in the next page. Write your answers in your notebook. Bahay by: Gary Granada Isang araw ako'y nadalaw sa bahay tambakan Labinglimang mag-anak ang duo'y nagsiksikan Nagtitiis sa munting barung-barong na sira-sira Habang doon sa isang mansyon halos walang nakatira Sa init ng tabla't karton sila doo'y nakakulong Sa lilim ng yerong kalawang at mga sirang gulong Pinagtagpi-tagping basurang pinatungan ng bato Hindi ko maintindihan bakit ang tawag sa ganito Ay bahay Sinulat ko ang nakita ng aking mga mata Ang kanilang kalagayan ginawan ko ng kanta Iginuhit at isinalarawan ang naramdaman At sinangguni ko sa mga taong marami ang alam Isang bantog na senador ang unang nilapitan ko At dalubhasang propesor ng malaking kolehiyo Ang pinagpala sa mundo, ang dyaryo at ang pulpito Lahat sila'y nagkasundo na ang tawag sa ganito Ay bahay Maghapo't magdamag silang kakayod, kakahig Pagdaka'y tutukang nakaupo lang sa sahig Sa papag na gutay-gutay, pipiliting hihimlay Di hamak na mainam pa ang pahingahan ng mga patay 17 2. Are your lists based on facts? How do you know? 3. Do you consider your lists as your opinions? Why? WHAT IS IT A. What is balanced/objective review or criticism? It is a system of interpreting, judging, and assessing a person, thing, or any work of art not influenced by feelings or opinions in considering and presenting facts. It is a systematic way of considering the truthfulness of a piece of work. B. To have balanced/objective review of any piece of work, the following are considered: 1. Description. Pure description of the object, piece of work, art, event, etc. It answers the questions: a. artwork - "What do you see?" (description constitutes form of art, medium, size and scale, elements or general shapes, color, texture of surface, and context of object). b. piece of writing - "What do you see?" (form, structure, choice of words, length, genre, etc) 2. Analysis. Determining what the features suggest and deciding why the artist or writers used such features to convey specific ideas. It answers the questions: a. artwork - "How did the artist do it?" b. piece of writing-"How did the writer write it?" The analysis constitutes the following: determination of subject matter, analysis of the principles of design or composition, use of symbol and other 20 elements, portrayal of movement and how it is achieved, effect of particular medium, relationships of each part of the composition to the whole and to each other part, and reaction to object. 3. Interpretation. Establishing the broader context for this type of art. It answers the questions: a. artwork - "Why did the artist create it and what does it mean? b. piece of writing - "Why did the write create it and what does it mean? Remember: you shouldn't make your interpretation too arbitrary! Provide evidence and point out what exactly influenced your understanding of the artwork. Here are the elements that you can include in your interpretation: How does this art object make you feel? What do you think of when you're looking at the artwork? What did the artist want to tell you as a viewer? What do you think about the title of the work? Does it influence your interpretation? = If you can't understand a painting or a sculpture, don’t hurry to give a negative response to it. Think of other critics who have provided a positive evaluation of the examined artwork. It doesn’t mean you shouldn't have your opinion! All you need is to find a good way to express it. E.g., in this painting, the artist wanted to show us the king’s personality and achievements. The interpretation constitutes: (a) Main idea (overall meaning of the work), (b) Interpretive Statement (Can | express what | think the artwork is about in one sentence), and (c) Evidence (What evidence inside or outside the artwork supports my interpretation?). 4. Judgment. Judging a piece of work means giving it rank in relation to other works and of course considering a very important aspect of the visual arts; its originality. It answers the questions “/s it a good artwork?” Is it a good composition? Here are some points that can help you write your judgment: How do you think: is the work successful or not? Does this art object seem original or not? What do you feel when looking at this piece of artwork? Go back to your first impression. Has anything changed? What did you learn? If nothing changed, explain your first reaction to the work. e What have you learned from this work that you might apply to your own artwork or your thinking? In judging the piece of work, there must be: 21 (a) Criteria (What criteria do | think are most appropriate for judging the artwork or writing?), (b) Evidence (What evidence inside or outside the artwork or piece of writing relate to each criterion?)’ and (c) Judgment (Based on the criteria and evidence, what is my judgment about the quality of the artwork or piece of writing?). E.g., the artwork successfully conveys the atmosphere of a battle through its composition and color scheme. Learning about its backstory helped me to appreciate the painting even more. C. How to Critique Different Art Forms As you can imagine, all kinds of masterpieces are subject to art criticism. For example, you can choose to write about paintings, drawings, sculptures, or even buildings. And, naturally, all these forms of art have their specific features! These tips will provide you with an art critique template for anything, be it an oil painting or a cathedral. 1. Painting Critique. Paint is a medium that emphasizes light, colors, and space. for example: e What school of painting does it belong to? Is it typical or unusual for this particular school? E.g., Monet's Water Lilies is a typical Impressionist painting. e Describe the way the artist applies paint. Are there broad paint strokes, small points of color, or just a smooth surface? What effect does it help to achieve? E.g., Van Gogh's broad brush strokes help to create a sense of motion. e Describe how the light is depicted. Where does the light come from? Is there a strong value contrast? In what way does the shadow function? What, in your opinion, does it evoke? E.g., strong contrast makes the central figures stand out. e Speak about the handling of space in the picture. Does it look flat or three-dimensional? What kind of perspective is used? (e.g., one-point perspective, or bird's eye view?) E.g., in this painting, Picasso uses multi-dimensional geometrical shapes. 2. Sculpture Critique. Similarly, many specific factors influence the overall impression of a sculpture. Here are some things to pay attention to: 22 Describe: The Weeping Woman is a painting finished by Pablo Picasso in France, 1937. This type of artwork can be considered to be expressionism. There isn’t an actual background scene in the painting. The background is completed with different lines and colors. The woman is the focus point of this painting. She is wearing an accessory on top of her head which demonstrates her elegance. My first impression of the artwork is that the face of the woman is not proportionate and is only painted with lines, no curves. The main colors that are used in this painting are green, yellow, blue, purple, red and black. The painting is set mainly of lined and little curves. The mood and visual effect that this painting portrays can be considered to be suffering, and sadness. Analyze: The colors that the author uses can be considered to be quite different as each color conveys a separate impression. The light purple that begins at the bottom top of the woman's eyes can convey sadness. The other half of the face is mainly covered in green and yellow; these can be said to interpret other solid emotions that the painter must have towards this woman as she was a vital character in Picasso's life. The painting is created with mainly lines which can mean that the woman had strong physical features or that her different emotions were felt passionately as lines are usually seen as strong technical elements. The only curves that are being used are for her hair and eyes. The eyes look quite down or depressive. This is because the woman is crying, which goes back to the main mood which is suffering. Interpretation: | believe that Picasso wanted the audience to feel pain and provide a statement that explains how all women feel and the agony that they are consistently in. The audience can see that the woman has peeled away her flesh by corrosive tears to reveal her white bones. The handkerchief she tries to stuff in her mouth seems as a shard of glass. This vivid image can convey pain and hurting. Picasso has expressed the behavior of this woman several times and often describes the constant tears that fall off her eyes. So, the feeling conveyed by the artwork is definitely suffering. Picasso wanted us to feel her and understand the pain that she was going through. It was not easy to be a woman during that time since females where often frowned upon. Picasso demonstrates the appreciation that he has for her through this painting as he wants the audience to understand her. Judge: Finally, the artist's value may be to evoke pain, as mentioned previously. This is due to the colors that Picasso used and the shapes that he draws; not only these technical elements but also the images that the painter uses within the actual face of the woman. The painting relates to the entire female community. This community can understand the painting and know what Picasso was trying to portray. Every woman is able understand and comprehend the message behind this painting as 25 we all feel the same way at one point in our lives. | believe that this is a strong value in the painting. The weak value lies in the different colors that the painter chooses. | found it confusing to interpret other areas of the face as the colors that were used didn’t seem to match other locations of the face. Example of review of artwork 2: The Last Supper by Leonardo da Vinci What Does the Last Supper by Leonardo da Vinci Depict? ‘The Last Supper’ of Leonardo da Vinci is considered to be undoubtedly a masterpiece. Debates have ensued, though, concerning the interpretation of = this piece of art. Some even claim that =" Leonardo da Vinci tried to transfer a secret message to us through it. What is portrayed in this painting that has attracted and enchanted such a great amount of viewers? The painting depicts a supper of twelve disciples of Jesus Christ and Christ himself before the prophet is betrayed (Essak, 2013). Jesus Christ gathers all together in order to eat and drink at a table, which is not so big and where the food itself is plain. This humble atmosphere allows the viewers to focus more on the disciples and Christ. In addition to this, Christ tells the assembly that one person who is present in that supper will betray him. The painting actually shows the first moment after this statement and the reactions of the disciples to this speech (Saunders, 2011). Leonardo da Vinci artfully depicts shock, surprise and other various human emotions in his painting. Although every person in the painting possesses unique features, | believe "The Last Supper’ can be divided into four symmetrical groups full of life and motion (Essak, 2013). 26 The group from the left side of Christ reacts impulsively and is united by one and the same will. One disciple has even stood up and another has his finger raised. The group that is on right-hand side is characterized by greater reserve. There is a huge distance between them and Jesus Christ. Judah who can be found among these disciples holding a pouch, perhaps with silver. His dark and harsh appearance contrasts magnificently with the innocent and light figure of John. Some scientists claim that this is not actually John, but Mary Magdalene, because his face is feminine and gentle (Welborn, 2013). In thinking critically, this version is hardly believable, as Christ gathered twelve disciples, not eleven. Otherwise the symbolism of ‘The Last Supper’ does not make any sense. Between Judah and John, the head of Peter can be seen and moreover, he holds a knife in his arm as if he would like to protect Jesus. From his right-hand side, another group of disciples is portrayed. They are turned in profile and it looks like they are astonished by the news that was introduced. From the opposite side, we may see Matthew who is asking the same question to the other men trying to find the clear explanation of what is happening at that particular moment. Frankly speaking, while searching for a secret code of Leonardo da Vinci in his painting ‘the Last Supper’, one may lose the real visible goal of the picture. It brilliantly portrays the discrepancy between the conciliation of Christ with his future, his reserve, calm and absolutely different emotional states and unique reactions of his disciples to the piece of news that he will be betrayed. The painting has vague aspects about it and perhaps hidden symbols, but this is not the reason why this painting attracts millions of people and involves them into the researches and deep investigation of every centimeter of this masterpiece. https://answershark.com/writing/creating-review/art-review/the-last-supper-by-leonardo-da-vinci.html Based on the above discussions and examples, let us have some activities. The activities you will do will help you go through the journey one step at a time so you have to accomplish them with care. Have fun! WHAT I CAN DO Spanish explorer Miguel Lopez de Legazpi and Datu Sikatuna the chieftain of Bohol on March 16, 1565, to seal their friendship as part of the tribal tradition. Directions: With this, write a balanced/objective review or critique following tips discussed earlier. Write you review in your notebook. https://www.google.com/search?g=sample+review+of+sculpture+abueva =) Note to the teacher: ay You can use any of the rubrics below to rate the ~~ output of the students. Also, you will be the one to Mies athe Taher decide the scoring of this activity. ‘Test Text Test “in: Text Teat Teat Test Text Test Tint Text Text ‘Test Text Text To: Text Test Text Test Text Text Tex: Text Text ‘Test Text Text tx: Text Tent Tent Test Text Test Tex: Text Text ‘Test Text Text “ix: Text Test Text Test Text Text Text Text Text Thank you. ‘Test Text Test “tx: Text Tent Teat Test Text Test “iat Text Text ‘Text Text \ ) RUBRIC IN ART REVIEW Excellent Good Fair Poor Introduction Introduction Introduction Introduction Introduction does explains author's explains author's | mentions whre the not present or selection of the selection of the author came does not explain 30 artwork ina thoughtful manner. artwork and that caused him to consider it further. across the artwork but does not put much effort into explaining what attracted him to how the author selected the artwork. question: How is the work organized? Thoroughly discusses the major principles of art in the work. the question: How is the work organized? Discusses the major principles of art in the work. answers the question: How is the work organized? Discusses a few of the principles of art in the work. pursue it. Description Author thoughtfully Author answers Author somewhat Author does not answers the the question What answers the answer the question What do | dol see? question What do | | question What do see? Discusses Discusses most see? Discusses Isee? Makes a the size, medium, of the ff: size, some of the ff: weak attempt to process used and medium, process size, medium, describe the subject. Author used and subject. | process used and | artwork describing shows strong Author discusses subject. A few very few elements understanding of most of the elements used in in the work. the elements: line, elements: line, the work are shape, space, shape, space, discussed. color, texture, and | color, texture, and value. value. Analysis Author answers the | Author answers Author somewhat Author does not answer the question: How is the work organized? Makes a weak effort to mention the major principles of art in the work. Interpretation Author thoroughly and thoughtfully answers: What is the artist trying to communicate? Author answers: What is the artist trying to communicate? The interpretation Author somewhat answers: What is the artist trying to communicate? The interpretation Author does not answer: What is the artist trying to communicate? The interpretation The interpretation | is basedonsome | is based ona few is not supported is based on visual visual facts and visual facts and by visual facts and facts and clues clues collected. clues collected. clues collected. collected. Conclusion Author concludes | Author concludes | Author concludes | Author concludes with an engaging with an interesting | with a somewhat with a shallow and interesting point about his interesting point reaction to the art Point about his reaction tothe art | about his reaction work. reaction to the art work. to the art work. work. Mechanics No errors in A few minor errors | A few minor errors Distracting and punctuation, in punctuation, in punctuation, major errors in spelling, grammar | spelling, grammar | spelling, grammar | spelling, grammar or capitalization. or capitalization or capitalization or capitalization. Uses APA style, but they do not that while Header and footer double-spacing distract the over- distracting, the are not correct. and 12 point font. all meaning of the meaning can still There are Header and title essay. Uses APA be discerned. mistakes in format are correct. style, double- Some APA style, spacing and font. Paper is at least 3- spacing and 12 double-spacing Paper is less than 4 pages. point font. Header | and 12 point font. 3 pages. and title format are | Header and title correct. Paper is | format may not be at least 3-4 pages. | correct. Paper is not 3 pages. Rated by: Date: Overall Score: Feedbacks: ART CRITICISM Name: Teacher: 31 Date : Title of Work: 1 2 3 4 Students will One quarter or less Half of all the Three quarters of | All of the relative examine artworks to form ideas and criteria by which to judge/assess through the first level of art criticism, description in order of all the relative elements present in the work of art are identified listing factual adjectives; the tile, date, medium and artist relative elements present in the work of art are identified listing factual adjectives; the tile, date, medium and artist name are all the relative elements present in the work of art are identified listing factual adjectives; the tile, date, medium and artist elements present in the work of art are identified listing factual adjectives; the tile, date, medium and artist name are identified examine artworks to form ideas and criteria by which to judge/assess through the second level of art criticism, analyzation, in order to inspire relative principles present in the work of art are identified; One quarter of the relative principles are discussed with reference to the corresponding principles present in the work of art are identified; half of the relative principles are discussed with reference to the corresponding the relative principles present in the work of art are identified; three quarters of the relative principles are discussed with reference to the to inspire personal name are not identified name are identified | accurately. works and artistic identified accurately. accurately. growth. accurately. Students will One quarter of the Half of the relative Three quarters of All of the relative principles present in the work of art are identified; all the relative principles are discussed with reference to the corresponding examine artworks to form ideas and criteria by which to judge and assess through the third level of art criticism, interpretation in order to inspire personal works and meaning/message and mood of the work are all defined using support and details from one quarter or less of the relative aspects of description and analysis; the critic meaning/message and mood of the work are all defined using support and details from half relative aspects of description and analysis; the critic has not categorized meaning/message and mood of the work are all defined using support and details from three quarters of the relative aspects of description and analysis; the critic personal works and | elements. elements. corresponding elements. artistic growth. elements. Students will Either the Either the The The meaning/message and mood of the work are all defined using support and details from all relative aspects of description and analysis; the critic has categorized the examine artworks to form ideas and criteria by which to judge/assess through the fourth level of art criticism, judgement in order to inspire personal works and artistic growth of the work is unclear and supported only one quarter or less of all areas with reason and rationale based on previous aspects of the critique. of the work is vague and supported in only half of the areas with reason and rationale based on previous aspects of the critique. of the work is stated clearly and supported in three quarters of all areas with reason and rationale based on previous aspects of the critique. artistic growth. has not categorized | the artwork into an | has categorized the | artwork into an art the artwork into an | art style. artwork into an art style. art style. style. Student will The critic's opinion | The critic’s opinion | The critic's opinion | The critic's opinion of the work is stated clearly and supported in all areas with reason and rationale based on previous aspects of the critique. Teacher Comments: This rubric is from www.TeacherJet.com WHAT I HAVE LEARNED There are many ways a writer can expound a concept. You can use definition, explication, and clarification. Definition identifies a term and sets it apart from all other terms that may be related to it. Often, definitions begin by mentioning the general class to which a term belongs. Then they provide specifics to distinguish the term from other members of that class. You can use these techniques: 1. Formal — follows a patter or equation; term+genus+differentia (differentiating characteristics) Example: Technology is the branch of knowledge dealing with engineering or applied sciences. 2. By synonym - using a word or phrase that shares a meaning with the term being defined. Example: Technology — Knowledge, Computers 3. By origin or semantic history Example: Technology comes from the Greek work tekhnologia. 4. By illustration Example: Technology involves the use of machineries in every aspect of work. 5. By function Example: Technology uses hi-tech machines to get the work done. 6. By analysis — breaking down wholes into parts, aspects to levels and a process into steps) Example: Technology is defined as the application of scientific knowledge for practical purposes, especially in industry. 7. By likeness of similarity Example: Technology is likened to modern living where robots exist. 8. By analogy or metaphor Example: Technology is like a robot that make life easier. 9. By contrast — use of opposites Example: Unlike the manual work, technology makes work efficient. 10. By negation — stating what the term is not Example: Technology is not harmful if used properly. Explication is the process by which concepts are defined for scientific purposes. "To explicate" something is, in the most general sense of the term, to spell out its implications. Thus, it is the process of spelling out the implications of something and derived from this, in turn, is the sense of "explication" that refers to the product of this process: some account of what the implications of something are. Explication, in other words, is a kind of explanation. Clarification is an analysis of an abstract concept through investigation of examples and the identification of critical and less critical attributes. These are needed to make your concept paper clear and comprehensible. WHAT'S MORE ACTIVITY 2. AR GUIDE Directions: Let us go back to AR Guide. This time check the Reaction column. Write your answers in your notebook. Anticipation Statement Reaction A concept paper is about any concept. It is easy to write a concept paper. A concept paper aims to clarify a concept. You simply explain in a concept paper. You write a concept paper for research. ACTIVITY 3. DEFINE AND EXPLAIN Directions: Define and explain each concept applying at least three (3) techniques in definition. Write your answers in your notebook. A. Humanities B. Tech-Voc C. Science D. Accountancy E. Engineering ACTIVITY 4. CLARIFICATION 36 Directions: Clarify what concept paper is by creating a graphic organizer about it. Give the necessary information. Write your answers in your notebook. What it is Concept lege l0lc\6 ~~ how to make one some examples WHAT I HAVE LEARNED You have learned the following important points in this lesson: 1. Aconcept paper is a short summary that tells the reader what the project is, why it is important, and how it will be carried out. 2. You can use definition, explication and clarification in making your concept paper. Learning Objectives: At the end of the lesson, the learners shall be able to: 1. compare and contrast various kinds of concept paper; and 2. present a novel concept or project WHAT'S NEW ACTIVITY 1. NAME THEM How many concept papers have you read so far? Directions: List them down and tell what they are about in one sentence. If you have not read one at all, list down the reasons why you have not read any. Write your answers in your notebook. 1. 2. 3. 4. WHAT IS IT There are two kinds of concept paper namely implicit and explicit concept paper. 1. Implicit — implicit is, “implied or understood though not plainly or directly expressed.” Something is, therefore, implicit when it is not directly stated but is either suggested in the wording or necessary to effectuate the purpose. Example: Technology caused horrors in some aspects. 40 2. Explicit — “to fully and clearly express something, leaving nothing implied.” Something is explicit when it is cleared stated and spelled out and there is no room for confusion, as in the writing of a contract or statute. Example: Technology is harmful to us. Whichever kind is used, as long as you delivered convincingly to the audience, it's enough. Let us read some examples of concept papers. A concept paper is written to mainly to clarify the meaning of a concept whatever technique is used to do it. The first one is a mini concept paper that uses definition to clarify the meaning of boondocks. Directions: Read to find out how the writer expounds the concept. There may be some difficult words you will encounter. Refer to the dictionary for better understanding. Boondocks from an Avalanche of Anoraks (1) Reading material comes from Malay bamboo, “a large, hollow bamboo.” The young shoots are eaten as a vegetable or are pickled and candied. Some species of bamboo grow to a height of 120 feet. (2) Boondocks (1944), a remote rural area, back country, an isolated or wild region filled with dense brush, comes from Tagalog bundok, “mountain.” An “s” was added, since English has the tendency to affix that letter to locations, as in the sticks (a synonym for the boondocks), the damps, and the woods. While the word means “mountain” to the people of the Philippines, American soldiers extended the meaning to any kind of rough country or out-of-the-way locale. Used by servicemen during World War II, the word boondocks first came to the attention of the American public during an investigation into the brutal methods of training used by the Marines at Camp Lejeune in North Carolina. According to the official records, young recruits were regularly subjected to forced night marches “into the boondocks” (of places like Paris Island), which included some low-lying swampy areas where at least one Marine recruit died. The investigation ended, but the word remained. Its infamous history all but forgotten, the word boondocks is now synonymous with any rural area distant from the excitement of big cities or large towns. By the 1950s, shoes suitable for rough outdoor use were regularly called boondockers, as can be seen from Leon Uris's adventure packed novel of World War II Marines, Battle Cry: “Andy Hookans was dumping a can of foot powder into his boondockers.” About the same time, boonies had become the slang equivalent of the boondocks. (3) Caddy (1792), a small box, or chest used for keeping tea leaves, is borrowed from Malay kati, a weight used in China and the East Indies equal to slightly more than a pound avoirdupois. A tea caddy probably derived its name from 41 the fact that the little box or chest that held the measure (approximately one and one-third pounds of tea) was confused with the measure itself. The caddy that carries tea leaves is in no way related to the caddy (or caddie) who carries clubs and balls for a golfer. The latter caddy is derived from French cadet, as in a military cadet. (4) Camphor (1313), derived from Malay kapur, “chalk lime” via Arabic kafdr, is a whitish, translucent, tough, volatile, pleasant-smelling crystalline compound obtained from the wood and bark of the camphor tree. Camphor is used primarily as a moth repellent in the manufacture of celluloid; and in medicine as a liniment, a counterirritant for infections, and a mild antiseptic. It used to be taken internally as a heart and circulatory stimulant, and as an anti-diarrhetic; it is no longer taken internally, since it is mildly toxic, and indigestion may produce harmful effects, especially in infants and children. It is also no longer used as an anti-aphrodisiac — something to counteract sexual desire. (5) Cassowary (1611), a large flightless bird of Australia, New Guinea, and the neighboring islands, related to the ostrich, is borrowed from Malay kasuari. Cassowaries often weigh as much as 140 pounds and are dangerous. Capable of killing even full-grown men, these sometimes-pugnacious birds usually leap feet first on their adversaries and then attack with their claws. Their wings, completely useless for flight, are covered with stiff, featherless quills, like spines, which also serve as weapons. Females lay three to eight green eggs at a time, which the males incubate. (6) Gingham (1615), a cotton or linen cloth, woven of dyed yarn, often striped or checked, comes, via Dutch gingang, from Malay genggang, meaning “with space between,” hence, “striped” or “checkered.” Because the colored lines of gingham are always on the grain, gingham fabrics have no right and wrong side in terms of color. Gingham was memorialized in “The Duel,” one of the most popular poems written by Eugene Field (1850-1895) for children. It begins: “The gingham dog and the calico cat/Side by side on the table sat.” From: page 146 An Avalanche of Anoraks (cited in EAPP Learners’ Material) Reflection questions: Write your answers in your notebook. 1. What is the concept paper about? 2. How did the writer expound on the concept? 3. What kind of concept paper is this? Why? 4 Do you think it is a good concept paper? Why? 42 TUESDAY In Norse mythology, there was a god named Tyr. A wolf spirit called Fenrir was troubling the world and Tyr volunteered to bind him. He used a chain made of strange substances, the footsteps of a cat, the beards of women, the roots of stones, and the breath of fishes. Tyr put his hand in Fenrir's mouth and bound him, but his hand, in the process, was bitten off. In Old English the god's name Tyr appears as Tiw. He was really a Germanic deity, one very much like Mars, the Roman god of war, and his name gave us the Old English word Tiwesdaeg, “the day of Tiw,” our Tuesday, which is a rendering of the Latin dies martis, “day of Mars.” WEDNESDAY In Old English Wednesday was spelled Wodnesdeeg, which was the day of the great Germanic god Woden, who corresponded to the Roman divinity Mercury. Both were swift in movement and noted for their eloquence. Woden was the father of Tyr, who gave us the name Tuesday, and was the god of storms. He welcomed brave warriors to the heaven of Valhalla and treated them to the pleasures that they most loved on earth. He also slew Chaos and created earth from his body, his flesh making the dry land, his bones the mountains, his blood the sea, his skull the vault of the heavens. In Latin “Woden’s day” was Mercurii dies, the “day of Mercury,” and the French took this over as Mercredi, their name for Wednesday. THURSDAY Thor was the strongest and bravest of the Norse deities, and corresponded in the heavenly hierarchy to the Roman god Jupiter, who also handled the lightning bolts. Thor, you see, was the god of thunder which he made with a chariot drawn by he-goats across the sky. Thor owned a massive hammer which the giant Thrym once stole from him and refused to give up unless Freya, the goddess of love, world marry him. Thor dressed up in her clothes, wheedled the hammer from Thrym, and then slugged his host. It was the name of this same Thor that formed the Old English word thiresdzeg, or Thursday, :the day of Thor,” which equals the Roman dies jovis, or “day of Jupiter.” FRIDAY In Old English, Friday was frigedzeg, the day of the Norse goddess Frigg, wife of Woden and the goddess of marriage. She was the Norse counterpart of the Roman goddess Venus, and her day, Friday, was like the Latin dies Veneris, or “day of Venus.” Wednesday and Thursday had been named for her husband Woden and her son Thor, so Friday was assigned to her as appeasement. The Norsemen regarded Friday as their lucky day, but not so the Christians since the Crucifixion took place on Friday. SATURDAY In Old English szeternesdeeg, merely “Saturn's day,” is a halftranslation and half-adoption of the Latin Saturni dies, or “day of Saturn,” the Roman god of sowing. SUNDAY Sunday replaced Saturday as the Sabbath because the Resurrection took place on a Sunday. It was around the 4th century that the church made it a holiday and forebade anyone to work. In Old English it was spelled 45 sunnandagg, literally the “sun’s day ,” a translation of the Latin dies solis, or “day of the sun.” From: Page 332 Word Origins and their Romantic (cited in EAPP Learners’ Material) Sample 2: Mercury Pollution (1) When most people think or talk about dangers to our environment, they focus on general terms like “pollution,” “smog,” and “acidrain.” Also, they often focus on the impact of supposedly man-made chemicals and compounds. But to truly understand the risks to our environment, it’s helpful to focus on the danger of specific chemical, which are often otherwise naturally-occurring elements that have been spread harmfully by man. One of the largest threats to our environment is mercury: Hg on the periodic table of elements. (2) At room temperature, mercury, a metal, exists as a silvery-white liquid. However, it vaporizes readily when heat is applied, and can stay suspended in the air for more than a year. The largest sources of mercury pollution in the United States are coal-fired power plants. Emissions from these plants account for 70 percent of the mercury that enters our oceans, lakes, and streams. Air currents carry these particles far from the source and are capable of polluting bodies of water thousands of miles away. (3) Mercury particles released into the air fall into these waterways and quickly enter aquatic food chains. First, mercury attaches to sediments (fragments of organic and inorganic material that settle to the bottom of the body of water). Second, bacteria change the mercury into methyl mercury, a highly toxic substance. Third, phytoplanktons feed on the organic matter in sediments and absorb the methyl mercury. Fourth, fish then eat the mercurycontaminated phytoplankton; the larger the fish and the longer it lives, the more concentrated the methyl mercury in its system becomes. The mercury can then move higher up the food chain when humans eat fish that have absorbed high amounts of mercury. (4) Studies indicate that mercury levels in U.S. waterways have increased anywhere from 100 to 400 percent over the course of the last century, and no river, lake, or ocean seems immune. It is important to note that, thanks to the U.S. Clean Air Act and efforts by industry to curb unnecessary discharges as well as better sewage treatment methods, the levels have been in slow decline since the 1970s. however, this minor decline is relatively miniscule in comparison to the major increase in the years prior. (5) If you've ever experienced that “rotten egg” smell during low tide at a coastal area, you've seen (or smelled) methylation in action. Methylation is the conversion of mercury in sediments to methyl mercury by sulphatereducing bacteria. While this methylation is a natural process, the industrial discharge of mercury has greatly accelerated the process beyond what the ecosystem is able to absorb safely. 46 This methylation not only impacts aquatic species, but also harms humans and other land-based wildlife. (6) Most of the fish and shellfish that humans eat live solely in coastal areas or frequent coastal areas and feed on the fish that live there. At the same time, most methylation takes place in coastal areas. Therefore, methyl mercury moves up the food chain from plankton to lobster, bluefish, winter flounder, tuna, and many other species eaten extensively by man. The methyl mercury binds to the protein in fish, residing in the muscle of the fish. This muscle is exactly what we eat, the fillet. (7) The short-term impact of digestion of toxic methyl mercury is obviously a concern. More troubling, however, is its long-term impact on species up and down the food chain. In Wisconsin, scientists have studied the decline of chick production in loons (aquatic birds). They have made a positive link to mercury concentration in eggs which exceeds the concentration found to be toxic in laboratory studies. Through that example, the lasting impact of methyl mercury far from the source of the pollution can be seen. (8) One of the great wonders of the Earth is the interconnectivity of all the world’s ecosystems. This interconnectivity gives us the range and diversity of wildlife that we all enjoy and it also allowed life on the planet to endure through cataclysmic events, such as asteroid impacts and the ice ages. However, it is this very interconnectivity that makes our ecosystems so vulnerable. Mercury pollution is unfortunately one of many examples of an environmental impact far removed from the source of the pollution; understanding the process by which the pollution spreads up the food chain is one of many steps to ameliorate the impact of such pollution. Complete the table with the needed information based on the two samples: Write your answer in your notebook. Ways the . Concept Paper Content concept was Kinds a Concept 7 aper explained Days of the Week Mercury Pollution 47 Rubric: Criteria 4 3 2 1 Content and Content is Content is Content is less Content is not Organization comprehensive, comprehensive, comprehensive, comprehensive, accurate, and ideas are stated clearly and are well supported. There are also specific ideas added. accurate, and ideas are stated clearly and are well supported. and ideas are stated not very clearly and are well supported. and ideas are not clear and not well supported. Organization and Concepts of the Concepts of the Some concepts of Concepts of the Structure paragraphs are paragraphs are the paragraphs are | paragraphs are not clear and easy to clear and easy to not clear and easy clear and not easy follow. There is follow. to follow. to follow. evidence of outlining. References References are References are References are References are not cited correctly and cited correctly. cited correctly but cited correctly. show evidence of there are only a research. few. Mechanics Rules of grammar, | Rules of grammar, | Rules of grammar, | Rules of grammar, usage, and usage, and usage, and usage, and punctuation are punctuation are punctuation are not | punctuation are not followed ; spelling followed ; spelling all followed; followed; spelling is is correct. There is correct. spelling is correct. | incorrect. are no typo- graphical errors. Self- Check! Great job! You have finished Lesson 4 successfully! Before going to the next lesson, check the icon that best shows your learning experience. | have understood the lesson well and | can even teach what | learned to others. e ~ - b ! | have understood the lesson but there are still other things ! that | need to review and relearn. 50 | need to do additional work to be able to master the lesson. | need help in some tasks. If you checked the first icon, you are ready for the next module. If you have checked the second icon, you need to review the things that you need to relearn. If you have checked the third icon, it would be best if you read more from the links given above and ask help from your teacher, parents or peers in clarifying the lessons that you find difficult. Be honest so that you will truly improve. POST ASSESSMENT Let us check how well you have mastered the lessons in this module. Directions: Choose the letter of the best answer. Write your answers in your notebook. 1. Which of the following is NOT true about the reaction paper? A. It purely expresses one’s opinions on certain issues and concerns. B. It conveys incisive insights into its analysis of events. C. It may include the main purpose of the event. D. It is mainly written to communicate a fair assessment. 2. Which of the following can be a form of a reaction paper? A. Romantic Poem B. News Report C. Book Review D. Incident Report 3. Which of the following is needed to make objective assessment? A. Facts B. Objectives C. Assessment D. Personal Views 4. Which of the following is NOT a form of reaction paper? A. Appeal B. Protest C. Reflection D. Sports Report 5. Why should we cite specific source? A. It makes the reaction paper reliable. B. It makes the paper more substantial. C. It is an additional creative part of the paper. D. It can attract many readers to read your paper. 51 6. Which critical approach focuses on understanding ways gender roles are reflected or contradicted by texts? A. Reader-response B. Feminism C. Historicism D. Marxist 7. Which critical approach focuses on ways texts reflect, reinforce, or challenge the effects of class, power relations, and social roles? A. Reader-response B. Feminism C. Historicism D. Marxist 8. Which critical approach focuses on understanding texts by viewing texts in the context of other texts? A. Reader-response B. Feminism C. Historicism D. Marxist 9. Which critical approach focuses on each reader's personal reactions to a text, assuming meaning is created by a reader's or interpretive community's personal interaction with a text? A. Reader-response B. Feminism C. Historicism D. Marxist 10. Which critical approach focuses on "objectively" evaluating the text, identifying its underlying form. It may study, for example, a text's use of imagery, metaphor, or symbolism? A. Reader-response B. Media Criticism C. Historicism D. Formalism 11. Which of the is NOT true about a concept paper? A. It expounds a concept. B. It defines a concept. C. It clarifies a concept. D. It is a research paper. 52 https://custom-writing.org/blog/art-critique-writing https://answershark.com/writing/creating-review/art-review/the-last-supper-by- leonardo-da-vinci.html http://sociology.morrisville.edu/perpetual/Writing/What_ls_ A Concept Paper.htm Accessed May 30, 2020 https://www.researchgate.net/publication/336150591 How to write _a concept pap er_with practical sample _by Dr Lango accessed May 30, 2020 https://www.researchgate.net/publication/336150591 How to write _a concept pap er_with practical sample _by Dr Lango accessed May 30, 2020 https://gerardcambon.net/types-of-concept-paper-introduction/ accessed May 31, 20202 55 ANSWER KEY 8 -0z 2-01 e-6L a6 P'sh p's at ae o°9L a9 est p's aL oY eel ee e-ZL 2% eit e'| mouy | 2UM, POL e'6 0°38 pel a9 est eg ey Py Pel ee o-ZL 2% PrLL e'| juswssessy 56 ‘sayoeoidde jeoiBojo1is0s pue ‘jedAjayoue ‘jeo1HojoyoXsd 34} sasn ‘aunyeso}!| pue YAW Ul SUIUIWWO} ay) jo sjda0u0d pue uawom jo sebew aulwexe 0} pepus} 1] ssejo pue ‘s9pueb ‘aoe, se yons ‘sanss| [eJel00s ssaippe Auoys ayy ayejoy ~éMaioos 4184] PUB sieyoeseYyo ey) UsaMjeq diysuonejes oy) AyUap! 0} papud} }] “way} ule]U0d YoIyM seunjonySs 4e6se] JO }xa]U0D ay} UI Uses aq 0} eney Ady} ‘uoNE|OS! 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Aq yiom Asesay| & puejssapun 0} syaas, yoeodde siyy SIO Auesoy] JO uondassai pue uoneaso ay} = saouenyur Ajquap! ~—jenxes moy saulwexe, yoeoidde siyL «SU9} UMO s]| UO paulwexe aq 0} spaeu yeu a@Bpajmouy uewny Jo Wo} anbiun e, se aunyesay| spseGai yoeoidde siyy (NOLLINI43q) SILI LVHM yslujwas lea1Bojo1I00S, wsijeunjong wisIOnUD esuodsey-sepeey WS!ON LU [2OUO}S!IH WS! 1apUaH WSIONUO JSIPWO4 Jajdwiexz WSIOLLIYD AYVH3LIT NI SSHOVOUddY SWSIOND Aresay7 ul soyoeoiddy — z AAOW 57 Not Factor A. Content Quality vs sina Poor Satisfactory 1 1. Content is consistent with topics/skills found in the DepED Learning Competencies for the subject and grade/year level it was intended. 2. Concepts developed contribute to enrichment, reinforcement, or mastery of the identified learning objectives. 3. Content is accurate. 4. Content is up-to-date. 5. Content is logically developed and organized. 6. Content is free from cultural, gender, racial, or ethnic bias. 7. Content stimulates and promotes critical thinking. 8. Content is relevant to real-life situations. 9. Language (including vocabulary) is appropriate to the target user level. 10. Content promotes positive values that support formative growth. Total Points 40 Note: Resource must score at least 30 points out of a maximum 40 Passed points to pass this criterion. Please put a check mark on the appropriate box Failed Evaluation Rating Sheet for Non-Print Materials Type of Media (Please check (Y ): CD-Rom vcD DVD VHS |_| Slides Transparencies Cassette 7 | Digital Other: tape interactive (specify) Title: Quater1 Module2 Reaction Paper and concept Paper Subject area(s): English for Academic and Grade/Year Level: 11 Professional Purposes DepED Bureau/FAP: Date of Publication: Before completing this Evaluation any CD ROM, VCD or DVD of materials should be viewed and the Technical Evaluation Section G (p72). Interoperability: Technical format Checklist for 60 conformance completed. This is to ensure that the format is compatible with current playback devices and computer operating systems, software and plug-ins. Factor C. Technical Quality vs 4 S/NA 3 Poor Not Satisfactory 1 1. Audio enhances understanding of the concept. 2. Speech and narration (correct pacing, intonation, and pronunciation) is clear and can be easily understood. 3. There is complete synchronization of audio with the visuals, if any. 4. Music and sound effects are appropriate and effective for instructional purposes. 5. Screen displays (text) are uncluttered, easy to read, and aesthetically pleasing. 6. Visual presentations (non-text) are clear and easy to interpret. 7. Visuals sustain interest and do not distract user's attention. 8. Visuals provide accurate representation of the concept discussed. 9. The user support materials (if any) are effective. 10. The design allows the target user to navigate freely through the material. 11. The material can easily and independently be used. / Technical Evaluation: Complete Section G. Interoperability: Technical format Checklist for conformance If not already completed prior to this review. 12. The material will run using minimum system requirements. 13. The program is free from technical problems. Total Points 51 Note: Resource must score at least 39 points out of a maximum 52 points to pass this criterion. Please put a check mark on the appropriate box Passed Failed Instruction: Examine the material carefully and for each evaluation criterion consider the extent to which the resource meets the criteria. Check the appropriate number [with 4 being Very Satisfactory (VS); 3 - Satisfactory (S); 2 - Poor; and 1 — Not Satisfactory]. For a rating below 4, write your comments/justifications on each evaluation criterion. If an evaluation criterion is Not Applicable (NA), the material is rated 3 on said criterion. (Not Applicable means that the criteria is not relevant to the resource being evaluated. It is given the score of 3 so that the evaluation score for each factor reflects only the performance against criteria that are relevant to the nature of the resource being evaluated). Attach extra sheets if necessary. Your report may be completed in soft or hardcopy. Please write legibly if completing in hardcopy 61 Not Factor B. Instructional Quality vs sma Poor Satisfactory 1 1. Purpose of the material is well defined. / 2. Material achieves its defined purpose. / 3. Learning objectives are clearly stated and measurable. / 4. Level of difficulty is appropriate for the intended target l user. 5. Graphics / colors / sounds are used for appropriate I instructional reasons. 6. Material is enjoyable, stimulating, challenging, and l engaging. 7. Material effectively stimulates creativity of target user. / 8. Feedback on target user's responses is effectively l employed. 9. Target user can control the rate and sequence of 1 presentation and review. 10. Instruction is integrated with target user's previous l experience. Total Points 40 Note: Resource must score at least 30 points out of a / | Passed maximum 40 points to pass this criterion. Please put a check mark on the appropriate box. Failed Factor D. Other Findings Not Present but Present & Do not . present | very minor & | requires major | evaluate Note down observations about the 4 mustbe | redevelopment | further information contained in the material, fixed 2 1 where the following errors are found: 3 1. Conceptual errors. / 2. Factual errors. / 3. Grammatical and / or typographical errors. / 4. Other errors (i.e., computational errors, / obsolete information, errors in the visuals, etc.). Total Points 16 / Passed Note: Resource must score at least 16 points out of a maximum 16 points to pass this criterion. Please put a check mark on the appropriate box Failed. (All issues must be documented in the Comments section.) Other Comments: Again, my sincerest congratulations and heartfelt appreciation to the expert writers of this module. 62 MARJORIE C. TAGACAY JULY 8, 2020 Name and Signature of the Evaluator 65 66