21ST CENTURY LITERATURE REVIEWER

Quarter 2
I. INTRODUCTION TO WORLD LITERATURE
LITERATURE IN THE 21ST CENTURY
• it is associated with academic context, referring to the enduring works of fiction, philosophy, history, etc. that
have been studied for generations and shaped the foundation of your thoughts.
• in definition, it includes any and all written works.
TRADIDIONAL LIT. FORMS:
• Novels
• Poetry
• Play
ELECTRONIC LIT:
• Hypertext
• Animated poetry
• SMS
THEMES OF 21ST CENTURY LIT.
1. IDENTITY
With increasing globalization, intersections of cultures and more vocal discussions of women’s rights and LGBT
rights, identity has become a common theme in 21st century literature. In a world that is now able to exchange ideas
more quickly than ever before via the Internet and other technological advancements, people have relatively more
freedom to draw from multiple cultures and philosophies and question the concept of the self and its relation to the
body, brain and “soul.” For example, Sam Clay in "The Amazing Adventures of Kavalier and Clay" by Michael
Chabon struggles to come to terms with his homosexuality. The novel, which is about young comic book
collaborators during the World War II era, won the Pulitzer Prize for fiction in 2001. With her 2008 book "Infidel,"
Ayaan Hirsi Ali became a feminist voice for the rights of abused Muslim women and religious freedom.
2. History and Memory
As contemporary readers are able to look back on history and see how history has been depicted differently for
different audiences, history and memory have become themes in 21st century literature. Often contemporary
literature explores the notion of multiplicities of truth and acknowledges that history is filtered through human
perspective and experience. For example, "The March" by E.L. Doctorow fictionalizes yet still depicts the realities of
General Sherman’s famous march during the U.S. Civil War, and how people of the South were slaughtered, giving
a slightly different perspective of how the North is usually depicted.
3. Technology
Today, technology is more integrated into people’s lives than ever before. Dreams of what technology could
potentially help people become and anxieties regarding the demise of humanity as a result of technology can be
seen in 21st century literature. On one hand, there are books about biotechnology helping people with disabilities,
such as "Machine Man" by Max Barry. Additionally, many 21st century works of literature explore what it means
when all of humanity’s experiences are filtered through technology. For example, "Ready Player One" by Ernest
Cline depicts a futuristic world where everyone escapes reality by plugging into a virtual utopia.
4. Intertextuality
In postmodern style, many contemporary writers recognize a piece of work as being one among many throughout
history. As such, many writers purposely include acknowledgements, references or parallels to other works of fiction,
recognizing their place in a larger, broader conversation, context and body of work. Some intertextual themes go as
far as to poke fun at a work’s own lack of originality or the clichés that it seemingly cannot escape. For example, in
"The Brief Wondrous Life of Oscar Wao" by Junot Diaz, the text references many comics, movies and other books in
order to describe events.
POSTMODERN TECHNIQUES:
1. FABULATION - A rejection of realism which embraces the notion that literature is a created work and not bound by
notions of mimesis and verisimilitude.
2. MAGIC REALISM - may be literary work marked by the use of still, sharply defined, smoothly painted images of
figures and objects depicted in a surrealistic manner. The themes and subjects are often imaginary and with certain
dreamlike quality
3. METAFICTION - Deconstructionist approaches making the art of fiction apparent to the reader and generally
disregards the necessity for willing for willing suspension of disbelief.
4. PASTICIHE - means to combine or paste together multiple elements. Homeage to or a parody of past styles
5. BLACK HUMOR - is a comic style that makes light of subject matter that is generally considered taboo.
6. INTERTEXTUALITY - Relationship between one text and another or one text within the interwoven fabric of literary
history. Can be reference or parallel to another literary work

AREAS IN WORLD LIT.

• Asian
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 • Anglo-american
• Continental european'
• Latin american
• African

II. READING METHOD

o Sometimes known as the Reading Approach, is an outdated way of teaching English, mainly as an additional
language.
o The theory behind the method was that students could pick up the basics of English simply by learning to understand
words and grammatical patterns from written text.
o This approach is one way of solving students’ reading problems. Students are demanded to read more to improve
their knowledge and get new ideas.
o Inferencing, guessing, and predicting are important skills developed in reading.
o By reading, students will know about the different of culture by reading across cultural understanding, and they will
learn how to pronounce the words correctly.
4 DIFFERENT TYPES OF READING TECHNIQUES:
A. SKIMMING
• Skimming, sometimes referred to as gist reading, means going through the text to grasp the main idea.
• Here, the reader doesn’t pronounce each and every word of the text but focuses their attention on the main
theme or the core of the text.
• Examples of skimming are reading magazines or newspapers and searching for a name in a telephone
directory.
• In skimming, the main idea of a text is quickly identified.
• The goal is to read shorter texts to extract accurate detailed information.
• Skimming is done at a speed three to four times faster than regular reading
• People often skim when they have lots of material to read in a limited amount of time.
• Some students will read the first and last paragraphs using headings, summarizes and other organizers as
they move down the page or screen.
• Some might also read the title, subtitles, subheadings, and illustrations
• Other people consider reading the first sentence of each paragraph.
• Skimming works well to find dates, names, and places. It might be used to review graphs, tables, and charts.
• This technique is useful when you are seeking specific information rather than reading for comprehension.
B. SCANNING
• Here, the reader quickly scuttles across sentences to get to a particular piece of information.
• Scanning involves the technique of rejecting or ignoring irrelevant information from the text to locate a
specific piece of information.
• Scanning is quickly reading a text to get the summary of it.
• It is a technique wherein students search for keywords or ideas.
• Scanning involves moving eyes quickly down the page seeking specific words and phrases.
• Scanning is also used for the reader to find answers to questions.
• Once a student scanned the document, they will go back and skim it.
C. INTENSIVE READING
• Intensive reading is far more time-consuming than skimming and scanning as it needs the reader’s attention
to detail.
• It involves close reading that aims at the accuracy of comprehension.
• Here, the reader has to understand the meaning of each and every word.
D. EXTENSIVE READING
• Extensive reading lays more emphasis on fluency and less on accuracy.
• It usually involves reading for pleasure and is more of an out-of-classroom activity.
• It is highly unlikely for readers to take up the extensive reading of text they do not like.
• Extensive Reading is an approach to language learning, including foreign language learning, by means of a
large amount of reading.
• The reader’s view and review of unfamiliar words in a specific context will allow the reader to infer the word’s
meaning, to learn unknown words.
• Extensive Reading is the free reading of books and other written material that is not too difficult for readers.
• Extensive Reading is sometimes called Free Voluntary Reading.

III. CRITICAL APPROACHES TO LITERATURE

Critical Approaches are different perspectives we consider when looking at a piece of literature.

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They seek to give us answers to these questions, in addition to aiding us in interpreting literature.
1. What do we read?
2. Why do we read?
3. How do we read?

Critical Approaches to Consider

• Reader-Response Criticism
• Formalist Criticism
• Psychological/Psychoanalytic Criticism
• Sociological Criticism
▪ Feminist/Gender Criticism
▪ Marxist Criticism
• Biographical Criticism
• New Historicist Criticism

Questions to Ponder for Each Theory/Approach

• What are the benefits of each form of criticism?
• What are potential problems with each form?
• Is there a “right” or a “wrong” form?
• Can the mode of criticism alter the entire meaning of a text?

1. THE READER-RESPONSE APPROACH

Reader-Response Criticism asserts that a great deal of meaning in a text lies with how the reader responds to it.
• Focuses on the act of reading and how it affects our perception of meaning in a text (how we feel at the
beginning vs. the end)
• Deals more with the process of creating meaning and experiencing a text as we read. A text is an experience,
not an object.
• The text is a living thing that lives in the reader’s imagination.

READER + READING SITUATION + TEXT = MEANING

2 Important Ideas in Reader-Response

• An individual reader’s interpretation usually changes over time.
• Readers from different generations and different time periods interpret texts differently.

Ultimately… How do YOU feel about what you have read? What do YOU think it means?

2. THE FORMALIST APPROACH

Formalist Criticism emphasizes the form of a literary work to determine its meaning, focusing on literary elements and how
they work to create meaning.
• Examines a text as independent from its time period, social setting, and author’s background. A text is an
independent entity.
• Focuses on close readings of texts and analysis of the effects of literary elements and techniques on the text.
Two Major Principles of Formalism
• A literary text exists independent of any particular reader and, in a sense, has a fixed meaning.
• The greatest literary texts are “timeless” and “universal.”

3. THE PSYCHOLOGICAL/ PSYCHOANALYTIC APPROACH

Psychological Criticism views a text as a revelation of its author’s mind and personality. It is based on the work of
Sigmund Freud.
• Also focuses on the hidden motivations of literary characters
• Looks at literary characters as a reflection of the writer

4. THE SOCIOLOGICAL APPROACH

Sociological criticism argues that social contexts (the social environment) must be considered when analyzing a text.
• Focuses on the values of a society and how those views are reflected in a text
• Emphasizes the economic, political, and cultural issues within literary texts
• Core Belief: Literature is a reflection of its society.

4A. THE MARXIST APPROACH

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Marxist Criticism emphasizes economic and social conditions. It is based on the political theory of Karl Marx and Friedrich
Engels.
• Concerned with understanding the role of power, politics, and money in literary texts
Marxist Criticism examines literature to see how it reflects
• The way in which dominant groups (typically, the majority) exploit the subordinate groups (typically, the
minority)
• The way in which people become alienated from one another through power, money, and politics

4B. THE FEMINIST APPROACH

Feminist Criticism is concerned with the role, position, and influence of women in a literary text.
• Asserts that most “literature” throughout time has been written by men, for men.
• Examines the way that the female consciousness is depicted by both male and female writers.

4 Basic Principles of Feminist Criticism

• Western civilization is patriarchal.
• The concepts of gender are mainly cultural ideas created by patriarchal societies.
• Patriarchal ideals pervade “literature.”
• Most “literature” through time has been gender-biased.

5. THE BIOGRAPHICAL APPROACH

Biographical Criticism argues that we must take an author’s life and background into account when we study a text.
Three Benefits:
• Facts about an author’s experience can help a reader decide how to interpret a text.
• A reader can better appreciate a text by knowing a writer’s struggles or difficulties in creating that text.
• A reader can understand a writer’s preoccupation by studying the way they apply and modify their own life
experiences in their works.

6. THE NEW HISTORICIST APPROACH

New Historicist Criticism argues that every literary work is a product of its time and its world.
New Historicism:
• Provides background information necessary to understand how literary texts were perceived in their time.
• Shows how literary texts reflect ideas and attitudes of the time in which they were written.
• New historicist critics often compare the language in contemporary documents and literary texts to reveal cultural
assumptions and values in the text.
REMEMBER…
• We will never look at a text STRICTLY from one standpoint or another, ignoring all other views. That is antithetical to
what we are trying to do.
• We should always keep our focus on the text and use these critical approaches to clarify our understanding of a text
and develop an interpretation of it.

IV. LITERARY TEXTS AND AUTHORS FROM DIFFERENT CONTINENTS

a. Chechnya by Anthony Marra
AFTER HER SISTER, Natasha, died, Sonja began sleeping in the hospital. She returned home to wash her
clothes a few days a month, but those days became fewer and fewer. No reason to return, no need to wash
her clothes. She only wears hospital scrubs anyway.
She wakes on a cot in the trauma unit. She sleeps there intentionally, in anticipation of the next critical
patient. Some days, roused by the shuffle of footsteps, the cries of family members, she stands, and a
body takes her place on the cot and she works on resuscitation, knowing she is awake because she could
dream nothing like this.
“A man is waiting here to see you,” a nurse says. Sonja, still on the cot, rubs the weariness from her eyes.
“About what?”
The nurse hesitates. “He’s right out here.”

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 A minute later in the hallway the man introduces himself. “My name is Akhmed.” He speaks Russian
without an accent, but by now Sonja feels more comfortable conversing in Chechen. A short beard
descends from Akhmed’s face. For a moment she thinks he’s a religious man, then remembers that
most men have grown their beards out. Few have shaving cream, fewer have mirrors. The war has
made the country’s cheeks and chins devout.

He gestures to a small girl, no older than eight, standing beside him. “My wife and I cannot care for
her,” Akhmed says. “You must take her.”
“This isn’t an orphanage.” “There are no
orphanages.”
The request is not uncommon. The hospital receives humanitarian aid, has food and clean water. Most
important, it tends to the injured regardless of ethnicity or military affiliation, making the hospital one of
the few larger buildings left untargeted by either side in the war.
Newly injured arrive each day, too many to care for. Sonja shakes her head. Too many dying; she cannot
be expected to care for the living as well.
“Her father was taken by the rebels on Saturday. On Sunday the army came and took her mother.”
Sonja looks at the wall calendar, as if a date could make sense of the times.
“Today is Monday,” she says.
“I was a medical student before the war,” Akhmed says, switching to Chechen. “In my final year.
I will work here until a home is found for the girl.”
Akhmed glowers. Sonja often sees defiance from rebels and occasionally from soldiers, but rarely
from civilians.
“I can’t,” she says, but her voice falters, her justification failing.
Sonja surveys the corridor: a handful of patients, no doctors. Those with money, with advanced
degrees and the foresight to flee the country, have done so.
“Parents decide which of their children they can afford to feed on which days.
No one will take this girl,” Sonja says. “Then I will keep
working.”
“Does she speak?” Sonja looks to the girl. “What’s your name?” “Havaa,” Akhmed answers.
Six months earlier Sonja’s sister, Natasha, was repatriated from Italy. When Sonja heard the knock and
opened the door, she couldn’t believe how healthy her sister looked. She hugged her sister, joked about
the padding on her hips. Whatever horrors Natasha had experienced in the West, she’d put fat around
her waist.
“I am home,” Natasha said, holding the hug longer than Sonja thought necessary. They ate dinner
before the sun went down, potatoes boiled over the furnace. The army had cut the electric lines four
years earlier. They had never been repaired. Sonja showed her sister to the spare room by candlelight,
gestured to the bed. “This is the place you sleep,
Natasha.”
They spent the week in a state of heightened civility. No prying questions. All talk was small.
What Sonja noticed; she did not comment on. A bottle of Ribavirin antiviral pills on the
bathroom sink. Cigarette burns on Natasha’s shoulders. Sonja worked on surgeries, and
Natasha worked on sleeping. Sonja brought food home from the hospital, and Natasha ate it.
Sonja started the fire in the morning, and Natasha slept. There were mornings, and there were
nights. This is life, Sonja thought.

Akhmed is true to his word. Five minutes after Sonja accepts the girl, he is washed and suited in
scrubs. Sonja takes him on a tour of the hospital. All but two wings are closed for lack of staff. She
shows him the cardiology, internal medicine, and endocrinology wards. A layer of dust covers the
floors, their footprints leaving a trail. Sonja thinks of the moon landing, how she saw the footage for the
first time when she arrived in London.

“Where is everything?” Akhmed asks. Beds, sheets, hypodermics, disposable gowns, surgical tape, film
dressing, thermometers, IV bags, forceps—any item of practical medical use is gone. Empty cabinets,
open drawers, locked rooms, closed blinds, taped-over windowpanes, the stale air remain.
“The trauma and maternity wards. And we’re struggling to keep them both
open.”

Akhmed runs his fingers through his beard. “Trauma, that’s obvious.
You have to keep trauma open. But maternity?”

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 Sonja’s laugh rings down the empty hall. “I know. It’s funny, isn’t it?
Everyone is either giving birth or dying.”

“No.” Akhmed shakes his head, and Sonja wonders if he’s offended by her. “They are coming into the
world, and they are leaving the world and it’s happening here.
” Sonja nods, wonders if Akhmed is religious after all.

b. Adaptation from The Journey to the River Sea By Eva Ibbotson

Maia is an orphan. Her only guardian is a lawyer, named Mr. Murray, whose only responsibility is to help her
with the small amount of money her parents have left her when they died. Then, Maia learned that her relatives,
the Carters would be willing to take care of her. When a note written by the Carter twins, Gwendolyn and Beatrice,
arrives, Maia makes up her mind to go live with the Carters in their house on the Amazon. She travels there with
Miss Minton, her new tutor. On the boat from England, she meets Clovis King, a struggling child actor. The two
quickly became friends. Maia is very excited to live with the Carters. She imagines that she and the twins will
become the best of friends and they will have a wonderful time together.

However, the only reason the Carters took Maia in was her money. In reality, Gwendolyn and Beatrice are selfish.
They hate Maia before they even know her. Maia feels like being with the Carters is like a being in prison. Soon,
however, she meets Finn, who is running away from private detectives known as “the crows.” They are trying to
force Finn to return to England and claim his inheritance.

When Clovis committed a mistake in a play where he belongs, he goes to Maia for help because his acting
company fires him. She and Finn hide him in the hidden lagoon where Finn lives and devise a plan to get Clovis
back to England. Finn, Maia, and Clovis plan to make the crows believe that Clovis is Finn so Clovis pretended
to be Finn.
Meanwhile, in England, Clovis confesses that he is not the real Finn and wishes to go home, which causes Sir
Aubrey, Finn’s father to have a heart attack. The real Finn goes to his father's home, to help Clovis reveal the
truth.
In the end, Mrs. Carter, Beatrice, and Gwendolyn return to England to become servants of their wealthy relative.
However, Maia, Miss Minton and Clovis all return to Brazil. Finn inherits all his family’s money and possessions.

c. SHIMENAWA By Naoko Kumagai

This is a story I was told.

It was August 1973. My brother Jiro was four, sitting at dinner.

“E tadaki mas,” my uncle said. Jiro picked up onigiri, a rice ball, with his hands and mashed it into his mouth.
Fish and rice on his plate, untouched. He stuffed another onigiri in his mouth, bits of rice falling.
“Jiro-chan…” A warning from my mother. Jiro opened his mouth wide, splayed his tongue covered in tiny white
beads of rice. Kazuya stood up and roughly pulled Jiro out of his chair.
“What are you doing?” My mother asked, getting up.

Kazuya went out the back door, carrying Jiro firmly under his arm. With the other hand, he picked up a circle of
rope hanging on the fence by the shed. In the yard was a large oak tree with heavy, twisted branches. He
wrapped the rope around my brother once, then pushed him to the trunk of the oak, winding the rope around and
around.

“He must eat his dinner properly.” My uncle tied a thick knot at the end. “He needs to learn to be a man.”
My mother was shouting at my uncle; Jiro was screaming, the sound flooding the sky. Kazuya went back into
the house, relaxed, and entitled, as if he had just finished a long day’s work.

No one remembers the rest. My mother never forgave my uncle. My father wasn’t there. Jiro can’t recall any of
it. He jokes that the incident is possibly the reason he always, intuitively eats everything on his plate.

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 d.

V. 21ST CENTURY LITERARY GENRE

st
21 CENTURY LITERATURE

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 TYPES

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 ADDITIONAL NOTES:
• Chick-lit differs from chick-flick in form. Chick-lit are written genre focusing on women’s interest whereas chick-
flick is in motion picture, video or film format.

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 • Manga is a printed story containing dialogues and illustration. This form originated in japan. Just like comics, it
has similar format. Manhwa is similar to manga but has different origin. Manhwa came from china/korea and is
also in printed format. All manga/comics that are in softcopies format belong to webtoon novel.
• Not all horror themes are included in speculative fiction. Only those who are based on fictional characters such
as vampires, monsters etc.

VI. LITERARY GENRE ON CREATIVE MULTIMEDIA PRESENTATION

Multimedia is an essential avenue to transform unique adaptations of a literary, thus making learning outputs interesting and
productive. To have a creative adaptation of literary genres, the following concepts have to take into considerations:
A. Multimedia and its Concepts
• A multimedia is an electronic application used to teach lessons or to further educate learners on a particular topic. It
is a presentation of material that uses both words and pictures in a combination of text, voice, picture or video. Using
interactive digital tools to tell a story is called digital storytelling and often uses a combination of multimedia venues
to complete the task. The use of multimedia allows educational ideas and materials to be presented in a more
artistic, inspired and engaging way.
B. Uses of Multimedia and its Formats
• There are many uses of multimedia for a deeper understanding of a lesson. Audiobooks are ideal for second-
language learners. Song files and music videos can be used to compare social norms in different eras. Multimedia
can offer students a better understanding of the lesson. The multimedia formats from various media include: text and
graphics for slideshows, presentations, diagrams and infographics. Audio has podcasts and recordings. Screen
captures, lecture captures and animation are examples of video components of multimedia. Other multimedia
components include blogs, vlogs, webinars and other interactive content. Multimedia applications include the
interaction of different media types like animation, video, text and sound. It has become a part of our lives as soon as
we entered the digital age. Before the modern technology, there are tools helping us appreciate some of the types of
multimedia such as videos on television. There are various components of multimedia such as:
1. Videos
• Digital video is a primary component in multimedia, especially those that appear online and on television.
The different formats of these types of multimedia include WMI, AVI, MPED and flash. Some of these
formats are better than others because they load faster and can be viewed or loaded using different
platforms and operating systems.
• Many videos have changed formats ever since the mobile phone industry became more advanced in
technology. Many of the video formats require plug-ins on browsers and specific mobile applications to
load. Here is a list of multimedia formats:

2. Animation
• Animation is a form of art for most people, especially those that are in the business of producing
animated movies. Right now, animation has become interactive, allowing users to directly affect the
outcome of animated components and events. Flash is the most common platform for animation,
and using this component, the interactivity of animation is enhanced.
3. Text
• Text has always been and will always be the most common among the types of multimedia
components in different applications. Text in combination with other media components can make
any application more user-friendly. By using text, interactivity is increased. Text elements are

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 particularly important for accessibility purposes. Users of an application need to input text for the
system to identify them. Text is also used to create a digital signature, such as in passwords.
4. Images
• Digital image files are needed to create videos and animation. A user would sooner go to a website
filled with colorful photographs than one that contains only text elements. Familiar image formats
include jpeg and png. These formats permit editing. Images are created by graphic designers using
various software.
5. Audio
• Voiceovers comprise a tremendous number of the types of multimedia components. Audio files
include background music and special effects. Any audio in an application is designed to improve a
user’s experience.
C. CHARACTERISTICS OF A MULTIMEDIA
● Multimedia can be used in the presentations, making them more fun and interesting.
● A multimedia presentation has various viewing options such as projector or a media player and the like.
● You can also download the multimedia presentation or play it live.
● The technology of multimedia can also be used to make the information be conveyed more easily to the user.
● Multimedia technology has improved the learning experience by combining various forms of media together. D. D. D.
D. BENEFITS OF USING MULTIMEDIA
● Digital storytelling allows students to improve their knowledge about a specific subject and increases skills such as writing,
researching and reading.
● Using multimedia improves a learner’s overall academic performance. In particular, multimedia in the classroom is used for
self-directed learning or SDL.
● Students manage their time and assess what needs to be included in their learning activities. This style of learning is used
mostly with older students who already know how to manipulate many of the multimedia venues available to them.
A. The Basic Elements of a Short Story
1. Character | The character element is the person or people in a story.
Sometimes the characters are not human, some may be animals or
spirits. Incidentally, even when non-human characters are used, they
tend to have human characteristics.

Characters are usually of two types:

the protagonist and the antagonist.

The protagonist is the main character. He or she is in conflict with

another character, who is known as the antagonist.
An example of a protagonist and an antagonist are Superman, the
protagonist, and Lex Luthor, the antagonist.

2. Setting | The first important element of a short story is the setting. The setting
refers to the time and place that the event(s) in the story take place.
3. Plot | The plot refers to the flow of events in the story. Essentially, the plot
refers to what is happening in the story.
4. Conflict | The conflict or complication refers to the tension, the fight or the
struggle between the various characters or forces in the story. This actually
gives fuel to the story and influences its flow (i.e. its plot). Without the
conflict, then you have no story.

5. Climax | The climax is the most exciting part of a story. It is when the
conflict is about to or is getting resolved.

6. Theme | This element refers to the topic that the writer writes or comments
on in his or her writing. The theme is the motif of the story, that is, it
permeates the whole story and recurs throughout the narrative. An
example of a theme is the topic of "bravery" in Harry
Potter.

B. Information and Communication Technology or ICT

Information and communications
technology (ICT) refers to all the technology used to
handle telecommunications, broadcast media,
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 intelligent building management systems, audiovisual
processing and transmission systems,
and network-based control and monitoring
functions. ICT is often considered an extended synonym for information technology (IT)

Information Technology (IT) is the use of computers to store, retrieve, transmit, and
manipulate data, or information. IT system is generally an information system, a
communications system or, more specifically speaking, a computer system – including all
hardware, software, and peripheral equipment – operated by a limited group of users.

C. ICT Skills
ICT skills are about understanding and
applying a range of computer programs, software, and
other applications. These include word processing,
spreadsheets, databases, slide presentations, and
search engines.

ICT skills are being manifested if you can do the following:

o type / encode your document; bring out your best writing using MS Word-
word processor
o manipulate numbers and data for computation; discover and connect to
data, analysis using MS Excel – number processor
o generate slides for presentation; design professional presentations using
MS PowerPoint – slide presentation
o create everything from labels to newswriting and marketing materials
using MS Publisher
o copy (Ctrl+C) and paste (Ctrl+V) any items from internet – images, video
clips, music and be able to embed them in your outputs
o cite source(s) on any imported images, video clips, music ---to avoid
plagiarism
o manage browsing websites
o save any files with appropriate file formats
o associate yourself as a Techie person (one who has smart and clever ways
of manipulating computer and other related gadgets).

D. Components of ICT
The term Information and Communication Technology (ICT) is generally
accepted to mean all technologies that, combined, allow people and organizations to
interact in the digital world.

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IV. SELF AND PEER ASSESSMENT
This lesson focuses on performing a self and peer assessment of a creative
adaptation of a literary text. Literature expresses human thoughts, feelings, sensations,
and imaginations. It recreates situations, relates experiences and records events and
history. As you go through this lesson, you will be given the time to express your own
perceptions, feelings, creativity, and judgment by making an adaptation of a literary text
using multimedia and ICT skills. You will also learn how to evaluate and assess these
literary adaptations.
Literary adaptation is a process of adapting a literary source (e.g. a novel, short
story, and poem) to another genre or medium such as a film, stage play, or even video
games. It involves adapting the same literary work in the same genre or medium just for
different purposes, e.g. to work with a smaller cast, in a smaller venue (or on the road), or
for a different demographic group (such as adapting a story for children).
Studying literature can be very easy with the right amount of knowledge gained
from your studies in the past. Can you still recall your previous topic on creative
presentation of literary text by applying multimedia? It was highlighted that every
technological breakthrough adds up life to literature. Meaning, with technology, literature
becomes more accessible than that of yesterday. Televisions, tablets, computers, and
even smart phones can now be your best literature buddy as you explore the wide array
of literature all over the world. More so, the existence of technology gives prevalent skills
to learners to easily capture the meaning the literature intends to express due to its visual
aesthetics, audio programming, and virtual kinesics.
What is the importance of Peer and Self-Assessment?

As a student, it is important that one must know how to do peer and self-
assessment. Here are the reasons according to the University of Reading:

1. It encourages you to take responsibility for your learning by encouraging engagement

with assessment criteria and reflection of your own performance and that of your peers.
Through this, you can learn from your previous mistakes, identify your strengths and
weaknesses and learn to target your learning accordingly.

2. It makes you more active in your learning which in this way, it can help to change
the perception that learning is a passive process whereby students simply listen
and absorb information for the sake of compliance. In this way, students are more
likely to engage with their learning as participants instead of just spectators.

3. It enables you to better understand assessment expectations and work towards

improving your own performance. Getting yourself more actively involved in your
assessment can make assessment itself a means by which you can develop.

Thus, Peer and Self-assessment are important to learn for a student like you, and
in order to achieve this, it is essential that your assessment criteria are clear and fully
described through the help of your teacher. Taking this step further and allowing you to
contribute to the assessment criteria can serve to transfer ownership, fostering deeper
engagement with the assessment and learning.

What is literary text adaptation?

Literary adaptation is a process of adapting a literary source (e.g. a novel, short
story, and poem) to another genre or medium such as a film, stage play, or video game. It
involves adapting the same literary work in the same genre or medium just for different
purposes, e.g. to work with a smaller cast, in a smaller venue (or on the road), or for a different
demographic group (such as adapting a story for children).
Personally, a good example of this is the “Hana Yori Dango” a manga series written
by Yoko Kamio. It was set in Tokyo, Japan, and told the story of a middle- class teenage
girl named Makino Tsukushi who starts attending a prestigious high school called Eitoku
Academy. The school is *ruled* by F4 (aka Flower Four), a group of hot guys from the
country's richest families! The group's leader Domyouji Tsukasa bullies her and later
develops feelings for her, but Tsukushi falls for his BFF Hanazawa Rui instead. The rest
of the F4 members are named Nishikado Sojirou and Mimasaka Akira. As the years have
gone by, several adaptations were made for this manga.
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 The following are its adaptations:

Year Title Country of Origin

1996 Hana Yori Dango Japan

2001 Meteor Garden Taiwan

2005 Hana Yori Dango Japan

2009 Boys Over Flowers Korea

2018 Meteor Garden China

2021 F4 Thailand Thailand

What do we want in a literary adaptation?

According to Watts (2020) in the article entitled “What do we want in a literary
adaptation?”, there is complexity and difficulty to commit as regards to determining: What
makes a good adaptation? Which matters more: the quality of the film itself, or how
“accurate” it is to the book it’s based on? Literary text and literary adaptation are different
art forms such as in the case for instance between novels and films. Instead, she noticed
four different types or “levels” of adaptation. Each has varying degrees of adherence to their
source material.
1. The “Museum” adaptation. This type is concerned with preserving every possible
detail of the book exactly how it exists in the book, just transferred to the film as a
medium.
2. The Artful adaptation. It is concerned with finding balance between being true to
its own as a work of art. Accordingly, it is like a conversation between the book and
audience. Rather than preserving every detail like a museum, an Artful Adaptation
finds the essential elements of the book and interprets them in ways that
meaningful for the audience.

3. The Loose Adaptation. This type is concerned about keeping a few elements or
some semblance of the premise of the book it’s based on, but then more or less
does its own thing with them. Often, this type of adaptation is discussed in negative
terms, as if its lack of exact similarity to its source material is somehow a failure.

4. The Transformative Adaptation. This type of adaptation seeks to highlight the

timelessness and universality of their source works’ messages and themes.

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