CONTEXTUALIZED
TEACHING - LEARNING PACKAGE
SUBJECT:
11
21st Century Literature from the Philippines and the World
COMPETENCY CODE: EN12Lit-IIij-31.1,
EN12Lit-IIij-31.2, EN12Lit-IIij-31.3
Author
GLENN MARION A. ENCILA
Department of Education, Division of Antique
Published by the
LEARNING RESOURCES MANAGEMENT AND DEVELOPMENT SYSTEM (LRMDS)
Department of Education
Region VI - Western Visayas
DIVISION OF ANTIQUE
San Jose de Buenavista
Copyright 2018
Section 9 of Presidential Decree No. 49 provides:
“No copyright shall subsist in any work of the Government of the Republic of the Philippines.
However, prior approval of the government agency of office wherein the work is created
shall be necessary for exploitation of such work for profit.”
This material has been developed within the 21st Century Literature from the Philippines and the World
Project implemented by the Curriculum Implementation Division (CID) of the Department of EducationRegion VI (DepED-RO6), Division of Antique. It can be reproduced for educational purposes and the
source must be clearly acknowledged. The material may be modified for the purpose of translation into
another language but the original work must be acknowledged. Derivatives of the work including creating
an edited version, an enhancement or a supplementary work are permitted provided all original work is
acknowledged and the copyright is attributed. No work may be derived from this material
for commercial purposes and profit.
Author
GLENN MARION A. ENCILA
Project Manager
SCHUBERT ANTHONY C. SIALONGO
Project Development Officer
PHOENIX ALLANAH ZANDRIA Q. SALCEDO
Cataloguer
MARIAN ROSE B. SARMIENTO
Editor
MARIA COZETTE A. PEÑAFLORIDA
Grade Level: 11
Language: ENGLISH
This first digital edition has been produced for print and online distribution within the Department of
Education, Philippines via the Learning Resources Management Development Systems (LRMDS) Portal by
Region VI, Division of Antique. http://lrmds.deped.gov.ph
i
DETAILED LESSON PLAN (DLP)
DLP No.:
Learning Area:
Grade Level:
Semester:
Duration:
EN12Lit-0600217001 21st Century Literature from the Philippines 11
2nd
4 Hrs.
and the World
Produce a creative representation of a literary text by applying multimedia
Learning
Code:
skills:
EN12Lit-IIij-31.1
Competency/ies
EN12Lit-IIij-31.2
 choose appropriate multimedia form of interpreting a literary text;
EN12Lit-IIij-31.3
 apply ICT skills in crafting an adaptation of a literary text
 do self- and/ or peer- assessment of the creative adaptation of a
literary text, based on rationalized criteria, prior to presentation
Key Concepts/ Understanding Creative Adaptation of a Short Story, Multimedia and ICT Skills Application
to be developed
1. Objectives
Contextualization Learning Materials
Knowledge
Understanding: Interpret the short story through a
short film adaptation
Skills
Analysing: Outline the short story ―Powder‖ by
Tobias Wolff
Evaluating: Critique the adaptation using self- and
peer- assessment based on a rationalized criteria
Creating: Plan and produce an adaptation of a
short story using multimedia and ICT skills
Attitude
Values
2. Content Area
3. Learning
Resource
4. Procedures
4.1. Introductory
Activity
Initiate responsibility and cooperation in working
on a creative adaptation
Observe oneness and concern for others
Basic textual and contextual reading approach in
the study and appreciation of literature
Internet, Activity Sheets, Video Clips or
Downloaded Movie Trailers
DAY 1
Presentation of Objectives. (3 minutes)
Communicate learning objectives to the learners.
Give time for learners to clarify objectives they
find hard to understand.
Objectives are
flashed on the TV
Screen or an OHP
Review. (10 minutes)
Ask the learners what they remember about the
previous lesson regarding literary meanings in
context and critical reading strategies.
Motivation. (15 minutes)
Remind the learners that they are going to create an
adaptation of a short story using multimedia and
ICT skills. Then, introduce them to the game
―Guess this Flick!‖
Guess this Flick! (Guessing Game)
Present the learners with short trailers of the
following movies:
1. Coraline, 2. The Hobbit, an Unexpected
Journey, 3. Titanic, 4. Lord of the Rings –
The Fellowship of the Rings, 5. Romeo
and Juliet
1
TV or OHP
(in cases that
technology is
unavailable, movie
posters and DVD
covers can be used
but be sure to cover
the title with a tape
or a strip of paper)
Have them guess the movies. Let them raise their
hands to answer.
If trailers are not available, have some clippings of
movies that were originally novels instead. Movie
clippings on the other hand are a bit challenging so
be sure to choose an appropriate set of students for
this.
Processing the Game. (20 minutes)
Guide Questions. Discuss answers with learners.
1. What is common regarding these
movies/films?
2. Why do you think novels make great film
adaptations?
3. Why are film adaptations becoming more
and more popular these days?
4. When reading a particular novel or short
story, do you imagine yourself watching it
as a film or a TV series?
Sample Answers:
1. They are all inspired by existing novels
2. They have a tried and tested popularity.
They have everything a good movie needsgreat setting, nice plot, interesting
characters, etc.
3. They are popular because they have a great
number of fans already even before their
film adaptations kicked off.
4. Yes. I am curious as to how directors and
technology advancement in
cinematography interpret the novels.
After discussing learners’ answers, tell them that
you are going to present them with a short story.
4.2. Activity/Strategy
Unlocking Unfamiliar Words. (7 minutes)
Have the learners match the bold-lettered words
as used in a sentence to their meanings in the box.
1. The squalls hit us with their flying sands.
2. Troopers usually bring their weapons.
3. There are so many barricades in the road
delaying our trip.
4. His grandpa is humming an old tune.
5. The pig grunted and shuffled back to the sty.
6. The rasp of engines in the nearby factory is
very irritating.
7. Cats usually purr when expressing
contentment.
8. It is not slavery because there is no coercion.
9. I respect his subtlety in leaving the conference
room.
10. The old dog has sparse fur.
2
Flash sentences
using PowerPoint
presentation or with
metacards or purely
in an oral manner
a.
b.
c.
d.
e.
f.
g.
h.
i.
j.
thinly scattered
sudden and violent gust of wind
private soldiers
barrier
low, steady sound
not obvious
forcing someone to do something
low vibratory sound
low, short and harsh sound
a harsh grating sound
Answer Key:
1. b
6.
2. c
7.
3. d
8.
4. e
9.
5. i
10.
4.3. Analysis
A chart mounted on
the board or through
the use of
PowerPoint or OHP
j
h
g
f
a
Check the learners’ answers.
Giving of Take-away Work. (5 minutes)
Group the class into 5 groups. Introduce them the
short story entitled Powder by Tobias Wolff.
Hand-outs or
activity sheets
containing this
About the Author:
Tobias Wolff or Tobias Jonathan Ansell Wolff was
born on June 19, 1945 at Birmingham, Alabama.
His notable works are “Old School” and “The
Barracks Thief”.
He received numerous awards in literature
including the National Medal of Arts (2015).
Groups will be handed out a copy of the story and
as their take-away work they will read it. Group
leaders must divide the story into equal parts to be
given to each of their members. Individually, the
members will read and study their assigned story
parts. They may also find time to discuss the story
to better understand it.
Guide Questions:
A. Before Reading
1. What do you think the story will be about
based on the title?
2. Does the topic remind you of anything? An
experience?
B. While Reading
1. Who are the compelling characters in the
story?
2. As you are reading, what pictures or
images come to your mind?
3. Is there anything you are wondering about
while reading the short story?
Sample Answers:
A. 1. Maybe, it’s a story that involves beauty.
3
Post the questions
on the board, OHP
or TV Screen using
mirroring or HDMI
connected to a
laptop computer
2. I guess, when we say powder- all I can think
of is gunpowder.
B. 1. The son and the father
2. While reading, I can imagine the cold snow
and the harsh winter
3. The mother and the father are not in good
terms.
POWDER
by Tobias Wolff
Just before Christmas my father took me skiing at
Mount Baker. He’d had to fight for the privilege of
my company, because my mother was still angry
with him for sneaking me into a nightclub during
his last visit, to see Thelonious Monk.
He wouldn’t give up. He promised, hand on
heart, to take good care of me and have me home
for dinner on Christmas Eve, and she relented. But
as we were checking out of the lodge that morning
it began to snow, and in this snow he observed
some rare quality that made it necessary for us to
get in one last run. We got in several last runs. He
was indifferent to my fretting. Snow whirled
around us in bitter, blinding squalls, hissing like
sand, and still we skied. As the lift bore us to the
peak yet again, my father looked at his watch and
said, ―Criminy. This’ll have to be a fast one.‖
By now I couldn’t see the trail. There was no
point in trying. I stuck close behind him and did
what he did and somehow made it to the bottom
without sailing off a cliff. We returned our skis and
my father put chains on the Austin-Healey while I
swayed from foot to foot, clapping my mittens and
wishing I was home. I could see everything. The
green tablecloth, the plates with the holly pattern,
the red candles waiting to be lit.
We passed a diner on our way out. ―You
want some soup?‖ my father asked. I shook my
head. ―Buck up,‖ he said. ―I’ll get you there. Right,
doctor?‖
I was supposed to say, ―Right, doctor,‖ but I
didn’t say anything.
A state trooper waved us down outside the
resort, where a pair of sawhorses blocked the road.
He came up to our car and bent down to my
father’s window, his face bleached by the cold,
snowflakes clinging to his eyebrows and to the fur
trim of his jacket and cap.
―Don’t tell me,‖ my father said.
The trooper told him. The road was closed. It
might get cleared, it might not. Storm took
everyone by surprise. Hard to get people moving.
Christmas Eve. What can you do?
My father said, ―Look. We’re talking about
five, six inches. I’ve taken this car through worse
than that.‖
The trooper straightened up. His face was
4
Copy of the short
story given to each
group leader to be
divided into parts
depending on the
number of members
per group
out of sight but I could hear him. ―The road is
closed.‖
My father sat with both hands on the wheel,
rubbing the wood with his thumbs. He looked at
the barricade for a long time. He seemed to be
trying to master the idea of it. Then he thanked the
trooper and with a weird, old-maidy show of
caution turned the car around. ―Your mother will
never forgive me for this,‖ he said.
―We should’ve left this morning,‖ I said.
―Doctor.‖
He didn’t speak to me again until we were in
a booth at the diner, waiting for our burgers. ―She
won’t forgive me,‖ he said. ―Do you understand?
Never.‖
―I guess,‖ I said, though no guesswork was
required. She wouldn’t forgive him.
―I can’t let that happen.‖ He bent toward me.
―I’ll tell you what I want. I want us all to be
together again. Is that what you want?‖
―Yes, sir.‖
He bumped my chin with his knuckles.
―That’s all I needed to hear.‖
When we finished eating he went to the pay
phone in the back of the diner, then joined me in
the booth again. I figured he’d called my mother,
but he didn’t give a report. He sipped at his coffee
and stared out the window at the empty road.
―Come on, come on,‖ he said, though not to me. A
little while later he said it again. When the
trooper’s car went past, lights flashing, he got up
and dropped some money on the check. ―Okay.
Vámonos.‖
The wind had died. The snow was falling
straight down, less of it now and lighter. We drove
away from the resort, right up to the barricade.
―Move it,‖ my father told me. When I looked at
him, he said, ―What are you waiting for?‖ I got out
and dragged one of the sawhorses aside, then put it
back after he drove through. He pushed the door
open for me. ―Now you’re an accomplice,‖ he said.
―We go down together.‖ He put the car into gear
and gave me a look. ―Joke, son.‖
Down the first long stretch I watched the
road behind us, to see if the trooper was on our tail.
The barricade vanished. Then there was nothing
but snow: snow on the road, snow kicking up from
the chains, snow on the trees, snow in the sky, and
our trail in the snow. Then I faced forward and had
a shock. There were no tracks ahead of us. My
father was breaking virgin snow between tall tree
lines. He was humming ―Stars Fell on Alabama.‖ I
felt snow brush along the floorboards under my
feet. To keep my hands from shaking I clamped
them between my knees.
My father grunted thoughtfully and said,
―Don’t ever try this yourself.‖
―I won’t.‖
5
―That’s what you say now, but someday
you’ll get your license and then you’ll think you
can do anything. Only you won’t be able to do this.
You need, I don’t know—a certain instinct.‖
―Maybe I have it.‖
―You don’t. You have your strong points,
sure, just not this. I only mention it because I don’t
want you to get the idea this is something anybody
can do. I’m a great driver. That’s not a virtue,
okay? It’s just a fact, and one you should be aware
of. Of course you have to give the old heap some
credit too. There aren’t many cars I’d try this with.
Listen!‖
I did listen. I heard the slap of the chains, the
stiff, jerky rasp of the wipers, the purr of the
engine. It really did purr. The old heap was almost
new. My father couldn’t afford it, and kept
promising to sell it, but here it was.
I said, ―Where do you think that policeman
went to?‖
―Are you warm enough?‖ He reached over
and cranked up the blower. Then he turned off the
wipers. We didn’t need them. The clouds had
brightened. A few sparse, feathery flakes drifted
into our slipstream and were swept away. We left
the trees and entered a broad field of snow that ran
level for a while and then tilted sharply downward.
Orange stakes had been planted at intervals in two
parallel lines and my father steered a course
between them, though they were far enough apart
to leave considerable doubt in my mind as to
exactly where the road lay. He was humming
again, doing little scat riffs around the melody.
―Okay, then. What are my strong points?‖
―Don’t get me started,‖ he said. ―It’d take all
day.‖
―Oh, right. Name one.‖
―Easy. You always think ahead.‖
True. I always thought ahead. I was a boy
who kept his clothes on numbered hangers to
ensure proper rotation. I bothered my teachers for
homework assignments far ahead of their due dates
so I could draw up schedules. I thought ahead, and
that was why I knew there would be other troopers
waiting for us at the end of our ride, if we even got
there. What I didn’t know was that my father
would wheedle and plead his way past them—he
didn’t sing ―O Tannenbaum,‖ but just about—and
get me home for dinner, buying a little more time
before my mother decided to make the split final. I
knew we’d get caught; I was resigned to it. And
maybe for this reason I stopped moping and began
to enjoy myself.
Why not? This was one for the books. Like
being in a speedboat, only better. You can’t go
downhill in a boat. And it was all ours. And it kept
coming, the laden trees, the unbroken surface of
snow, the sudden white vistas. Here and there I saw
6
hints of the road, ditches, fences, stakes, though not
so many that I could have found my own way. But
then I didn’t have to. My father was driving. My
father in his forty-eighth year, rumpled, kind,
bankrupt of honor, flushed with certainty. He was a
great driver. All persuasion, no coercion. Such
subtlety at the wheel, such tactful pedal work. I
actually trusted him. And the best was yet to
come—switchbacks and hairpins impossible to
describe. Except maybe to say this: if you haven’t
driven fresh powder, you haven’t driven.
Ask the learners if they have questions, if none,
end the class.
DAY 2
Greet the class. Ask them about their day.
Ask them how they feel about the story. Generate
answers. (5 minutes)
Sample Answer:
a. The story uses a lot of descriptive words.
It’s very easy to imagine the scenes.
C. Post-Reading Questions (15 minutes)
Present questions to learners for analysis.
1. What do you think is the story all about?
2. Which part of the story struck you the
most? Why?
3. Where did the story happen?
4. What is the theme and point of view of the
story?
5. What is the plot of the story?
6. How does the author use setting to enhance
the mood of the story?
Sample Answers:
1. The story talks about a father and his son
going to a ski trip.
2. The part that struck me most was when the
father and the son violated the trooper’s
warning and used the closed road.
3. Somewhere snowy, maybe in Northern
America.
4. The story revolves on the relationship of
the father and the son. The first person
point of view was used by the author.
5. The father asked the son to go skiing with
him but as they were going home, they
encountered a closed road.
6. The author used the severity of the weather
to add to the thrill of the scenes.
Discuss the learners’ answers. Encourage them to
react to the answers of their classmates.
7
Outline it to Better Understand it. (20 minutes)
Utilizing the groups from the first day, have them
create a plot outline of the story. They may adapt
or be guided by this format.
Climax
Rising Action
Exposition
Falling
Action
Give copies of the
Plot Outline
Denouement
Stress out the effect of oneness and concern for
others in creating a great output.
Let each group present their work in front. Process
and check their work. Give comments if necessary.
Discussion of Film Adaptation. (15 minutes)
Guide the learners to the concept of FILM
ADAPTATION. Play one movie trailer again so
learners are refreshed of an example of a film
adaptation.
Play a trailer of ―Tarzan.‖
Tell them that the movie is an example of a film
adaptation.
Ask them: In what sense is this movie an example
of a film adaptation?
Sample Answer: Because the movie was inspired
by an existing popular novel
Discuss the meaning of Film Adaptation and
Transposition as one of its categories.
Definition taken from the study: Film Adaptation,
Alternative Cinema and Lynchian Moments of
Transposition by Nick Van Vugt, B.A. McMaster
University, August 2011
Film adaptation is the transfer of a written work
to film. It is recognized as a type of derivative
work. Whether adhering strictly to the source
material or interpreting concepts derived from the
original work, adaptation are necessarily
extensions or interpretations of the original story.
These interpretations can augment or detract from
the original work.
Transposition as a category in Film Adaptation in
where the screen version sticks closely to the
8
PowerPoint
Presentation or a
visual aid of the
definition of Film
Adaptation and
Transposition
literary sources, with a minimum of interference.
Have the learners give titles of film adaptations
they could think of. Validate their answers. Guide
and inform them of tomorrow’s activity which will
be more on making a film adaptation. Tell them to
get ready by planning out what to do tomorrow.
Giving of Take-away Work (5 minutes)
Ask the learners to bring camera, video recorder or
even a smartphone and portable computers for
tomorrow’s film making activity. They may also
bring flash drives and memory cards. Appropriate
costumes and makeup are encouraged.
With the prepared copy of the story divided into
four parts the class will be divided into four
groups. They will create a video/ film adaptation of
the part they picked with a time allotment of 3-5
minutes per part depending on the given scenes.
Take note: Groups must create their script and
plan out their scene flow.
4.4. Abstraction
Tell them to bring the necessary equipment
tomorrow and that further instructions will be
given tomorrow as well.
DAY 3
Greet the learners.
Emphasize. (5 minutes)
Ask them the question:
1. How did the story ―Powder‖ by Tobias
Wolff affect your life as a teenager?
Sample Answer: The story makes me reflect on the
different relationships I have with my father and
mother. Through this story, I create a reflection
regarding the relationship that I have with my
parents.
4.5. Application
Discuss learners’ answers.
Lights! Camera! Action! (35 minutes)
Give time for preparation.
The groups with their assigned story parts will
shoot their adaptation of ―Powder‖ by Tobias
Wolff. They may roam around the campus to
shoot, choose suitable places for scenes and
dialogues.
Video-editing (20 minutes)
Let the learners apply their concepts about film
adaptation and transposition through videoediting.
The learners will then have to edit their video using
applications for video editing or other multimedia
applications. If time is not enough, they may
9
Computers, flash
drives, memory
cards, Camera,
smartphone,
microphone, sound
effects, costumes,
makeup
continue their editing as a take-out work. Explain
to them that they are going to present their work
the next day and that Group 1 will present first,
followed by Group 2 and so on and so forth. Thus,
every video/film adaptation will have continuity.
Stress out the value of cooperation and
responsibility to learners applied to their group
activities.
4.6. Assessment
Continue editing as take-out work.
DAY 4
Welcome the students to the classroom. Tell them
that today is the day where all their hard work and
cooperation will be paid off and that they will be
entertained by their class presentations.
Pre-Presentation Self-Assessment (5 minutes)
Based on the learners’ own assessment, let them
rate themselves using the criteria provided:
Criteria for Self-Assessment
Interpretation/Characterization
Creativity
Sense of responsibility and cooperation
Sense of concern for others
TOTAL
30%
30%
20%
20%
100%
Tell the students to be honest in rating themselves.
Thank them after the rating is done. Let them
prepare for the presentations. Condition everyone
to keep silent and focus on the presentations.
Assessment Method
a) Observation
Mini-theater – Video Presentation
(30 minutes)
Presentation of the video/ film adaptations by
group.
Remind the learners of the arrangement of groups
where Group 1 will start followed by Group 2,
Group 3 and Group 4.
After the presentations, solicit comments from
learners regarding their presentations.
Commend the class for their performances. Do not
forget to rate them using this criteria:
Teacher’s criteria in rating the video/ film
adaptations
Style and organization
Creativity
Content
Quality (sound, image, lighting)
TOTAL
10
30%
25%
25%
20%
100%
After commending and giving constructive
comments and suggestions, have them rate their
group mates using the criteria provided in the Selfassessment. (10 minutes)
Criteria for Peer- Assessment
Interpretation/Characterization
Creativity
Sense of responsibility and cooperation
Sense of concern for others
TOTAL
b) Talking to
Learning/
Conferencing
c) Analysis of
Learners’
Products
d) Tests
4.7. Assignment
Reinforcing/
Strengthening the
day’s lesson
30%
30%
20%
20%
100%
Write a 150 to 200-word essay about the
experience of shooting and creating a video/ film
adaptation of the short story ―Powder‖
Write this on a piece of paper and pass next
meeting.
Enriching/inspiring
the day’s lesson
Enhancing/improvi
ng the day’s lesson
Preparing the new
lesson plan
4.8. Concluding
Activity
Reflect on this quote by Bertrand Russel:
―The only thing that will redeem mankind is
cooperation.‖
5. Remarks
6. Reflections
a. No. of learners who
earned 80% in the
evaluation
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
11
e. Which of my
learning strategy
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:
Name: GLENN MARION A. ENCILA
Position/Designation: Master Teacher I
Contact No.: 09082979380
School: Pandan National Vocational High School
Division: Antique
E-mail Address: gamaencila_18@yahoo.com
Bibliography
Film Adaptation, Alternative Cinema and Lynchian Moments of Transposition by Nick Van Vugt,
B.A. McMaster University, August 2011
https://www.britannica.com/biography/Tobias-Wolff
http://www.doe.mass.edu/mcas/pdf/2014/261077.pdf
Appendix
1. Activity Sheet
12