College of Education| Great Books

MODULE I

AN INTRODUCTION TO LITERATURE

Lesson 1 The Nature of Literature

Lesson 2 Genres of Literature
Lesson 3 The Language of Literature
Lesson 4 Literary Standards

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MODULE I

Great Books

 INTRODUCTION

One of the most difficult habits to develop is reading although it is more

accessible now. If one happens to live in an area that doesn’t have a local library,
most libraries have their books available in PDF or ePub format so one can read them
on e-reader, iPad, or your computer screen. The modern world even offers more
avenue to make reading a habit through the internet like Facebook and Twitte.
Despite this, reading still gives countless of people anxiety. The reason for this is
perhaps, in school, people are given reading materials that are not suitable to their
level and do not interest them. Thus, it should be the duty of the teacher to guide
them to love reading and to embrace the benefits of making it a habit.
Reading has a lot of benefits. Aside from it helps in filling one’s head with
information and improving vocabulary, it keeps the mind stimulated and slows the
progress of diseases such as Alzheimer’s and Dementia, since keeping the brain
active and engaged prevents it from losing power. Just like any other muscle in the
body, the brain requires exercise to keep it strong and healthy. Also, getting
transported to other realms in a great story or well-written novel may reduce stress
in work, in personal relationship, and in other issues faced in daily life.
Moreover, when reading a book, an assortment of characters, their
backgrounds, ambitions, history, and nuances, as well as the various arcs and sub-
plots that weave their way through every story must be taken into consideration.
Reading then is a great exercise to improve one’s memory. That same ability to
analyze details also comes in handy when it comes to critiquing the plot; determining
whether it was a well-written piece, if the characters were properly developed, if
the storyline ran smoothly, and so on.
There’s a reading genre for every literate person on the planet, and whether
his tastes lie in classical literature, poetry, fashion magazines, biographies, religious
texts, young adult books, self-help guides, street lit, or romance novels, there’s
something out there to capture one’s curiosity and imagination. To enjoy these
benefits, start opening a book and replenish your soul for a little while.

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OBJECTIVES

After studying the module, you should be able to:

a. Define literature.
b. State the importance of literature through online forum
c. Identify the types of literature
d. Enumerate the different kinds of fiction and non-fiction
e. Identify the genres of the sample literary writings

 DIRECTIONS/ MODULE ORGANIZER

The module contains four lessons. Read every lesson and carefully understand
then respond to the evaluation tasks given to find out how much you have
learned. Submit your output to your instructor for the course. You can contact
your course teacher and discuss during the face-to-face meeting if you experience
any difficulties.
God bless and enjoy reading…

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Lesson 1
THE NATURE OF LITERATURE

The Meaning of Literature

LITERATURE is the collected oral and written works of a society that depict
the people’s beliefs, values, morals, and aspirations, as well as their struggles
in life.

Literature may be defined as “imaginative” writing in the sense of fiction.

However, in the 17th century, the word ‘novel’ seems to have been used about
both true and fictional events, and even news reports were hardly to be
considered factual. Genesis, for example, is read by some as fact or fiction
by others. If Literature is creative or imaginative writing, does this imply that
history, philosophy and natural science are uncreative or unimaginative?

This is why for others, maybe Literature is not definable to whether it is

fictional or not, but because of its peculiar use of the language. Literature
should transform and intensifies ordinary language, deviates systematically
from everyday speech. Literature has a special kind of language, in contrast
to the ordinary language.

If we were to stumble across an isolated scrap of writing from some long-

vanished civilization, we could not tell whether it was ‘poetry’ or not merely
by inspecting it, since we might have no access to that society’s ordinary
discourse. Not all linguistic deviations are poetic e.g. Slang. There are
examples of discourses that use flamboyant words but are not considered as
literature like jokes, football chants, and slogans, newspaper headlines, and
advertisements.

There have been attempts by scholars to provide a universal definition of

literature, but it seems unachievable. Nevertheless, from Studying Literature
in English, Rainsford (2014) provided a rundown of the different definitions
of literature. According to him, these definitions tend to fall within one, or
more than one, of the following categories:

1. Form and content: Literature as a kind of writing in which the way that
something is said matters as much as what is said; or where the way that
something is said is part of what is said.
2. Imagination and creativity: Literature as writing that is not just the
reporting of facts, but in which things are created or ‘made up’. Usually, in
fact, a kind of fiction.
3. Subjectivity: Literature as writing in which things, persons and events are
described from a particular individualistic viewpoint, in a way that is different
from an ‘objective’ understanding.

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4. Artistry: Literature as deliberately artistic writing, intended to take its

place in an existing ‘literary’ tradition.
5. Greatness: Literature as a kind of writing that only a few especially
talented people are capable of, but which is relevant and perhaps useful to
other people and deserves their admiration.

These are definitions used by prominent literary critics and

theorists in their discussions on the nature of literature. Some definitions of
literature support the other and some contradict them. Thus, the question
about which definition has supremacy over the other is still unanswerable.
‘Literature’ is not a natural phenomenon that has existed since the beginning
of time. It is something that people have invented; and they have done so
repeatedly, in different places, in different contexts. How one sees it
depends, arguably, on how he constructs or ‘reads’ the world as a whole.
Insofar as defining literature means constructing a model of human
communication in which a line is drawn between one kind of writing and
another, then categorizing a text as ‘literature’ is itself, if done thoughtfully,
a creative act.

The Importance of Literature

1. Multicultural literature helps readers value people from different races,
ethnic groups, and cultures.
2. Literature helps people deal with their problems.
3. Literature develops thinking skills.
4. Literature provides a language model for those who hear and read it.
5. Literature builds experience.

“To foretell the destiny of a nation, it is necessary to opn the book that
tells of her past.” – Jose Rizal

 LEARNING ACTIVITY
Instructions: Read and analyze the question carefully, then put your answer
in the online forum. You may give comments and suggestions to the responses of
your classmates to ensue discussion.
[Marking Standards: Content-3 + Grammar 2= 5 points]

Explain this: “Literature is the mirror of the society.”

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Lesson 2
GENRES OF LITERATURE

PROSE- literary works in the form of sentences and paragraphs

POETRY- literary works in the form of lines and stanzas

KINDS OF PROSE
1. FICTION – literary production of writer’s creative imagination
2. NON-FICTION- based on facts rather than imagination

KINDS OF FICTION
1. PROSE ALLEGORY- a prose form which the characters, ideas, and actions stand
for something else or for a system of ideas with meanings implied.
-concrete characters are personification of abstract ideas.
a. Fable – the characters are usually animals talking like human being but
keeping their animal traits.
- moral is conveyed in the form of proverb.
b. Myths – explaining the origin of the world and humankind.
c. Legends- a non-historical or unverifiable story handed down by tradition
from earlier times and popularly accepted as historical.
d. Anecdotes- These are merely products of the writer’s imagination and the
main aim is to bring out lessons to the reader.
2. PROSE ROMANCE – stories of high culture, chivalric, magical and unrealistic.
a. Fairy Tales – commonplace expression and typical themes are those which
develop from stock characters such as cruel kings, cruel stepmother, naughty
sister, magic, supernatural changes and restorations.
3. PROSE NARRATIVES
a. Short Story- a brief narrative that concentrates on one situation and
involves two or three characters.
b. Novel- an extended narrative that includes more characters and
complicated plot
c. Novelette - intermediate between short story and the novels.
- more elaborate than a short story but can be read in a single
sitting unlike novel
4. PROSE DRAMA – a literary work written in dialogue and intended for
presentation by actors.
a. Comedy- aims primarily to amuse by its humorous speech and ends happily
b. Tragedy- morally significant struggle which ends disastrously

KINDS OF NONFICTION
1. Essays- an analytic or interpretative literary composition usually dealing with
its subject from a limited or personal point of view
2. Journals- a daily record of news and events of a personal nature
3. Memoir- any nonfiction narrative writing based on the author’s personal
memories
4. Diaries- a book in which one keeps a daily record of events and experiences

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5. Documentaries- a film or video examining an event or persona based on factsa

6. Scientific Papers- intended to further the progress of science, usually by
reporting new research
7. Biographies- an account of someone’s life written by someone else
8. Autobiographies- an account of a person’s life written by that person
9. News- a report of everyday events in society, government, science, and
industry, and accidents, happening nationally or not.
10. Oration- a formal treatment of a subject and is intended to be spoken in
public. It appeals to the intellect, to the will or to the emotions of the
audience.

KINDS OF POETRY
1. NARRATIVE POETRY- tells a story in richly imaginative and rhythmical
language
a. Epic- a long narrative poem divided into distinct parts and episodes bound
together by common relationship to a group hero.
b. Ballad- a short narrative poem intended to be sung.
c. Metrical Tale- a narrative which is written in verse and can be classified
either as a ballad or a metrical romance.
2. LYRIC POETRY- expresses personal thoughts and feelings
a. Ode- poem deals with a serious theme such as immortality, expresses
enthusiasm, lofty praise of some person or thing
b. Elegy- a poem that can be distinguished by its subject- death, contains
author’s personal grief
c. Song- melodious quality required by the singing voice
d. Sonnet- a poet form of fourteen rhymed lines producing a single emotional
effect
e. Folksongs (Awiting Bayan)- short poems intended to be sung that have a
common theme like love, despair, grief, doubt, joy, hope and sorrow.
f. Psalms- a song praising God or the Virgin Mary and containing a philosophy
of life
g. Corridos- have measures of eight syllables and recited to a martial beat
3. DRAMATIC POETRY- portrays life and character through action in powerful,
emotion-packed lines

“It matters not what someone is born, but what they grow to be.”
-J.K. Rowling

 LEARNING ACTIVITY
Instructions: Give your response in the online forum. You may give comments
and suggestions to the responses of your classmates to ensue discussion.
[Marking Standards: Content-3 + Grammar 2= 5 points]

What genre of literature do you usually read? Explain your answer.

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Lesson 3
THE LANGUAGE OF LITERATURE

FIGURATIVE LANGUAGE- words are not used literally but are used to suggest an
image or comparison

Word Meaning
1. Denotation- the meaning is taken from dictionary
2. Connotation- the word has another meaning

1. Metaphor- a word or group of words applied to an object or action to imply

a resemblance.
Example:
All the world’s a stage,
And all the men and women merely players;
They have their exits and their entrances
2. Personification- an animal or inanimate object is represented as having
human attributes such as human form, character, feelings, behavior, or
abilities.
Example:
“A, William, we’re weary of weather,”
Said the sunflowers, shining with dew.
“Our travelling habits have tired us.
Can you give us a room with a view?”
3. Simile- a comparison of two unlike things and uses the words “like” or “as”
Example: He fights like a lion.
4. Hyperbole- a deliberate exaggeration or overstatement used for effect
Example: The bag weighed a ton.
5. Irony- a means of expression or overstatement used for effect
Example: His argument was as clear as mud.
6. Oxymoron- combining contradictory words usually for descriptive purposes
Example: Dark light, living dead
7. Alliteration- the use of nearby words or stressed syllables beginning with the
same consonant
Example: Sally sells seashells.
8. Assonance- repetition of the same or similar vowel sounds, usually close to
each other
Example: The crumbling thunder of seas.
9. Onomatopoeia- words that sound like their meanings that imitate actual
sounds
Example: Clap, Murmur
10. Allusion- to make indirect reference
Example: David was being such as scrooge! (Scrooge is the allusion that
refers to Charles Dicken’s novel, A Christmas Carol.)

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11. Anaphora- repetition of the same word or phrase at the beginning of

successive clauses or verses.
Example: I came, I saw, I conquered.
12. Antaclasis- a word is repeated and whose meaning changes in the second
instance. It is a common type of pun.
Example: Your argument is sound, nothing but sound. (The word sound in
the first instance means reasonable while for the second one the word
means empty.)
13. Anticlimax-statements gradually descend in order of importance
Example: She is a great writer, a mother and a good humorist.
14. Antiphrasis- a word or phrase is used to mean the opposite of its normal
meaning to create ironic humorous effect.
Example: She’s so beautiful. She has an attractive long nose.
15. Antithesis- the juxtaposition of contrasting ideas in balanced phrases
Example: Many are called, but few are chosen.
16. Apostrophe- breaking of discourse to address some absent person or thing,
some abstract quality, an inanimate object, or a nonexistent character.
Example:
“O, pardon me, thou bleeding piece of earth,
That I am meek and gentle with these butchers!
Thou art the ruins of the noblest man
That ever lived in the tides of times”
17. Cataphora- an earlier expression refers to or describes a forward expression.
It is the opposite of anaphora, a reference forward as opposed to backward
in the discourse.
Example: After he had received his orders, the soldier left the barracks. (He
is also a cataphoric reference to the soldiers which is mentioned later in the
discourse.)
18. Chiasmus- a verbal pattern in which the second half of an expression is
balanced against the first but with the parts reversed.
Example: He knowingly led and we followed blindly.
19. Climax- words, phrases or clauses are arranged in order of increasing
importance
Example: There are three things that will endure: faith, hope, and love. But
the greatest of these is love.
20. Dysphemism- the use of a harsh, more offensive word instead of one
considered less harsh. It is often contrasted with euphemism. It used to
shock or offend.
Example: Snail mail for postal mail.
21. Ellipsis- the omission of a word or words. It refers to constructions in which
words are left out of a sentence but the sentence can still be understood.
22. Euphemism- the substitution of an offensive term for one considered
offensively explicit
Example: Going to the other side for death
Passed away for die
23. Litotes- an affirmative is expressed by negating its opposite
24. Merism- something is referred to by a conventional phrase that enumerates
several of its constituents or traits
Example: Flesh and bone (referring to the body)

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25. Metaplesis- reference is made to something by means of another thing that

is remotely related to it, either through a causal relationship, or through
another figure of speech
Example: A lead foot is driving behind me.
26. Metonymy- one word or phrase is substituted for another with which it is
closely associated; also, the rhetorical strategy of describing something
indirectly by referring to things around it.
Example:
Crown- for the power of king
The White House- US administration
27. Paradox- a statement that appears to contradict itself.
Example: Drowning in the fountain of eternal life.
Deep down, you’re really shallow.
28. Pun- a play on words, sometimes on different senses of the same word and
sometimes on the similar sense or sound of different words.
Example: Atheism is a non-prophet institution.
29. Synecdoche- used to present the whole or the whole for a part
Example: A hundred head of cattle (using the part head to refer to the
whole animal)
30. Tautology- saying the same thing twice in different ways
Example: Forward planning/ it’s a free gift.
31. Understatement- the writer deliberately makes a situation seem less
important or serious that it is.
Example:
“The grave’s fine and private place,
But none, I think, do there embrace.”

“A teacher takes a hand, opens a mind, and touches a heart.”

 LEARNING ACTIVITY
Instructions: Read the poem “To the Man I Married” by Angela Manalang
Gloria and identify the figures of speech used. Post your answer in the online forum.
[Marking Standards: Content 5 + Creativity 5= 5=10 points]

TO THE MAN I MARRIED

I Their quickening leaves and flowers to the sun,
You are my earth and all the earth implies: You who are earth, O never doubt that I
The gravity that ballasts me in space, Need you no less because I need the sky!
The air I breathe, the land that stills my cries II
For food and shelter against devouring days. I cannot love you with a love
You are the earth whose orbit marks my way That outcompares the boundless sea,
And sets my north and south, my east and west, For that were false, as no such love
You are the final, elemented clay And no such ocean can ever be.
The driven heart must turn to for its rest. But I can love you with a love
If in your arms that hold me now so near As finite as the wave that dies
I lift my keening thoughts to Helicon And dying holds from crest to crest
As trees long rooted to the earth uprear The blue of everlasting skies.

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Lesson 4
LITERARY STANDARDS

When the critic has said everything in his power about a literary text, he has still
said nothing; for the very existence of literature implies that it cannot be
replaced by non-literature. – Tzvetan Todorov

Literary Criticism is the art or practice of judging and commenting on the qualities
and character of literary works.

It is the study, analysis, and evaluation of imaginative literature. Everyone who

expresses an opinion about a book, a song, a play, or a movie is a critic, but not
everyone’s opinion is based upon thought, reflection, analysis, or consistently
articulated principles.

It is not an abstract exercise; it is a natural human response to literature. Literary

criticism is nothing more that discourse- spoken or written- about literature. It is
inevitable that people will ponder, discuss, and analyze the works of art that interest
them.

Literature offers different perspectives and in order to understand the perspectives,

one needs to examine a certain work of art. More than that, it provides readers an
opportunity to transcend their own ideas and challenge their knowledge about the
world. In short, it helps one to understand another and at the same time there is
also a prospect for personal growth, particularly in reading.

Traditional Approaches

Approach Questions
I. Reader - 1. How do you feel about this work? For example, what
Response feelings did it evoke when you read it? Pity, fear, suspense,
surprise, joy, or humor? Justify your answers.
2. Does your attitude toward or understanding of the work
change as you read it? What brings about conditions that
change? How many different ways can the work be read?
3. By manipulating such literary devices as tone and point
of view, authors try to establish a relationship between their
work and their readers. What relationship to the reader does
this work (or author) assume? What elements of the work
help establish this relationship? *Discuss your answers.
II. Formal 4. Make an inventory of the key words, symbols, and images
in the work by listing those that seem most unfamiliar but
significant to you. What meanings seem to be attached to
these words, symbols, and images?
5. How do these words, symbols, and images help to provide
unity or define the overall pattern or structure of the work?

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6. Under what genre should the work be classified? What

generic conventions are readily apparent? If it is fiction or
drama, what does each of the five structural elements- plot,
characters, setting, theme, and mood – contribute to the
work? If it is poetry, how do meter, rhythm, rhyme, and
figurative language contribute to your experience of the
poem?
*Discuss your answers.
III. Traditional 7. How does the work reflect the biographical or historical
background of the author or the time during which it was
written?
8. What are the principal themes of the work?
9. What moral statements, if any, does the work make? What
philosophical view of life or the world does the work present?
*Discuss your answers. Integrate real-life situations.
IV. Psychological 10. What are the principal characteristics or defining traits
of the protagonists or main characters in the work?
11. What psychological relationships exist between and
among the characters? Try to determine which characters are
stronger and which are weaker. What is the source of their
strength or weakness?
12. Are there unconscious conflicts within or between
characters? How are these conflicts portrayed in the work? Is
the Freudian concept of the id-ego-superego applicable?
id---one of the three divisions of the psyche (human
mind) in psychoanalytic theory that is completely
unconscious and is the source of psychic energy derived from
instinctual needs and drives.
ego---one of the three divisions of the psyche in
psychoanalytic theory that serves as the organized conscious
mediator between the person and reality especially by
functioning both in the perception of and adaptation to
reality
superego---one of the three divisions of the psyche in
psychoanalytic theory that is only partly conscious,
represents internalization of parental conscience and the
rules of society, and functions to reward and punish through
a system of moral attitudes, conscience, and a sense of guilt.
13. Is sexuality or sexual imagery employed in the work? Are
there implications of Oedipus complex, pleasure principle,
or wish fulfillment?
Oedipus complex---a sexual desire that a child feels
toward the parent of the opposite sex along with jealous
feelings toward the parent of the same sex.
----the positive libidinal feelings of a child toward the
parent of the opposite sex and hostile or jealous feelings
toward the parent of the same sex that in Freudian
psychoanalytic theory may be a source of adult personality
disorder when unresolved.

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Electra complex----the Oedipus complex when it

occurs in female.
14. How do the principal characters view the world around
them and other characters in the work? Is that view accurate
or distorted?
*Discuss your answers to the questions.
V. Mythological - 15. Does the work contain mythic elements in plot, theme,
Archetypal or character? Are there recognizable mythic patterns such as
rebirth/fertility, quest/journey, or struggle/return of the
hero?
16. Are there archetypal characters, images, or symbols,
such as the great mother, the wise old man, the sea, the
seasons?
17. Do you find Jungian archetypes, such as shadow, persona,
or anima, growth, and individuation?
Jungian-----of, relating to, or characteristic of C. G.
Jung or his psychological doctrines.
*Discuss or justify your answers.
VI. Sociological 18. What is the relationship between the work and the
society it presents or grew out of? Does it address particular
social issues either directly or indirectly- such as race, sex,
class, religion, or politics?
19. Does the sexual identity of the main character affect the
relationships and ultimately the events in the story?
20. Finally, does the story, poem, or play lend itself to one
of the various interpretative techniques more than the
others?
*Discuss your answers.

CONTEMPORARY Approaches to the Study of Literature

Approach Purpose or Function & Guide Questions

1.Structuralism A reading approach that identifies structures of thought in
the way we read. Put more simply, it is a perspective that
shows the reader ways in which he thinks as he reads
patterns of deep structure.
Structuralism does NOT categorize literature into plot,
character, setting, etc. but rather relates text to language,
landscape, kinship systems, marriage customs, fashion,
menu, architecture, furniture and politics.
The reader is in quest of “codes” which the author has
encoded and the interpreter decodes in several ways as
codes of action (proairetic), codes of puzzle (hermeneutics)
or as cultural, connotative and symbolic codes.
General Questions Asked:
a. What metaphors or symbols suggest a set of structures
of ideas in the piece of literature?
b. What concepts (binaries) suggest pairs of opposites, e.g.
strong-weak, sun-moon, day-night, etc.?

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c. What ideas are understood but are not stated in the

literary work? Do they relate to the culture of the period?
*Discuss your answers.
2.Post-Modernism The most thought-provoking approach to literary
(Deconstruction) interpretation. It is called Post-Modernism because it
questions all our assumptions about the accumulated
Marxism and experience of modern Western traditions, of civilization,
cultural criticism rationalization, urbanization, liberal democracy and
are subsumed advanced technology.
under It proposes to set itself outside modern paradigms (by
Deconstruction or “modern” is meant all ideas after the Enlightenment) – to
Post-Modern contemplate modern evaluative criteria.
Criticism. Post-Modernism seeks to “de-center” any worldview
(logocentric or any totalizing meta-narrative that gives pre-
determined answers) and then to “deconstruct” the text.
Ultimately, it does NOT formulate any set of assumptions but
rather makes the reader believe that it is impossible to
discover any underlying principle for certainty or knowledge.
General Questions Asked:
a. Start with same questions raised for structuralism. Find
or locate points of contradiction where the work can no
longer be interpreted according to a system it has set up
under structuralism.
b. What suppositions or assumptions in the work are
inconsistent with what are implied by the author? What does
the author not know about his characters and his plot?
*Discuss or justify your answers.

3.Feminist An approach which seeks to discover awareness,

(sometimes Gender consciousness, and re-evaluation of women- their roles in life
or Gynocentric) and their consciousness in literature.
criticism Feminist reading means recognizing that what is written
about them in literature are examples of questionable
assumptions. These assumptions are made by men (and some
by women) that men are superior as they have been
enshrined to be so by the patriarchal order of society.
Feminism, furthermore, offers one of the most important
social, economic, and aesthetic revolutions of modern times.
It not only exposes prejudices of masculine superiority but
has also penetrated into the unconscious psychoanalytical
realms of expressions and focused on the significance of
literary prototypes such as a Medusa, Cassandra, Arachne,
Ceres, Isis, and Diana.
General Questions Asked:
a. What awareness or consciousness of womanhood or
feminist roles occurs to the characters in the literature being
considered?
b. What patterns of implied male
authority/oppression/superiority are found in the poem,
story, or play?

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c. What models of male-female differences are built into the

work?
*Discuss your answers. Integrate real-life situations.
4.Marxist Criticism An approach that shows the relationship between literature
and the political struggle. It presents patterns of inferiority
and oppression by reason of class, race, ethnicity and even
of gender (Feminist readings).
The production theory states that capitalistic ideology has
pre-determined thought, feelings, taste, and behavior of
people. Marxist reflection theory advocates that readers who
recognize the influence of capitalistic classes on human
behavior and the perpetuation of injustice and inequality
should propose workable solutions.
5.Cultural A combination of elements of these critical theories – that is
Criticism gender studies, film theory, pop culture, post-colonial
studies. It presents cultural forces that divide and alienate
communities from each other or on a more hopeful note,
create and unite communities with each other.
General Questions Asked along Marxist and Cultural
Approaches:
a. Is there an implied pattern of conflict between rich and
poor, powerful and the unempowered, the strong versus the
weak, the dominant and subordinate, the centralized and
the marginalized, the privileged and powerless – whether
these are ideas or characters? Explain.
b. What cultural forces (belief systems, traditions, customs,
superstitions, fashion, food, pop songs, films, news items)
and the responses to such forces or stimuli are capable of
shaping, dividing and binding communities? Explain.

“One child, one teacher, one book, one pen can change the world.”
-Malala Yousafzai

 LEARNING ACTIVITY
Instructions: Choose the best approach listed above that you can use to read
the poem “To the Man I Married” and write a one-paragraph analysis of it. Post your
answer in the online forum.
[Marking Standards: Content-3 + Grammar 2= 5 points]

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 REFERENCES
Abelardo, V. (2013). Literature for today’s children. Manila: Philippine Graphic Arts.

Coody, B. (2002). Using literature with young children. Dubuque, IA.: W.C. Brown
Publishers.

Cayanan, M. (2016). Fine Lines: Writing Poetry, Fiction, and Drama. Quezon City:
Sibs Publishing House, Inc.

Diyanni, R. (2007). Literature. New York City: McGraw Hill.

Glathorn, A., Hootman, R. & Main, C.F. (1970). Ideas and Patterns in Literature II.
New York City: Harcourt, Brace, & World, Inc.

Glazer, J.I. (2011). Literature for today’s children. New York: Macmillan.

Hidalgo, C. & Legasto, P. (2004). Philippine Postcolonial Studies: Essays on Language

and Literature. Quezon City: The University of the Philippines Press.

Lynch-Brown, C. (2012). Essentials for children’s literature. Boston: Allyn and Bacon.

Profeta, L.M. (2008). Literature for Filipino children. Quezon City: Ken

Tomlinson, C. (2012). Essentials of children’s literature. Boston: Allyn and Bacon.

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Module 1