Q1 Module 2 - Topic 2-3-4
Q1 Module 2 - Topic 2-3-4
Q1 Module 2 - Topic 2-3-4
I. Title
Subject English Quarter First Module # 2
Level 10 Duration Day
Topic:2 Using Titles and Advance Code
Reading and Research Organizers as Aids to
Understanding
II. Preliminaries
Content Standards: Performance Standards
The learner demonstrates understanding The learner composes a
of how world literature and other text types serve short but powerful persuasive text
as ways of expressing and resolving personal using a variety of persuasive
conflicts, and also how to use strategies in critical
techniques and devices.
reading, listening, and viewing, and affirmation
and negation markers.
What strategies will you develop to reach your personal goals? Explain why you
chose them.
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There are several kinds of textual aids, which help in the understanding of a text.
Two of these are titles and advance organizers.
Titles, headings, and subheadings highlight key ideas in a reading text, breaking
it down into its smaller parts and making it easier to read.
A text reading about Biblical literature, for example, may have the following
headings and subheadings:
Biblical Genres
Parables
Psalms
Proverbs
Epistles
Literary Qualities
Writing Style
Use of literary devices
Subjects and themes
What do you KNOW What do you WANT to What did you LEARN
about biblical literature? know about biblical about biblical literature?
literature?
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Advance organizers may also be in the form of preview questions that help the
reader anticipate the new information in the reading text.
1. What is a parable?
B. What is particular instance you often use the advance organizer and title?
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1. What do you KNOW about the religious 2. What do you WANT to know about the
beliefs of the Early Egyptians? religious beliefs of the early Egyptians?
C. As you read the following excerpt, complete the advance organizer in Exercise A.
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Then write down the new information you learn about the religious beliefs of the
early Egyptians.
The ideas and beliefs which the Egyptians held in reference to a future existence
are not readily to be defined, owing to the many difficulties in translating religious texts and
in harmonizing the statements made in the different works of different periods. Some
confusion of details also seems to be existed in the minds of the Egyptians themselves,
which cannot be cleared up until the literature of the subject has been further studied and
until more texts have been published. That the Egyptians believed in a future life of some
kind is certain; and the doctrine of eternal existence is the leading feature of their religion
and is enunciated with the utmost clearness in all periods.
Whether his belief had its origin at Annu, the chief city of the worship of the sun-god,
is not certain, but is very probable; for already in the pyramid texts we find the idea of
everlasting life associated with the sun`s existence, and Pepi I said to be “the Giver of life,
stability, power, health, and all joy of heart, like the Sun, living forever.” The sun rose each
day in renewed strength and vigor, and the renewal of youth in a future life was the aim and
object of every Egyptian believer. To this end all the religious literature of Egypt was
composed.
from The Book of the Dead,
The Papyrus of Ani (1985)
by E.A Wallis Budge
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C. Integration
If you are a Marian leader, how would you organize your organization?
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How does the President use his authority to manage and organize his country?
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In real life situation, what would be the benefits of title and organizer in everyday life?
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V. References
Language in Literature World Literature 2nd Edition pp. 24-27.
ST. MARY’S COLLEGE OF MARINDUQUE
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I. Title
Subject English Quarter First Module # 2
Level 10 Duration Day
Topic:3 Using Diagrams as Aids to Code
Reading and Research Understanding
II. Preliminaries
Content Standards: Performance Standards
The learner demonstrates understanding The learner composes a
of how world literature and other text types serve short but powerful persuasive text
as ways of expressing and resolving personal using a variety of persuasive
conflicts, and also how to use strategies in critical techniques and devices.
reading, listening, and viewing, and affirmation
and negation markers.
Draw a family tree and explain how do you interpret it. Use the given space
below.
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Read the following excerpt from an article published by the Center for Hellenic
Studies of Harvard University.
The monolithic personality of Achilles, central epic hero of the Iliad, is matched
against the many sidedness of Odysseus, the commensurately central epic hero of the
Odyssey. Whereas Achilles achieves his epic centrality as a warrior, Odysseus
achieves his own kind of centrality in an alternative way-as a master of crafty
stratagems and cunning intelligence.
There are of course many other heroes in Homeric poetry, but Achilles and
Odysseus have become the two central points of reference. Just as the central heroes
of the Iliad and Odyssey are complementary, so too are the epics that centralize them.
The complementarity extends even further: between the two of them, these two epics
give the impression of incorporating most of whatever was worth retelling about the
world of heroes-at least from the standpoint of the Greek-speaking people in the age of
Plato and Aristotle. The staggering comprehensiveness of these two epics is apparent
even from a cursory glance.
In the case of Iliad, this epic not only tells the story that it says it will tell, about
Achilles' anger and how it led to countless woes as the Greeks went on fighting it out
with the Trojans and striving to ward off the fiery onslaught of Hector. It also manages to
retell or even relive, though with varying degrees of directness or fullness of narrative,
the entire Tale of Troy, including from the earlier points of the storyline such as
memorable moments as the judgment of Paris, the abduction of Helen, and the
Assembly of Ships. More than that: The Iliad foreshadows the death of Achilles, which
does not occur within the bounds of its plot. In short, although the story of the Iliad
directly covers only a short stretch of the whole story of Troy, thereby resembling the
compressed time-frame of classical Greek tragedy (Aristotle makes this observation in
his poetics), it still manages to mention something about practically everything that
happened at Troy, otherwise known as Ilion. Hence the epic's title-the Tale of Ilion, the
Iliad.
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The Homeric Odyssey is equally comprehensive. It tells the story of the hero's
nostos `return, homecoming.' This word means not only `homecoming' but also `song
about homecoming.' As such, the Odyssey is not only a nostos: it is a nostos to end all
other nostoi. In other words, the Odyssey is the final and definitive statement about the
theme of a heroic homecoming: in the process of retelling the return of the epic hero
Odysseus, the narrative of the Odyssey achieves a sense of closure in the retelling of
all feats stemming from the heroic age. The Odyssey provides a retrospective even on
those epic moments that are missing in the Iliad, such as the story of the Wooden Horse
(viii 487-520). As we see from the wording of the Song of the Sirens in the Odyssey (xii
189-191), the sheer pleasure of listening to the song of Troy that is the Iliad will be in
vain if there is no nostos, no safe return home from the faraway world of epic heroes: in
other words, the Iliad itself will become a Song of the Sirens without a successful
narration of the Odyssey.
Source: Nagy, Gregory. "The Epic Hero" Center of Helenic Studies, 2006.
Https://chs.harvard.edu/CHS/article/display/1302. Accessed 27 April, 2019.
See in the diagram below how the ideas presented in the excerpt can be
arranged and expressed nonlinear form.
A. The following excerpt, also taken from the article published by the Center for Hellenic
Studies of Harvard University, contains a characterization of Achilles, the hero of the
Iliad.
Read it carefully.
Let us begin with Achilles. Here is a monolithic and fiercely uncompromising man
who actively chooses violent death over life in order to win the kleos, 'glory' of being
remembered forever in epic poetry (Iliad IX 413). Here is a man of unbending principle
who cannot allow his values to be compromised-not even by the desperate needs of his
near and dear friends who are begging him to bend his will, bend it just enough to save
his own people. Here is a man of constant sorrow, who can never forgive himself for
having unwittingly allowed his nearest and dearest friend, Patroklos, to take his place in
battle and be killed in his stead, slaughtered like a sacrificial animal-all on account of his
own refusal to bend his will by coming to the aid of his fellow warriors. Here is a man,
finally, of unspeakable anger, an anger so intense that the poet’s words it the same way
that he words the anger of the gods, even of Zeus himself.
The gods of the Homeric Iliad take out their anger actively, and this anger is
poetically visualized in the form of destructive fires and floods unleashed by Zeus. The
central hero of the Iliad at first takes out his anger passively, by withdrawing his vital
presence from his own people. The hero's anger is directed away from the enemy and
toward his own people, whose king, Agamemnon, has insulted Achilles' honor and
demeaned his sense of self. This passive anger of Achilles translates into the active
success of the enemy in the hero's absence, and the enemy's success is compared,
ironically, to destructive fires and floods unleashed by Zeus. In this way, the passive
anger of the hero translates symbolically into the active anger of the god.
... Then, in response to the death of Patroklos, Achilles' anger modulates into an
active phase-active no longer in a symbolic but in a real sense. The hero's anger is
redirected, away from his own people and back toward his enemy.
This new phase of Achilles' anger consumes the hero in a paroxysm of self-
destructiveness. His fiery rage plummets him to the depths of brutality, as he begins to
view the enemy as the ultimate Other, to be hated with such an intensity that Achilles
can even bring himself, in a moment of ultimate fury, to express that most ghastly of
desires, to eat the flesh of Hektor, the man he is about to kill. The Iliad is the story of a
hero's pain, culminating in anger that degrades him to the level of a savage animal, to
the depths of bestiality. This same pain, however, this same intense feeling of loss, will
ultimately make the savage anger subside in a moment of heroic self-recognition that
elevates Achilles the highest reals of humanity, of humanism. At the end of the Iliad, as
he begins to recognize the pain of his deadliest enemy, of the Other, he begins to
achieve a true recognition of the Self. The is at the end. And the story can end as well.
Source: Nagy, Gregory. "The Epic Hero" Center for Helenic Studies. 2006.
Http://chs.harvard.edu/CHS/article/display/1302. Accessed 27 April, 2019.
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Achilles' prominent
Achilles' choices traits Changes in Achilles'
and reasons character over time
Achilles,
epic Hero
B. After completing the diagram, explain how it aids, improves, or enriches your
understanding of the excerpt.
C. Integration
V. References
Language in Literature World Literature 2nd Edition pp. 57-60.
ST. MARY’S COLLEGE OF MARINDUQUE
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I. Title
Subject English Quarter First Module # 2
Level 10 Duration Day
Topic:4 Using Tables and Charts as Code
Reading and Research Aids to Understanding
II. Preliminaries
Content Standards: Performance Standards
The learner demonstrates understanding The learner composes a
of how world literature and other text types serve short but powerful persuasive text
as ways of expressing and resolving personal using a variety of persuasive
conflicts, and also how to use strategies in critical techniques and devices.
reading, listening, and viewing, and affirmation
and negation markers.
Paste an example of your old card and interpret it. Write your interpretation inside
the box.
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http://www.differencebetween.net/science/mathematics-statistics/difference-between-
table-and-chart/
What do you think are the roles of tables and charts in our life?
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Where can you use the tables and charts in your everyday living?
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ST. MARY’S COLLEGE OF MARINDUQUE
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Read the following excerpt about the early years in the history of ancient Rome:
As legend has it, Rome was founded in 753 B.C. by Romulus and Remus, twin
sons of Mars, the god of war. Left to drown in a basket on the Tiber by a king of nearby
Alba Longa and rescued by a she-wolf, the twins lived to defeat that king and found
their own city on the river’s banks in 753 B.C. After killing his brother, Romulus became
the first king of Rome, which is named for him. A line of Sabine, Latin and Etruscan
(earlier Italian civilizations) kings followed in a non-hereditary succession.
Rome’s era as a monarchy ended in 509 B.C. with the overthrow of its seventh king,
Lucius Tarquinius Superbus, whom ancient historians portrayed as cruel and tyrannical,
compared to his benevolent predecessors. A popular uprising was said to have arisen
over the rape of a virtuous noblewoman, Lucretia, by the king’s son. Whatever the
cause, Rome turned from a monarchy into a republic, a world derived from res publica,
or “property of the people.”
In 450 B.C., the first Roman law code was inscribed on 12 bronze tablets–known
as the Twelve Tables–and publicly displayed in the Roman Forum. These laws included
issues of legal procedure, civil rights and property rights and provided the basis for all
future Roman civil law. By around 300 B.C., real political power in Rome was centered
in the Senate, which at the time included only members of patrician and wealthy
plebeian families.
Though the Gauls sacked and burned Rome in 390 B.C., the Romans rebounded
under the leadership of the military hero Camillus, eventually gaining control of the
entire Italian peninsula by 264 B.C. Rome then fought a series of wars known as the
Punic Wars with Carthage, a powerful city-state in northern Africa. The first two Punic
Wars ended with Rome in full control of Sicily, the western Mediterranean and much of
Spain. In the Third Punic War (149–146 B.C.), the Romans captured and destroyed the
city of Carthage and sold its surviving inhabitants into slavery, making a section of
northern Africa a Roman province. At the same time, Rome also spread its influence
east, defeating King Philip V of Macedonia in the Macedonian Wars and turning his
kingdom into another Roman province.
Rome’s military conquests led directly to its cultural growth as a society, as the
Romans benefited greatly from contact with such advanced cultures as the Greeks. The
first Roman literature appeared around 240 B.C., with translations of Greek classics into
Latin; Romans would eventually adopt much of Greek art, philosophy and religion.
ST. MARY’S COLLEGE OF MARINDUQUE
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A. See how the important dates and events narrated in the preceding
excerpt are arranged in the time line chart below.
B. A timeline abstracts historical dates and events from a written text and
summarizes them visually in the order in which they took
place.
According to legend, Romulus and Remus founded the city of Rome, with
753 BC Romulus becoming its first king after killing his brother.
450 BC The first Roman law code was inscribed on bronze tablets known as the Twelve
Tables and displayed publicly in the Roman Forum.
Under the military hero Camillus, Rome rebounded and eventually gained
264 BC control of the entire Italian peninsula.
240 BC The first Roman literature appeared with translations of Greek classics into
Latin.
In the Third Punic War, the Romans captured and destroyed the city of
Carthage and sold its surviving inhabitants into slavery, making a section
149-146BC of northern Africa a Roman province.
Rome spread its influence east, defeating King Philip V of Macedonia in
the Macedonian Wars and turning his kingdom into another Roman
province.
The major aviation victories of the last three centuries are well
documented. Historians credit France's Montgolfier brothers with pioneering
balloon flight in 1783, and Germany's Otto Lilienthal with the first successful
glider flight in the 1890s. America's Wright brothers made the first successful
flight in a small engine plane in 1903. While these accomplishments were
certainly groundbreaking, they were far from man's first attempt to fly. So when
did our fascination with the skies begin?
Pinpointing man's first attempt at flight is a difficult -- if not impossible -- task. For
starters, what constitutes an attempt -- a caveman flapping his arms and chasing after a
flock of geese? As ridiculous as this image may be, how else might early humans have
attempted to mimic the flight mechanics of birds? They had no understanding of physics
and had only their observations to go on. Even today, you can find young children
carrying out this same experiment.
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So, what might have been man's first attempt to fly? Our understanding of the past is
limited by the surviving artifacts and historical accounts, but a few accounts from history
and legend stand out above the rest.
The tale of Daedalus and Icarus is one of the most famous (and mythical)
examples of early flight. According to legend, the father and son duo took to the sky on
wings crafted from wood, wax, twine and bird feathers. Daedalus survived the flight, while
Icarus plummeted to his death when the sun melted the wax holding his wings together.
Historians typically date the story back to at least 1400 B.C. [source: Scott].
We can't be sure if there's any real historical basis for Daedalus and son, but they
certainly weren't the only ones to risk their lives on a pair of artificial wings. Fabyan's "The
Chronicles" (A.D. 1596) described how King Bladud tried a similar feat around 850 B.C.
The monarch donned wings, climbed to the top of the temple of Apollo (in what's now
London), and launched himself out into midair [source: Hart]. Tragically, the Bronze Age
aviator promptly fell to his death. While most historians consider the story legendary,
some believe it may have some factual basis.
Similar tales of failed flights on fake wings pop up throughout the last 2,000 years.
Around A.D. 60, a winged actor attempted to liven up a party held by Roman Emperor
Nero, only to fall to his death [source: Hart]. Shockingly, this wasn't even considered a
particularly odd occurrence at the time. Other incidents followed, with would-be aviators
leaping off mosques, cathedrals, castle walls and towers across the globe -- often into the
arms of death. Of the 50 attempts documented in Clive Hart's "The Prehistory of Flight,"
as many as a dozen may have actually flown or glided for a few brief moments.
Artificial wings weren't the only method employed by early aviation pioneers. The
Chinese popularized -- and perhaps invented -- the kite sometime around 1,000 B.C.
[source: Encyclopaedia Britannica]. Various accounts from the following centuries tell of
men taking to the air on these devices. When famed Italian explorer Marco Polo returned
from China in 1295, he claimed to have seen Chinese sailors hoist drunken
crewmembers up into the air on large kites [source: Leinhard]. A Japanese tale from the
late 16th century tells how legendary bandit Ishikawa Goemon, suspended from a large
kite, was guided by his accomplices into a heavily guarded castle [source: Cornish].
Regardless of when humans made the first attempt, the fact remains that man has
quested after the power to fly since prehistoric times. It's only in the last century that we
have reached the point where we can take this technological achievement for granted.
Source: http://www.readme.ae/articles/flying/first-flight
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C. Integration
How do you adhere your high standard of professionalism and work ethics to build up a
productive community?
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If you were given a chance to wish for our country, and granted it instantly, what would it
be and why?
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V. References
Language in Literature World Literature 2 nd Edition pp. 87-91.
https://adventure.howstuffworks.com/first-flight-attempt.htm
https://adventure.howstuffworks.com/first-flight-attempt1.htm