DETAILED LESSON PLAN (DLP)

GRADE 11
21st Century Literature From the Philippines and the World
Week 7 Time Frame: 2 hrs.
Sections: SMAW 3, FABS, SMAW 1, SMAW 2
Date: August 1 & 2, 2016
CONTENT STANDARD:
The learner will be able to understand and appreciate the elements and contexts of 21st century
Philippine literature from the regions.
PERFORMANCESTANDARD:
The learner will be able to demonstrate understanding and appreciation of 21st Century
Philippine literature from the regions through:
1. a written close analysis and critical interpretation of a literary text in terms of form and theme,
with a description of its context derived from research; and
2. an adaptation of a text into other creative forms using multimedia.
LEARNING COMPETENCIES:
The learners infer literary meaning from literal language based on usage. (EN12Lit-Id-26)
I. OBJECTIVES
At the end of the lesson, the learners are expected to:
1. infer literary meaning from literal language based on usage;
2. describe how literary meaning is created in the essay by way of characterization and
structure; and
3. respond critically to the essay and articulate this response through a presentation of a short
biography of a local woman writer from your area or region.
II. SUBJECT MATTER
Topic: The Love of Magdalena Jalandoni by Winton Lou G. Ynion
Materials: COPY OF THE ESSAY, visual aids.
Resources/References: Compass 21st Century literature from the Philippines and the
World.pp58-67
Codes:
(EN12Lit-Id-26)
III. PROCEDURES
PRELIMINARY ACTIVITIES
1. Daily Routine (5 minutes)
2. Recapitulation (10 minutes)
Lesson Proper
Motivation: Respond to the following questions:
o What stories about Rizal have you heard or read that interested you, but were not usually
covered in traditional history?
o How was Rizal presented in formal history (i.e. your classes, textbooks, among others) and in
the stories that interested you?
Activity:
1. Each group will be given a metacard and a copy of the essay.
2. The group will just be given 30 minutes to read and discuss the essay.
3. Creative presentation is encouraged to be performed by the group.
4. Rubrics for presentation will be the basis for grading
4321
Content Relevant Some ideas are not relevant Not so relevant No relevance at all
Collaboration The teammates always worked from others’ ideas.
It was evident that
all of the group
members contributed
equally to the presentation. The teammates worked from
others’ ideas most of the time. And it seems like every
did some work, but some people are carrying the presentation. The teammates sometimes
worked from others’ ideas.
However it seems as though certain people did not do as much work as
others. The teammates
never worked from others’ ideas. It seems as though
only a few people worked on the presentation.
Organization The presentation
was well
organized, well
prepared and easy
to follow. The presentation
had organizing
ideas but could
have been much
stronger with
better preparation. There were
minimal signs of
organization or
preparation. The presentation
lacked
organization and
had little evidence
of preparation.
Presentation Presenters were all
very confident in
delivery and they
did an excellent
job of engaging
the class.
Preparation is very
evident. Presenters were
occasionally
confident with
their presentation
however the
presentation was
not as engaging as
it could have been
for the class Presenters were
not consistent with
the level of
confidence/
preparedness they
showed the
classroom but had
some strong
moments. Presenters were
unconfident and
demonstrated little
evidence of
planning prior to
presentation
Total
Tasks of group:
Group 1: Supply the following biographical or historical details about Magdalena Jalandoni
mentioned by the writer as he characterized his subject. Quote parts of the essay to complete
this basic “biodata” of the Hiligaynon writer.
Address
Year of Birth
Parents
Schooling
First experience of Publishing
Her body of literary works
Year of death
Group 2: How did the essay go beyond these biographical details? Plot the development of the
character of Jalandoni between the period of her birth and death.
Birth
Growing Up
As a lady
At 75
At 80
Group 3: Answer the following questions:
o What do you think inspired Jalandoni to become a writer? Point out specific details in the
essay that support your answer.
o How did her environment affect her writing?
o From what can you infer from the text, what were the subjects Jalandoni wrote about? List
down the titles and subject matter of the more prominently mentioned works.
Group 4: The following statements from the text figuratively develop the idea that Jalandoni
looked up to Rizal all throughout her life. How do these imply the writer’s devotion to the
national hero?
His looks were ordinary; Filipinos, in fact, felt deceived when he once came home and
packaged himself as a doctor Aleman. But he was gentle and perhaps, romantic that
Magdalena heiress to the incredible fortune of Francisca Gonzaga and Gregorio Jalandoni fell in
love with him’.
“Magdalena, out of obedience, agreed to marry the man of honorary stature; but she had one
unjust precondition, that he should write a novel within the year.
Juanita was reunited with Elias in the end only to discover that he is involved in the
revolutionary movement against Spain. He was killed in victorious battle and now, Juanita, or
the old woman who tells the story, or Magdalena confronts Elias monument at the plaza.
Group 5: From what can you infer from the text, how did writing become Jalandoni’s refuge from
the expression of resistance against her conservative society? What do you think is the
importance of Jose Rizal in the life and work of Jalandoni? How was this aspect explored in the
text?
Configure:
• Winton Lou Ynion and Magdalena Jalandoni Winton Lou Ynion is a young poet, fictionist, critic,
and teacher from Iloilo who has worked on various aspects of Hiligaynon literature. He passed
away in 2009. As a PhD student in Philippine Literature at the University of the Philippines
Diliman, he was known for his intelligent discourses on the Filipino novel and its relation to
nationalism. It is not surprising that Magdalena Jalandoni would eventually figure in his
discourses, alongside another Hiligaynon novelist—the esteemed Ramon Muzones, author of
Margosattibig the story of a Muslim prince seeking to reclaim the kingdom usurped by the
enemies of his father. Roth Jalandoni and Muzones fascinated Ynion not only because of their
strong position in regional literature, but also because of the power of their imagination.
Jalandoni is also considered exemplary by many critics like Ynion for overcoming the limitations
society set on women. According to an account by Lourdes Varela (1976), it was not Jalandoni
but her brother Luis who was encouraged to write by their mother: "(w)omen had to fulfill purely
ornamental and domestic functions and for them, therefore, there were the feminine arts of
painting, embroidery, sewing, and cooking." Jalandoni was able to transcend these imposed
limitations and show her true brilliance as a writer.
• Focusing on Hiligaynon literature Leading Hiligaynon writer and literary commentator Leoncio
P. Deriada contextualizes Jalandoni's place in the regional tradition as part of what may be
called the "Golden Age" of Hiligaynon literature. Beginning with America's "benevolent"
assimilation, until the Japanese occupation, this productive period found Jalandoni and several
other writers producing works that were "didactic and Roman Catholic though strongly
nationalistic." Deriada expounded on this, in an article for the National Commission for Culture
and the Arts: "The relatively short period from the 1920s to the coming of the Japanese is
considered the Golden Age. This produced Angel Magahum (first novelist for Benjamin), poet
Delf in Gumban, poet Serapion Torre, poet-translator (from Spanish) Flavio Zaragoza Cano,
essayist-journalist Rosendo Mejica. zarzuela masters Jose Ma. Ingalla and Jose Ma. Nava,
playwright Miguela Montelibano, novelist-poet Magdalena Jalandoni, essayist Augurio Abeto
and Abe Gonzales, and the young novelist Ramon L. Musones and poet Santiago Alv. Mulato.
The triumvirate of Gumban, Torre, and Zaragoza Cano ruled it out for years in poetry, their
rivalry magnified by the public ba tasan or poetic joust. The establishment of Hiligaynon
magazine by Liwayway Publications in Manila and of the Makinaugalingon Press by Rosendo
Mejica in Iloilo City further strengthened Hiligaynon literature." Deriada placed the subject of our
essay as the only rose among the thorns, so to speak—the only woman in the male dominated
literary scene—who continued to write through the Japanese occupa-tion up to the fifties and
sixties. Jalandoni would be further known for her highly anthologized short story "Si Anabella,"
described by Corazon Villareal as "a nostalgic trip to the '30s" where "(t)he beau serenades his
love with a violin on a moonlit and starry night," and where "they dance in. the spacious sale of
his palatial home to the strains of a full orchestra." In this story, "they (the lovers) are the envy
.of everyone on the dance floor. But he is rich and his mother takes him away from his lover.
Anabella, however, waits patiently for his return and eventually they are reunited." Some easily
assign Jalando-ni's work to the romance mode; but critics like fellow Hiligaynon Rosario Cruz
Lucero (2007), herself a lictionist, claim Jalandoni's work as "revolutionary," especially in the
way it depicts and addresses the place of women in a highly patriarchal society.
• A biography is an account of a person's history written by another person. This is different from
an autobiography, which is written by the subject himself/herself.
• Characterization is the literary crafting of personality through various means.
• Fabula is the chronological order of events, while syuzhet is the organization and orchestration
of narrative.
• Narrative structure is the movement of a particular literary discourse.
• The essay The Love of Magdalena Jalandoni" speculates on the life of the "reina of Hiligaynon
literature" by going beyond what is usually "knowable" or "researchable" about her historically In
here, the writer stretched the possibility of the story by characterizing Jalandoni, lending her life
and motivation through striking details. These afford us a glimpse of Jalondoni's inner life as a
woman born in the cusp of change, whose creativity came up against the restrictions of her
conservative environment. Biographies like this employ what we call characterization, which is
used in creative nonfiction or literary essays in a similar manner as in fiction. Characterization is
the literary crafting of personality through various means. It may consist of external qualities
(physical attributes, taste for clothing), or internal qualities (motivations, actions, behavior).
• lnstead of straightforwardly introducing Jalandoni to readers, the author used specific details to
portray her person. In 1896, Jalandoni was five years old, and the year signaled what would be
a sensible detail about her as the subject of this essay Jose Rizal was given a prominent part
here by portraying him as Jalandoni's "first love." This love is used to explain and illustrate her
passion for literature and her prolific output, as well as her insistence that her prospective
husband write a novel within one year.
• As Jalandoni was characterized for us through her astonishing life story, her world too was
recreated. The old world of Jaro, the Jalandoni residence, the church, and the Candelaria
fiesta's processions—everything were at once recalled, albeit nostalgically, to resurrect the
memory of a woman, considered in her culture as a binukot, an untouched treasure of her family
like Juanita in her most mature novel, Juanita Cruz.
Evaluation
Identify the term by writing the correct letter before each item.
1. An account of a person's history written by another person.
2. The literary crafting of personality through vari-ous means.
3. The chronological order of events.
4. The movement of a particular literary discourse.
5. The organization, orchestration of narrative.
6. An account of life written by the subject himself/ herself.
a. characterization b. narrative structure c. fabula d. autobiography e. syuzhet f. biography
IV. ASSIGNMENT (5 minutes)
Imagine that you are cultural worker trying to educate people about the importance and
contributions of women in Philippine society. List down three relevant programs that you would
introduce and why?
V. REMARKS
VI. REFLECTION
SMAW 1 SMAW 2 SMAW 3 FABS
A. No.of learners who earned 80% on the formative assessment
B. No.of learners who require additional activities for remediation
C. Did the remedial lessons work? No.of learners who have caught up with the lesson.
D. No.of learners who continue to require remediation
E. Which of my teaching strategies worked well? Why did these work?
F. What difficulties did I encounter which my principal or supervisor can help me solve?
G. What innovation or localized materials did I use/discover which I wish to share with other
teachers?
Prepared by:
MAUREEN JOY A. GUTIERREZ
SST-III