Critical Writing and Reviewing PDF

NATIONAL OPEN UNIVERSITY OF NIGERIA
SCHOOL OF ARTS AND SOCIAL SCIENCES
COURSE CODE: MAC 313
COURSE TITLE: CRITICAL WRITING AND REVIEWING

MAC 313 COURSE GUIDE
MAIN
CONTENT
CONTENTS PAGE
Module 1
Unit 1 Meaning of Critical Writing……………… 1

Unit 2 Critical Writing and Critical Thinking…… 5
Unit 3 Critical Writing and other Forms of
Writing……………………………………. 10
Module 2
Unit 1 Functions of Criticism…………………… 14

Unit 2 Theories of Criticism……………………. 17
Unit 3 Approaches to Criticism……………….... 20
Module 3
Unit 1 Components of Criticism: The Critic……. 23

Unit 2 Components of Criticism: Direct Data…… 26
Unit 3 Components of Criticism: Indirect Data…. 29
Module 4
Unit 1 Writing a Review…………………………. 32

Unit 2 Writing a Critical Article…………………. 37
Unit 3 The Reviewer and the Critic……………… 41
Unit 4 The Critical Writer’s Style……………….. 44
Module 5
Unit 1 Reviewing the Fine arts…………………… 48

Unit 2 Reviewing Books………………………….. 52
Unit 3 Reviewing Stage Play or Drama…………… 55
Unit 4 Reviewing Music…………………………… 59
Unit 5 Reviewing Television and Motion Pictures… 62
ii
COURSE
GUIDE
MAC 313
CRITICAL WRITING AND REVIEWING
Course Team Dr. R. Ciboh (Course Writer)-BSU, Makurdi.

Dr. Ben Nwanne (Course Editor)-DELSU, Abraka.
Mr. A. L. Adekunle (Course Coordinator)-NOUN
Dr. J. E. Aliede (Programme Leader)-NOUN
NATIONAL OPEN UNIVERSITY OF NIGERIA
iii
National Open University of Nigeria

Headquarters
14/16 Ahmadu Bello Way
Victoria Island,Lagos
Abuja Office
5 Dar es Salaam Street
Off Aminu Kano Crescent
Wuse II, Abuja
e-mail: centralinfo@nou.edu.ng
URL: www.nou.edu.ng
Published by
National Open University of Nigeria
First Printed 2013
Reprinted 2015
ISBN: 978-058-244-4
All Rights Reserved
Printed by
iv
CONTENTS PAGE
Introduction……………………………………………. iv
What you will Learn in this Course…………………… iv
Course Aims…………………………………………… iv
Course Objectives …………………………………….. v
Working through this Course …………………………. v
Course Materials ………………………………………. v
Study Units …………………………………………….. v
Textbooks and References…………………………….. vi
Assignment File ……………………………………….. vi
Assessment …………………………………………….. vi
Tutor-Marked Assignment (TMA) ……………………. vii
Final Examination and Grading ……………………….. vii
Course Marking Scheme………………………………. vii
How to Get the Most from this Course………………… viii
Tutors and Tutorials ……………………………………. ix
Summary............................................................................ x
v
MAC 313 CRITICAL WRITING & REVIEWING
INTRODUCTION
MAC 313 Critical Writing and Reviewing is a two credit-unit course

designed to drill students of journalism or mass communication in the
principles of critical writing and reviewing and in the theories and
methods of criticism. This course guides you in the preparation for
journalistic use of various kinds of critical articles and reviews dealing
with the fine and popular arts. The course is designed for professional
and academic needs of students running first degree in Journalism and
Mass Communication.
WHAT YOU WILL LEARN IN THIS COURSE
The overall aim of this course is to expose you to the basic concepts in
journalistic criticism as a means of giving guidance in reporting and
criticising the arts. The meaning, structure, components and functions of
criticism will be treated along with creative essentials of critical writing.
This course will also assist you to appreciate the major differences
between a review and critical article and their similarities with other
forms of writing.
Your understanding of Critical Writing and Reviewing will prepare you

to be schooled in the fine and popular arts and mastery in knowledge of
the arts will help you surmount challenges that go with analysis and
appreciation of value of arts in our lives.The course will stimulate
students to think and write about the arts critically and professionally. It
will enhance students’ understanding of power of arts not only as a
source of treasure but a means of knowledge and a guide to action. The
course will nurture the students into professional art critics who will
appreciate the power of the fine and popular arts in our individual and
collective lives.
COURSE AIMS
The major aim of this course is to expose you to the general principles
and practices of critical writing and reviewing, this will help you to learn
how to apply the basic techniques of criticism and be an increasingly
effective critic of value. The course also aims at helping you realise the
full extent of your responsibility as a critical journalist; so as to remain
aware of your readers’ needs, but go beyond these to assist readers in
forming and tastes.
48
MAC 313 MODULE 5
COURSE OBJECTIVES
At the end of this course, you should be able to:
 explain how to appreciate the fine and popular arts and apply the
basic principles of criticism in reporting and evaluating them
 discuss the approaches, components and techniques of critical
writing and how to write critical articles and reviews on the fine
and popular arts.
WORKING THROUGH THIS COURSE
You are expected to read the recommended texts and other materials
provided by the National Open University of Nigeria (NOUN) to
effectively harness and retain the rich information in this course. In each
unit, the self-assessment exercise spelt out must be done; you are
expected to submit these assignments for periodic assessment. There
will be an examination at the end of this course.
COURSE MATERIALS
The main components of the course are listed below.
1. Course guide
2. Study units
3. References
4. Assignment file
5. Presentation
STUDY UNITS
There are 17 study units in this course. These are as listed below.
Module 1
Unit 1 Meaning of Critical Writing

Unit 2 Critical Writing and Critical Thinking
Unit 3 Critical Writing and other Forms of Writing
Module 2
Unit 1 Functions of Criticism

Unit 2 Theories of Criticism
Unit 3 Approaches to Criticism
49
Module 3
Unit 1 Components of Criticism: The Critic

Unit 2 Components of Criticism: Direct Data
Unit 3 Components of Criticism: Indirect Data
Module 4
Unit 1 Writing a Review

Unit 2 Writing a Critical Article
Unit 3 The Reviewer and the Critic
Unit 4 The Critical Writer’s Style
Module 5
Unit 1 Reviewing the Fine arts

Unit 2 Reviewing Books
Unit 3 Reviewing Stage Play or Drama
Unit 4 Reviewing Music
Unit 5 Reviewing Television and Motion Pictures
Each unit has a number of self-assessment exercises which are drawn

from what you have already studied. The exercises are purposely meant
to keep you focused. It is believe that if properly utilised, an excellent
combination of the exercises with tutor-marked assignments will
certainly lead to achievement of overall objectives of this course.
ASSIGNMENT FILE
In the assignment file, you will find details of the work you are expected
to submit for marking to your tutor. Marks you obtain for these
assignments will count towards the final grade you obtain in this course.
PRESENTATION SCHEDULE
The presentation schedule included in your course materials sets

important dates for attending tutorials and for completing tutor-marked
assignments. You are required to submit all your assignments by the
dates due. You must be careful not to fall behind and delay your studies.
ASSESSMENT
The assessment of the course has two aspects. These are Tutor-Marked
Assignments and the final written examination. Tutor-marked
assignments are based on information and knowledge gained in this
course. You must submit assignments to your tutor for marking
50
MAC 313 MODULE 5
according to deadlines set in the assignment file. The assessment will

count for 30% of your total grade. You must sit for a final three-hour
examination at the end of the course which will account for 70% of your
total course grade.
TUTOR-MARKED ASSIGNMENT
There are seventeen tutor-marked assignments in this course. You need

to submit all the assignments. The best four (i.e. the highest four of the
fifteen marks) will be counted. The total marks for the best four (4)
assignments will be 30% of your total course grade. Assignment
questions for the units in this course are contained in the assignment file.
Use the information contained in study units of your course and
recommended textbooks to complete your assignments. However, you
are advised to read additional reference materials to broaden your
knowledge and understanding of the subject.
When you have completed each assignment, send it to your tutor. Make
sure that each assignment reaches your tutor on or before the deadline
given. If, however, you cannot complete your work on time, contact
your tutor before the assignment is done to discuss the possibility of an
extension.
FINAL EXAMINATION AND GRADING
The final examination for this course will be of three hours’ duration
and have a value of 70% of the total course grade. The examination will
consist of questions which reflect the type of SAEs, practice exercises
and tutor-marked assignments you have come across. All areas of the
course will be assessed.
You are advised to revise the entire course after studying the last unit
before you sit for the examination. You will find it useful to review your
tutor-marked assignments and the comments of your tutor on them
before the final examination.
COURSE MARKING SCHEME
This table shows how the actual course is broken down.

Assessment Marks
Assignments 1-20 20 assignments, best four marks of
20 count @7.5% (on the averages)
= 30% of course marks
Final Examination 70% of overall course marks
Total 100% of course marks
51
HOW TO GET THE MOST FROM THIS COURSE
The study units replace the university lecturer in distance learning. One
of the great advantages of distance learning is that you can read and
work through specially designed study materials at your own pace, and
at a time and place that suit you best. Reading the lecture serves instead
of listening to a lecturer. In the same way that a lecturer might set you
some reading to do, the study units tell you when to read your set books
or other materials. Just as a lecturer might give you an in-class exercise,
your study units provide exercises for you to do at appropriate points.
Each of the study units follows a common format. First, there is an

introduction to the subject matter of the unit and how a particular unit is
integrated with the other units and the course as a whole. Next is a set of
learning objectives which let you know what you should be able to do
when you have completed the unit. Use these objectives to guide your
study and check whether you have achieved the objectives at the end of
each unit. To significantly improve your chances of passing this course,
you must make a habit of checking whether you have achieved set
objectives. Remember that your tutor’s job is to help you. So, do not
hesitate to call and ask your tutor when you need help. In addition, you
are to note the following.
1. Read this course guide thoroughly
2. Refer to the presentation schedule for details to help you organise

your own study schedule. Note the time you are expected to
spend on each unit and how the assignments relate to the units.
Whatever method you chose to use, you should fashion out your
own convenient schedule for working on each unit.
3. Once you have created your own study schedule, do everything

you can to respect it. A major reason while students fail is that
they do not respect their schedules. So if you get into difficulties
with your schedule, please let your tutor know before is too late
for help.
4. Turn to unit 1 and read the introduction and the objectives for the
unit.
5. Assemble the study materials. Information about what you need

for a unit is given as applicable.
6. Work through the unit. The content of the unit itself has been
arranged to provide a sequence for you to follow. As you work
52
MAC 313 MODULE 5
through the unit you will be instructed to read sections from your
set books or other articles. Use the unit to guide your reading.
7. Review the objectives for each study unit to confirm that you
have achieved them. If you feel unsure about any of the
objectives, review the study material or consult your tutor.
8. When you are confident that you have achieved a unit’s

objectives, you can then start on the next unit. Proceed unit by
unit through the course and try to keep yourself on schedule.
9. When you have submitted an assignment to your tutor for

marking, do not wait for its return before starting on the next unit.
Keep to your schedule. When the assignment is returned, pay
particular attention to your tutor’s comments, both on the tutor-
marked assignments form and also on what is written on the
assignment. Consult your tutor as soon as possible if you have
any questions or problems.
10. After completing the unit, review the course and prepare yourself
for the final examination. Check that you have achieved the unit
objectives (listed at the beginning of each unit) and the course
objectives (listed in this course guide).
FACILITATORS/TUTORS AND TUTORIALS
There are 8 hours of tutorials provided in support of this course. You

will be notified of the dates, times and location of these tutorials,
together with the name and phone number of your tutor, as soon as you
are allocated tutorial group. Your tutor will mark and comment on your
assignments, keep a close watch on your progress and on any difficulties
you might encounter and provide assistance to you during the course.
You must mail your tutor-marked assignments to your tutor well before
the due date (at least two working days are required). They will be
marked by your tutor and returned to you as soon as possible. Do not
hesitate to contact your tutor by telephone, e-mail, or discussion board if
you need help. The following might be circumstances in which you
would find help necessary.
Contact your tutor if:

 you do not understand any part of the study units or the assigned
readings,
 you have difficulty with the self-tests or exercises,
53
 you have a question or problem with an assignment, with your

tutor’s comments on an assignment or with the grading of an
assignment.
You should try your best to attend tutorials. This is the only chance to
have face to face contact with the tutor and to ask questions. You can
raise any problem encountered in the course of your study. To gain the
maximum benefit from course tutorials, prepare a question list before
attending them. You will learn a lot from participating actively in the
discussions.
SUMMARY
This course is packaged to introduce you to the basic concepts and

principles of editorial writing. Upon the completion of the course, you
will be able to answer the following questions among others:
 what is the meaning of critical writing?

 how can you distinguish between a critical article and a review?
 what are the functions of criticism?
 what are the major theories and approaches to criticism?
 what are the components of criticism?
 how do you review and criticise different genres of the arts such
as books, music, drama and others?
54
MAC 313 MODULE 5
MODULE 1
Unit 1 Meaning of Critical Writing

Unit 2 Critical Writing and Critical Thinking
Unit 3 Critical Writing and other Forms of Writing
UNIT 1 MEANING OF CRITICAL WRITING
CONTENTS
1.0 Introduction
2.0 Objectives
3.0 Main Content
3.1 Definition of Critical Writing
3.2 What it Means to be Critical
4.0 Conclusion
5.0 Summary
6.0 Tutor-Marked Assignment
7.0 References/Further Reading
1.0 INTRODUCTION
The fine arts such as painting, sculpture, architecture and the popular
arts (motion pictures, radio, television, photography) though neglected,
underrated and underreported have remained a critical part of human
life. They prove how far man has gone in his civilisation. When properly
explored and exploited, the arts offer tremendous economic and socio-
political opportunities.
The arts are treasures in themselves, and the use of the arts to criticise
society has continued to draw the ire of leaders, all over the world.
Power of the arts has, thus, placed enormous responsibility on
professional communicators to, not only help readers have value for
money, but also preserve the values of truthfulness and openness in our
society. This unit defines critical writing with particular emphasis on
what it means to be critical.
2.0 OBJECTIVES
At the end of this unit, you should be able to:
 define what criticism is

 describe what it means to be critical.
55
3.0 MAIN CONTENT
3.1 Definition of Critical Writing
Criticism is an appraisal, evaluation or judgment offered on a piece of

art, performance or production- which may be positive, negative or both.
Criticism implies a deeper knowledge of the art, performance or
production under consideration; it also implies an understanding of the
standards of measurement. C. T. Winchester (Wolseley, 1973), one of
the classic writers on the subject defines criticism as: “the intelligent
appreciation of any work of art, and by consequence, the just estimate of
its value and rank” and “the general nature of the functions of criticism
is much the same whether the object criticised be literature, or painting,
or sculpture, or painting”.
Wilson (2000) says critical writing is the literary art of assessing or

examining the merit of any work or art and giving judgment on it; an art
which is employed in the textual criticism of books, artistic and aesthetic
appreciation of plays, movies, music, creative and fine arts and other
public events. It, usually, involves a detailed critical examination,
marked by careful attention to the history, origin (an inward look at its
type) set against standards that seem universal. Pope (2002: 43)
identifies four basic meanings of criticism, namely:
1. finding fault and pulling to pieces [the text] in a negative sense

2. analysing and pulling to pieces [the text] in the neutral sense of
taking apart
3. interpreting [the text] with a view to establishing [its] meaning
and understanding
4. evaluating [the text] with a view to establishing [its] relative or
absolute worth.
Critical writing, then, is the writing of essays and articles either for
broadcast or publication which appreciates and judges the arts. It is an
expression of opinion which may be positive or negative.
From the foregoing, it can be concluded that critical writing:
 appreciates or shows a clear perception of the aesthetic qualities

of an object, performance or production and
 passes judgment because it, basically, evaluates the value of a
work of art, necessarily, on qualities which make it a unique work
of art
 expresses an opinion about a performance, a book, a recital, a
dance, an art, exhibition, a movie, or some other evidence of an
art
56
MAC 313 MODULE 5
 demands that you have deep knowledge of the subject matter or

that you know your field and be familiar with the standards of
measurements and of looking at all aspects or parts of a text,
object, performance or production.
As Wolseley (1973) concludes, critical writing is informed by a sense of

discussion. If critical reading is the attention we pay to the relationship
we have with language, critical writing is the attention we pay to sharing
that relationship with others.
3.2 What it Means to be Critical
At the university level, to be critical does not mean to criticise in a

negative manner. Rather, it requires you to question the information and
opinions in a text, object, performance or production and present your
evaluation or judgment. To do this well, you should attempt to
understand the subject matter from different perspectives and in relation
to the theories, approaches and frameworks in your course.
Basically, to criticise means to appreciate and to pass judgment with

some measure of analysis. To appreciate is to have a clear perception of
the aesthetic qualities of an object. To judge is to evaluate. Evaluation is
the process of examining a subject and rating it based on its important
features. To evaluate is to pass judgment upon or to indicate the value of
a work of art. We determine how much or how little we value
something, arriving at our judgment on the basis of criteria that we can
define. Here, you decide the strengths and weaknesses, usually, based on
specific criteria. Evaluating requires an understanding of not just the
content of the object, but also an understanding of its purpose, the
intended audience and why it is structured the way it is. Analysing
requires separating the content and concepts of an object into their main
components, and then understanding how these interrelate, connect and,
possibly, influence each other.
SELF-ASSESSMENT EXERCISE
i. In your own words, define criticism.

ii. Briefly outline how you can write a critical article.
4.0 CONCLUSION
In this unit, you have been exposed to the concept of criticism and how
you can be critical in your writing. Also, this unit has made it clear to
you that criticism is, at once, an appreciation, an evaluation or judgment
and an opinion based on deep knowledge of the subject matter and
standards of measurements. You have also been made to know that
57
criticism concentrates on the results of an artist’s efforts and is directed

at the fine or popular arts to indicate their value. It, therefore, offers the
journalistic critic a powerful skill for intelligent evaluation of any work
of art.
5.0 SUMMARY
This unit has exposed you to the meaning of criticism and what it takes
to be critical.
6.0 TUTOR-MARKED ASSIGNMENT
i. What is criticism?
ii. Explain how to write a critical article.
7.0 REFERENCES/FURTHER READING
Pope, R. (2002). The English Studies Book. London & New York:
Routledge.
Wilson, D. S. (1977). Introduction to Print Media: Readings in Nigerian

Journalism. (ed.). Ibadan: Stirling Horden Publishers.
Wolseley, R. E. (1959). Critical Writing for the Journalist. New York:

Chilton Book Company.
58
MAC 313 MODULE 5
UNIT 2 CRITICAL WRITING AND CRITICAL

THINKING
CONTENTS
1.0 Introduction
2.0 Objectives
3.0 Main Content
3.1 Definition of Critical Thinking
3.2 Requirements for Effective Critical Thinking
3.3 Critical Writing and Thinking
4.0 Conclusion
5.0 Summary
1.0 INTRODUCTION
One of the primary aims of this course is to develop citizens who are
able to engage in critical thinking and clear writing. NOUN attaches
much importance to enhancing critical thinking and writing
competencies among its students. Critical writing and thinking
encompass much of what we do when using our brains. Critical writing
and thinking skills, particularly, are not restricted to a particular subject
area, but are at the heart of what it means to be a scientist, researcher,
scholar or professional in any field. Whatever you are studying, critical
thinking is the key to learning and to making progress. Critical writing
and thinking is therefore one of the most important skills to be learnt at
this university.
2.0 OBJECTIVES
 state what critical thinking is

 highlight some critical thinking skills
 explain the relationship between critical writing and critical
thinking
 differentiate between critical writing and other forms of writing.
59
3.0 MAIN CONTENT
3.1 Definition of Critical Thinking
Critical thinking has been variously defined over the past 80 years. Let
us consider some of the definitions of critical thinking which have been
put forth. According to Dewey, critical thinking involves “active,
persistent, and careful consideration of any belief or supposed form of
knowledge in light of the grounds that support it and the further
conclusions to which it tends” (Dewey, 1933, p. 118). Also, critical
thinking has been defined as “purposeful, self-regulatory judgment
which results in interpretation, analysis, evaluation, and inference, as
well as explanation of the evidential, conceptual methodological,
criteriological, or contextual consideration upon which that judgment is
based” (Facione, 2006, p. 21).
Furthermore, take a look at the following definitions:
i. critical thinking “is analytical and strategic, linking knowledge

bases to practice strategies” (Price, 2004, p. 47)
iii. “critical thinking…includes interpretation, analysis, evaluation,

inference, presenting arguments, reflection, and dispositions”
(Jones, et al., 1995)
iii. “critical thinking is the intellectually disciplined process of

actively and skillfully conceptualising, applying, analysing,
synthesising, and/or evaluating information gathered from, or
generated by, observation, experience, reflection, reasoning,
or communication, as a guide to belief and action” (Fisher,
2001).
From these definitions, there appears to be a consensus to the effect that

critical thinking is the mental process of actively and skillfully
analysing, synthesising, and evaluating information to reach an answer
or conclusion. It is a process by which we use our knowledge and
intelligence to effectively arrive at the most reasonable and justifiable
positions on issues.
3.2 Requirements for Effective Critical Thinking
According to Cottrell (2005) and Allen (2004), critical thinking shares

the following skills with critical writing.
Analysis- examine the material by breaking it into its component parts

to better understand the parts and the whole (identifying, classifying,
60
MAC 313 MODULE 5
categorising, comparing); that is, examine how the key components fit
together and relate to each other or otherwise identify the intended and
actual inferential relationships among statements, questions, concepts,
descriptions, or other forms of representation intended to express belief,
judgment, experiences, reasons, information, or opinion.
Synthesis- to synthesise is to weave together material from several

sources, including your personal, prior knowledge, to create a new
whole; making connections between the parts and the whole to see the
pattern of relationships (organising, connecting, designing, predicting);
that is, bring together different sources of information to serve an
argument or idea you are constructing. Make logical connections
between the different sources that help you shape and support your
ideas.
Interpretation-this entails examining the connection (s) between the

parts and the whole to make inferences about the implications and
meanings of the pattern(s) (associating, inferring, decoding); that is,
comprehending and expressing meaning or significance of wide variety
of experiences, situations, data, events, judgments, conventions, beliefs,
rules, procedures, or criteria.
Evaluation- this means forming judgments about meanings, qualities

and values (justifying, critiquing, verifying, and deciding); that is, you
are assessing the credibility of statements or other representations which
are accounts or descriptions of a person's perception, experience,
situation, judgment, belief, or opinion. As well, evaluation relates to
assessing the logical strength of the actual or intended inferential
relationships among statements, descriptions, questions, or other forms
of representation
Inference- when you look for inference, you are seeking to understand
what is suggested or implied, but not stated; also you are seeking to
identify and secure elements needed to draw reasonable conclusions; to
form conjectures and hypotheses; to consider relevant information & to
educe the consequences flowing from data, statements, principles,
evidence, judgments, beliefs, opinions, concepts, descriptions,
questions, or other forms of representation.
Explanation- Here, you state the results of your reasoning and justify
your reasoning in terms of evidential, conceptual, methodological, and
contextual considerations upon which your results were based; and you
present your reasoning in the form of cogent arguments.
Self-regulation- this means, consciously, applying skills in analysis and

evaluation to your own inferential judgments with a view toward
61
questioning, confirming, validating, or correcting someone's reasoning

or results.
3.3 Critical Writing and Critical Thinking
Critical thinking involves both reading and writing, critically. Reading

critically means examining different points of view with an open and
enquiring mind, evaluating your own position, and drawing conclusions
as to whether a particular point of view is persuasive. Writing critically
means presenting your conclusions in a clear and well-reasoned way to
persuade others.
Clear thinking helps to produce clear journalistic writing. In critical

writing, just as in other forms of journalistic writing, the journalist must
be able to think, critically, as well as clearly. Critical thinking, Wolseley
(1973:7) says, demands certain mental equipment:
o a measure of objectivity
o realisation of the climate of opinion
o awareness of the methods of making estimates or arriving at
judgment
o perspective gained through knowledge of the art being evaluated
and understanding of the audience.
These qualities separate the journalistic critic from virtually all his peers
in journalism. Not every journalist possesses these qualities, of course;
but these can all, necessarily, be achieved by the student through study
and practice.
Discuss critical thinking skills as they relate to critical writing.
4.0 CONCLUSION
In this unit, you learnt that critical thinking is the process of applying
reasoned and disciplined thinking to a subject. To do well even in your
studies, you need to think 'critically' about the things you have read, seen
or heard. Acquiring critical thinking skills helps you to develop more
reasoned arguments and draw out the inferences that you need to use in
your assignments, projects, examination, and later, in your work as a
critic. These skills are essential if you want to obtain high grades in your
university study and, like other skills, they improve with practice.
62
MAC 313 MODULE 5
5.0 SUMMARY
This unit provides a general orientation to critical writing and critical

thinking. It examines what is meant by ‘critical thinking’; the skills
associated with it, the relationship between critical writing and critical
thinking, and the affinity critical writing shares with other forms of
writing.
i. Define critical thinking in your own words.

ii. In what five specific ways can critical thinking help you as a
journalistic critic?
Allen, M. (2004). Smart Thinking: Skills for Critical Understanding and

Writing. (2nd ed.). Melbourne, Australia: Oxford UP.
American Psychological Association (APA). Critical Thinking. (n.d.).

Webster's New Millennium Dictionary of English. (Preview ed.).
Retrieved February 02, 2009, from
http://dictionary.reference.com/browse/critical thinking.
Cottrell, S. (2005). Critical Thinking Skills: Developing Effective

Analysis and Argument. Basingstoke, England: Palgrave
MacMillan.
Dewey, J. (1933). How We Think: A Restatement of the Relation of

Reflective Thinking to the Educative Process. Boston, M.A.:
Heath.
Facione, P. (2006). Critical Thinking: What it is and Why it Counts.

Millbrae, C.A.: Insight Assessment and California Academic
Press.
Jones, E. A., Hoffman, S., Moore, L. M., Ratcliff, G., Tibbetts, S., &
Click, B. A. L. (1995). National Assessment of College Learning:
Identifying College Graduates’ Essential Skills in Writing,
Speech and Listening, and Critical Thinking. Washington,
D.C.:US Department of Education.
Paul, R.& Elder, L. (2007).Consequential Validity: Using Assessment to

Drive Instruction. Foundation of Critical Thinking. Retrieved
from www.criticalthnking.org
63
UNIT 3 CRITICAL WRITING AND OTHER FORMS OF

WRITING
CONTENTS
1.0 Introduction
2.0 Objective
3.0 Main Content
3.1 Critical Writing and Broadcast Commentary
3.2 Critical Writing and Editorial
3.3 Critical Writing and News Writing
3.4 Critical Writing and Feature Writing
3.5 Critical Writing and Column Writing
4.0 Conclusion
5.0 Summary
1.0 INTRODUCTION
Critical writing shares affinity with other forms of journalism. This unit
shall examine the relationship between critical writing and other forms
of writing in order to help you distinguish them.
2.0 OBJECTIVE
 differentiate between critical writing and other forms of writing
3.0 MAIN CONTENT
3.1 Critical Writing and Broadcast Commentary
Critical writing and broadcast commentary express opinions, and both

are subjective writing. Both provide the reader with a critical view and
hope to convince and influence; but critical writing, basically, evaluates
and appreciates what makes an object or idea a work of art, and
necessarily, a unique work of art. Critical writing makes use of tastes
and standards to determine how the object may be perceived by the
reader.
Broadcast commentary does not, necessarily, appreciate. It is, mainly, to

point out an anomaly, correct a wrong, prove a point or explain a
process or concept or simply tell a story to amuse or amaze. Both critical
writing and broadcast commentary, however, demand that you have
64
MAC 313 MODULE 5
deep knowledge of the subject matter. Critical writing, particularly,

insists that you be familiar with the standards of measurements
3.2 Critical Writing and Editorial
The editorial and the critical article all express opinion; they evaluate,
interpret, and are subjective and hope to influence. An editorial could be
defined as a corporate voice of a medium on issues of public interest; it
is an opinion a newspaper writes to inform or explain, persuade or
convince, and stimulate insight, sometimes, in an entertaining or
humorous manner.
Critical writing does all that and also offers some measure of
entertainment. A humorous piece of criticism, certainly, is a must read.
Aside from influencing readers, criticism also serves as a guide to the
reader. A book review for instance, says Wolseley (1973), must tell the
reader what the book is all about (information), what the critic thinks of
the book (opinion, influence), whether the book is worth spending time
on (guidance); and also, entertain the reader (humor).
3.3 Critical Writing and News Writing
Critical writing shares characteristics with news stories. A traditional

news story is an objective journalistic piece. It is a straightforward
presentation of facts, a recounting of factual and timely events devoid of
personal opinion. Critical writing for journalism is not news report of art
shows. Critical writing emphasises opinion, but news writing
emphasises information. A news report of art shows is not critical
writing. Critical writing concentrates on the results of the artist’s efforts.
3.4 Critical Writing and Feature Writing
A feature is a creative journalistic article which informs, explains

analyses, interprets, and exposes issues; it is a colorful story about
people, events, places and life. Features may be about artists and about
their work, about art history; features could be personality sketches and
biographies of artists and human interest sidelights on the arts, but they
are not critical writing because they are not ordinarily about evaluation
(Singer, 1974). Critical writing appreciates; feature writing emphasises
human interest.
3.5 Critical Writing and Column Writing
A column expresses the opinion or view of persons who work for the
newspaper or magazine, and who are thereby known as columnists. Uyo
(1987:15) defines a column “as an article, usually with some permanent
65
or obvious title, that is written regularly by the same person, or in some

cases, different persons, who express (es) their opinion on diverse
matters, from the most mundane to the most profound.”
The columnist is usually an expert or specialist in the subject or field he

writes about. A critic can maintain a column in a newspaper or
magazine. The columnist therefore shares characteristics of a critic;
he/she is, traditionally and largely, a critic, and criticism demands of
him expertise in the subject being evaluated. Most newspapers and
magazines have review or criticism columns on a wide variety of
subjects – books, arts, dance, plays/theatre, radio and television, films,
etc. These are usually featured in special sections and are so labeled.
Outline the differences between critical writing and other forms of

journalistic writing discussed.
4.0 CONCLUSION
Critical writing shares affinity with other forms of journalism such as

broadcast commentary, editorials, the traditional news story and the
feature. The critic can also use several types of composition such as
description, exposition and argumentation. However, in all these, the
journalistic critic must concentrate on the results of the artist’s efforts
and appreciate or exercise judgment.
5.0 SUMMARY
This unit has exposed you to the affinity critical writing shares with
other forms of journalism such as broadcast commentary, editorials, the
traditional news story and the feature; but it emphasised the distinctive
mark of the journalistic critic which is appreciation or exercise of
judgment.
i. Which of the journalistic forms writing discussed shares the

closest affinity with critical writing? Justify your answer.
ii. What common characteristics do broadcast commentary and the
editorial share with Critical writing?
66
MAC 313 MODULE 5
Fisher, A. (2001). Critical Thinking: An Introduction. Cambridge:

Cambridge University Press.
Rivers, L. W. & Somolkin (1988). Writing Opinions Reviews. Names,

Iowa: University Press.
Singer, L. S. (1974). The Student Journalist and Reviewing the

Performing Arts. New York: Richards Rosen Press Inc.
Uyo, A. O. (1987). Mass Media Messages in a Nutshell. New York:

Civiletis International

67
MODULE 2
Unit 1 Functions of Criticism

Unit 2 Theories of Criticism
Unit 3 Approaches to Criticism
UNIT 1 FUNCTIONS OF CRITICISM
CONTENTS
1.0 Introduction
2.0 Objective
3.0 Main Content
3.1 The Function of Information
3.2 The Function of Influence
3.3 The Function of Promotion
3.4 The Function of Advertising
4.0 Conclusion
5.0 Summary
1.0 INTRODUCTION
The functions of critical writing coincide with those of all journalistic

writing. The principal purposes of journalism are to inform, entertain
and influence. Criticism does all these but it emphasises the function of
influence. This unit shall to you through the major functions of
criticism.
2.0 OBJECTIVE
 identify the major functions of criticism.
3.0 MAIN CONTENT
3.1 The Function of Information
This is the function of reporting- on this, Oscar Thompson (Woleseley,

1959:24) says criticism “has one clear function, so central and
dominating that all others may be regarded as subsidiary or
supplementary”. Oscar further avers that it “is to hold up a mirror to
what has been composed or performed and to the performance”.
68
MAC 313 MODULE 5
Criticism conveys information if capably written, and if indeed well

written it offers even a measure of entertainment.
3.2 The Function of Influence
In fulfilling its function of influencing readers, criticism also serves as a

guide. A movie or book criticism performs several functions for the
viewer or reader at once- it performs the information function by telling
the viewer or reader what the book or movie is about. It also performs
the function of influencing by telling the viewer or reader the reviewer’s
opinion or what the reviewer thinks about the book or movie. Then, it
offers guidance when it tells the viewer or reader whether the book or
movie is worth his time or money; and finally, it entertains the viewer or
reader if he/she enjoys reading the review itself.
3.3 The Function of Promotion
Another function of criticism is that it must promote. To many in the

media industry, criticism is, primarily, a publicity tool, a factor in
developing a favorable public attitude toward the work of art in
question.
3.4 The Function of Advertising
Another function of criticism is to earn money directly for the medium

through advertising. This is the tie with commerce which tends to
stultify honest criticism. Criticism is regarded, by some entrepreneurs of
the arts also, as a means of attracting advertising accounts. Space, in
some Nigerian dailies, is devoted to certain of the arts, seasonally
because of advertising. However, Singer (1974) says its effectiveness, as
such, varies according to the art form, the type of publication and the
community.
3.5 The Function of Prestige
Critical writing, sometimes, is published for prestige by publishers or

producers who want their publications or programs to be at the right
places. So long as the rest of the publication earns sufficient revenue, the
luxury of prestige-getting is continued. However, according to Wolseley
(1959:23) , a journalist who understands that his/her writing has to
guide, inform, influence, and entertain the intended audience, and
promote the art itself- so that it attracts advertising , and “ lends prestige
to the magazine or paper, must be a super journalist indeed”.
69
Which of the functions of criticism do you consider most important?

Why? Fully justify your answer.
4.0 CONCLUSION
You as a journalistic critic must understand the impact of these functions

and commerce on criticism. A pure task of informing, influencing is,
immensely, difficult, for in discharging it honestly, you may ruin
advertising accounts or offend a friend etc.; it takes a bold critic to damn
a book, play, or movie when he/she knows that the same medium will
carry a sizeable volume of advertising for the same book, play, or
movie.
5.0 SUMMARY
This unit has exposed you to the functions of critical writing and the
commercial and social difficulties associated with performing them.
This is to help you understand how, increasingly, hard it is to ignore the
impact of commerce and social relations as a journalistic critic.
i. What are the major functions of criticism?

ii. What do you consider to be the impact of commerce and society
on criticism?
Fisher, A. (2001). Critical Thinking: An Introduction. Cambridge:

Cambridge University Press.
Rivers, L. W. & Somolkin (1988). Writing Opinions Reviews. Iowa:

University Press.


70
MAC 313 MODULE 5
UNIT 2 THEORIES OF CRITICISM
CONTENTS
1.0 Introduction
2.0 Objectives
3.0 Main Content
3.1 The Authoritarian Theory
3.2 The Impressionistic Theory
4.0 Conclusion
5.0 Summary
1.0 INTRODUCTION
There are two broad theories of criticism. Criticism relies on both the
intimate experience the critic has with the work of art he/she is judging
and his possession of reliable criteria of criticism. These criteria act as
useful guides to writing the criticism.
2.0 OBJECTIVES
 describe the major theories of criticism

 illustrate the practices of the best journalistic critics.
3.0 MAIN CONTENT
3.1 The Authoritarian Theory
The authoritarian critic believes that there exist fixed standards with
which to judge a new book, painting or some other composition or
performance. He/she uses these standards and insists that all works of art
must conform to these standards and any deviation from these standards
is condemned.
Authoritarian criticism, usually, consists of judging particular works by

historical, moral, judicial, classical and scientific models which already
have been accepted as good. The authoritarian critic judges new works
by comparing them to his/her knowledge of what has gone before. It is
knowledge of what has gone before that gives the critic his/her
perspective. You can say that the authoritarian critic is rather fixed,
inflexible and rigid in his/her evaluation of works of art.
71
Authoritarian criticism is produced only after years of study and

exposure to the art of the past. It seeks to impose on all writers the strict
observance of rules. Thus, to the authoritarian critic, criticism is
meaningless, unless the yardstick of the critic is visible and respected.
3.2 The Impressionistic Theory
The impressionistic critic has no rules; he/she, likewise, has no

standards. The impressionistic critic who follows Anatole France’s
(Wolseley, 1959:75) “is he who narrates the adventures of his soul
among masterpieces”. This means that the impressionistic critic has no
respect for fixed standards with which to judge a new book, painting or
some other composition or performance.
It is his/her own impressions of the work of art under review that are
important to him/her. He/she emphasises his/her own impressions, rather
than the facts or simple description. That is, he/she does not judge a
work of art on how nearly it approaches the qualities or characteristics
of an earlier work but on its own merits and on its effect upon him/her.
The impressionistic critic, at his/her best, may possess knowledge of the
authoritative critic but he/she draws upon himself/herself, rather than on
outside authorities
Which of the theories do you consider most dominant? Why? Fully,

justify your answer.
4.0 CONCLUSION
Theories of criticism are the points of view of the critic on his/her

subject. Most criticism combines the authoritarian and impressionistic
theories, and few, dominantly, fall within either of the two.
5.0 SUMMARY
Critical theories are many, but we have reduced them to two here, for
working purposes. These distinctions, it must be remembered, are
theoretical. The journalistic critic simply performs his/her job, though
he/she benefits from understanding and using these theories consciously
until they become part of him/her ( unnoticed), yet in use.
72
MAC 313 MODULE 5
A good critic “is he who narrates the adventures of his soul among
masterpieces”. Discuss this statement with reference to theories of
criticism.


73
UNIT 3 APPROACHES TO CRITICISM
CONTENTS
1.0 Introduction
2.0 Objective
3.0 Main Content
3.1 Moral Approach
3.2 Psychological Approach
3.3 Sociological Approach
3.4 Formalistic Approach
3.5 Archetypal Approach
4.0 Conclusion
5.0 Summary
1.0 INTRODUCTION
Regardless of which theory of criticism is dominant, Scott (1977)

suggests that five approaches can be employed by critics in providing
access to a particular work of art. These will be the focus of your study
in this unit.
2.0 OBJECTIVE
 describe the major approaches to criticism.
3.0 MAIN CONTENT
3.1 Moral Approach
The moral approach uses ethical principles of human conduct such as

‘order, restraint and discipline’ as basis to criticise life, creative or
literary art. To the moralist, criticism becomes “a repository of basic
human conduct” (Wilson, 2000) which is used in criticising works of
art.
3.2 Psychological Approach
The psychological approach uses the tools of psychologist such as

‘Oedipus complex’ to explain acts or characters in any work of art. This
method also studies the lives of authors as means of understanding their
art.
74
MAC 313 MODULE 5
3.3 The Sociological Method
The sociological method presupposes the interrelatedness of art and

society and evaluates a work of art within its social context.
3.4 The Formalistic Approach
The formalistic approach is a method of contemporary criticism which

emphasises a close study of the text or work, rather than, seeing “the
work merely as an expression of social, religious, ethical or political
ideas” (Wilson, 2000). The formalistic method is also referred to as the
“aesthetic, textual, or ontological approach, or new criticism” with
journalism as its official organ. This method is, easily, the most
influential of the critical methods.
3.4 The Archetypal or Totemic approach
The archetypal or totemic approach is often referred to as ‘mythological

or ritualistic’ method. It is a demonstration of some basic cultural
pattern from which it draws great meaning and appeal in a work of art.
Define each of the approaches discussed here in your own words.
4.0 CONCLUSION
This unit has considered the major approaches to criticism. These are no
set rules, but they are to serve as useful guides to the critic. A critic may
use several of these approaches, depending on the work of art under
consideration.
5.0 SUMMARY
The approaches discussed here are related. The moral and psychological
are related, while the sociological and archetypal are also similar. These
distinctions are therefore not watertight, and one approach can dissolve
into another in a criticism.
Compare two approaches of your choice, and show the strength one
against the other.
75
Wilson, D. S. (1977). Introduction to Print Media: Readings in Nigerian

Journalism. (Ed.). Ibadan: Stirling Horden Publishers.
76
MAC 313 MODULE 5
MODULE 3
Unit 1 Components of Criticism: The Critic

Unit 2 Components of Criticism: Direct Data
Unit 3 Components of Criticism: Indirect Data
UNIT 1 COMPONENTS OF CRITICISM: THE CRITIC
CONTENTS
1.0 Introduction
2.0 Objectives
3.0 Main Content
3.1 The Critic’s Background
3.2 The Critic’s Attitude
4.0 Conclusion
5.0 Summary
1.0 INTRODUCTION
A distinguished Greek-French author and critic, M.D. Calvocoressi

(1923), was among the first to analyse the components of musical
criticism. He noted that there are three major factors in appraising a
work of music; these, we may apply to appraising any work of art. The
first is the critic, the human factor in the communication- who encodes,
composes, and calls up messages.
2.0 OBJECTIVES
 define and classify the background of critics

 describe how a critic’s background and prejudices can affect the
work being appraised.
3.0 MAIN CONTENT
3.1 The Critic’s Background
The critic’s qualifications, then, according to Wolseley, (1959) are that-

he/she must like what he/she does, have an absorbing interest in the art
form itself, possess an understanding of the art form, have the ability to
transmit in words his/her reactions and judgments, know more than
77
his/her subject. An editor and publishers cannot tolerate ignorance in

their critics and tacitly encourage it. The critic’s background include the
body of knowledge he/she possesses, his/her diverse interests, his/her
tastes- inborn and or acquired.
Also, the critic’s background relates to the following- his/her likes and
dislikes, prejudices for, sense of judgment, experience and observation,
formal schooling and elaborate training, an analytical mind and ability
for self expression. Words for instance, are a critic’s tools. He/she can
add up his/her vocabulary by judicious reading. He/she can, and should,
supplement his/her background experience by acquiring great
knowledge about his/her chosen field (which could be theatre, cinema,
television, music, literature, art).
Of course, all these fields have some relationship to one another. All that
the critic needs to know is everything about every art, history, sociology,
economics, philosophy, language, and religion. You may think this
sounds impossible, but do the best you can to build your background as
you work. A firmer base or standard is established by greater
background and the journalistic critic should not be unwilling to invest
ten years of his/her life into an area without any guarantee of getting
anything back, except personal satisfaction (to secure the background a
critic must have). Exposure strengthens standards of judgment. These
help you know, not only what has gone before so that you are a better
judge of originality and treatment, but you also know what standards can
be achieved in writing and performance.
3.2 The Critic’s Attitude
The critic holds a mirror to the performance, an intensifying mirror, and

acts as a funnel; but as a human being, the critic is subject to varying
moods which make him see things differently. His emotional stability –
even his disposition at the time of appraisal - a deep personal problem,
an illness, perhaps a quarrel with his wife – may put him in varying
moods. He should be aware of ‘out-of-sorts’ feelings.
The critic’s predispositions are an important factor. Just how important

depends on the critic’s edibility to detach himself emotionally from what
he is writing long enough to assess his emotions as well as what he is
writing about. The critic must make sure that his own background and
prejudices do not blind him to the merits and demerits of the work he is
appraising. A critic must repress his personal inclinations but not his
standards of taste and performance.
All his life, a critic must therefore retain an open mind, and respect the
expert practitioner in any field of performance and creative arts. Open-
78
MAC 313 MODULE 5
mindedness here is not to the point of vacuity but to the extent of

avoiding dogmatism. The real value of open-mindedness is the
willingness to try to understand the strange, the obscure, or the off-beat.
When a critic avoids closed-mindedness, his own tastes, but not his
standard probably will broaden. But Wolseley (1959) says when he
starts to constrict, it is time to retire as a practicing critic.
Who is a journalistic critic?
4.0 CONCLUSION
This unit teaches that, basically, the critic should be an intelligent

observer of works of art; that he/she should train himself/herself and
develop a background against which he/she can convey and pass on
his/her impressions coherently and accurately, put them into perspective
as possible, by reading and experience. He/she should also acquire
certain ideals of taste.
5.0 SUMMARY
No human is objective; each of us possesses certain prejudices and

preconceptions and the criticisms we write reflect these predilections.
For a critic to be successful, he/she must be equipped with background
knowledge through conscious observation and study, and formal
schooling. The critic must, therefore, do something about his/her
conscience and overcome all background deficiencies and afflictions of
his/her attitude so that they do not get into his criticism.
i. Itemise and briefly describe ten qualities of a good critic.

ii. In not less than three pages of A-4 sized paper, discuss how a
critic can add problem to critical writing.


79
UNIT 2 COMPONENTS OF CRITICISM: DIRECT DATA
CONTENTS
1.0 Introduction
2.0 Objective
3.0 Main Content
3.1 Material
3.2 Form
3.3 Workmanship
4.0 Conclusion
5.0 Summary
1.0 INTRODUCTION
The late Oscar Thompson (Singer, 1974) in his Practical Musical

Criticism refined Calvocoressi’s analysis of the components of criticism
and noted that direct data – the music itself – can be divided into three
major factors of material, form and workmanship. This formula can be
applied to any work of art being reviewed, whether a stage play, movie,
television documentary, book, the fine arts as well music.
2.0 OBJECTIVE
highlight the variables that can make or mar criticism.
3.0 MAIN CONTENT
3.1 Material
Material is the work itself. It may be a book, a film, a stage play, a

poem, a piece of music, a painting, or sculpture. If it is a book, the
quality of paper or wood comes into consideration; if it is stage
performance, the costume or setting.
3.2 Form
Form is the label or parts in which you breakdown a book, performance

or production. If a book- is it biography, or drama or prose or poetry? If
it is music- it could be pop, gospel, classical, symphony, reggae etc. In
discussing material and workmanship, form sometimes is crowded out.
Form may be only label. That is, a play may be advertised as comedy or
80
MAC 313 MODULE 5
tragedy. Various terms such as rhapsody, drama, concerts, symphony,

musical drama, tragedy, musical comedy, operetta, light opera, comedy
and other terms may described the form of the creation being reviewed
and the critic may agree with this label or not. One may accept a label as
to form, even though the technical qualifications are not always met.
The element of form – the firmness of structure or lack of it – also

overlaps into material and workmanship. The basic worth of the material
of a play may be appraised in terms of universality. Could the setting of
the play be transferred to another time or place with equal effect? The
quality of universality aids any creative work. The quality of
performance can override deficiency in the work performed.
3.3 Workmanship
Workmanship is effort or craftsmanship expended on the work of art.

These are the creative aspects of a work of art: inspiration, originality,
freshness, conviction, soundness of structure. You have to say whether
the new work has inspiration. The inspiration may be in the originality
of a play’s plot or musical composition, or in its expert craftsmanship.
The play or movie or musical composition or painting can have
originality or it may use a previous playwright, composer, or artiste’s
idea, or structure and give it a new twist.
Your experience and abilities should help you make comparisons. New
writer or composer may have used a previous practitioners’ idea, or
structure, and given it a twist. He may, thus, bring freshness of treatment
to the work. In this case, workmanship may be principal factor for
examination. However, whether old or new, it is how convincing the
playwright or composer is- in what he/she says (material) and how
he/she says it (workmanship). The creative artist may have a good idea
(material), but may not have developed it to its fullest extent
(workmanship).
Again, he/she may have a good play idea, the plot may teem with
possibilities, yet the overall structure may not take advantage of all the
material; or the plot may be top – heavy with subplots that impede the
principal action. Here, the imbalance of material and form makes a
faulty structure. Judgment of musical composition, course, also employs
standards of material, form and workmanship. Does the music have
basic worth? Is there sufficient thematic structure?
Discuss what elements you would consider in evaluating workmanship

in a work of art.
81
4.0 CONCLUSION
In this unit, analysis of material, form, and workmanship has been

suggested as an aid to the critic. After some practice, such appraisal will
become subconscious or second nature. The critic will strive to appraise
the basic worth of any new work – whether it has genuine substance or
is of the fashion of the day, whether there is sound workmanship or
merely a high technical finish.
5.0 SUMMARY
Direct data is everything present in the music (or other creative work).
Direct data provide the principal basis for appraising a new work of
whatever medium. Direct data is everything present in the performance
or creative work under review. It involves the creative aspects of a new
work of art such as inspiration, originality, freshness, conviction, and
soundness of structure.
Using your knowledge of direct data studied in this unit; criticise a

review on any work of art published in any Nigerian daily (attach
photocopy of the review).
Rivers, L. W. & Somolkin. (1988).Writing Opinions Reviews. Iowa:

University Press.


82
MAC 313 MODULE 5
UNIT 3 COMPONENTS OF CRITICISM: INDIRECT

DATA
CONTENTS
1.0 Introduction
2.0 Objective
3.0 Main Content
3.1 Indirect Data
4.0 Conclusion
5.0 Summary
1.0 INTRODUCTION
Indirect data stem, solely, from outside the creative work itself. It is
everything external to the work. Indirect data may be useful in your
review. It may even influence your judgment. This will be the focus of
your study here.
2.0 OBJECTIVE
explain what indirect data is in critical writing.
3.0 MAIN CONTENT
3.1 Indirect Data
Indirect data are:
 the artist’s or artiste’s intention, expressed, disavowed, or not

expressed at all
 the place or position of the work in the artist’s or artiste’s output
 the position of the work in its contemporary setting, or place in
history(whether the work has any significance, or any intent).
Such indirect data must be considered. First of all, there is a label of the
author himself, whether he is well known or not. The name of the author
should, however, not predispose the critic; and each work should be
judged solely on its own merit. When reviewing a new artistic work by a
prominent creator, it is valid to appraise it in terms of the man’s
previous output but only as an aid and not to mislead or to be an end in
itself.
83
In reviewing plays or movies or books, the indirect data can be helpful

or otherwise. If it is drama or play, first ask yourself whether the play
has any true life connections or connotation? A play may have fictional
characters that may have coincidental semblance with people living or
dead. If a book is a biography, how true to life does it appear? Has the
biographical order of events been followed faithfully or have they been
juggled? Have characters and or events been added or omitted – added
for dramatic effect, omitted to avoid cluttering the script? All these are
interesting as to factual accuracy. But what is important is whether the
tempering with biographical facts enhances or detracts from the quality
of the book.
Music is full of examples of indirect data- avowed and disavowed. First

of all, there is programme music-music with a title that tries to tell a
story, in contrast to pure music, which is solely for its own sake. Such
music may be inspired by a natural phenomenon or poem and although
your knowledge of the story or poem may enhance your enjoyment of
the music, it may not necessarily make the music itself any greater.
Choose a particular art form, describe and give examples of indirect data
that can be useful in its criticism.
4.0 CONCLUSION
In this unit, it has been made clear to you that indirect data, though
useful in criticism and may have a bearing in what you include in your
review, it can sometimes be misleading. The name of the author, for
instance, may sometimes predispose the critic and make criticism an
unwilling apologist. You must be careful to judge each work, solely, on
its own merit- though this is sometimes hard.
5.0 SUMMARY
This unit focused on indirect data as a major component of criticism.

Indirect data comes from outside the work of art and is extrinsic to it. It
may be the artist’s or artiste’s intention, the place or position of the work
in the artist’s or artiste’s output, the position or place of the work in
contemporary setting or history, or it may the work’s significance or
intent. You must note, however, that indirect data is determined largely
by the individual work of art under review.
84
MAC 313 MODULE 5
i. What is indirect data in critical writing?

ii. How can it help you in criticising say a poem?
Rivers, L. W. & Somolkin. (1988).Writing Opinions Reviews. Iowa:

University Press.


85
MODULE 4
Unit 1 Writing a Review

Unit 2 Writing a Critical Article
Unit 3 The Reviewer and the Critic
Unit 4 The Critic’s Style
UNIT 1 WRITING A REVIEW
CONTENTS
1.0 Introduction
2.0 Objectives
3.0 Main Content
3.1 Writing the Review
3.2 Preparation of Copy
4.0 Conclusion
5.0 Summary
1.0 INTRODUCTION
A review is a short piece of critical writing for a newspaper or

magazine, about a particular art event. It is distinguished here from the
full length criticism known as the critical article. In writing a review,
you may follow a more or less fixed pattern, especially, as a beginner or
follow no regular pattern.
2.0 OBJECTIVES
 state how to write reviews

 construct a critical review.
3.0 MAIN CONTENT
3.1 Writing a Review
You can write your reviews in two basic formats. You can write your
review in form of pure reporting that amounts to a news story about the
material viewed or heard. You can also write a review that may
incorporate expression of opinion and not merely describe through the
senses but attempt to evaluate or appreciate. No accepted pattern of any
86
MAC 313 MODULE 5
sort exists for writing reviews; but for the less experienced reviewer, it is
safe to emphasise reporting over criticism, and merely describe and
report the news. And because the review is largely news, it is advisable
that it should follow the traditional inverted-pyramid pattern of news
writing.
Journalistic critics therefore develop their reviews in different ways.

Established critics can develop their reviews:
 By constructing the review around personal experience, such as

recalling an encounter with a star or artist at the start of the
performance; or
 By dispensing first with the news aspect, then launching a
generalisation about the event and backing it up with evidence;
or
 By relating an anecdote or reporting an incident which leads into
the opinions or evidence to be presented.
As a beginner however, your reviewing can be reduced to a formula.

Depending upon your purpose, you may, intentionally, devote certain
amounts of space to particular types of content; but the structure of a
review suggested here is, however, meant as a guide and not to stifle
your creativity as a critic.
The beginning- is the most important and difficult part of the review.
The beginning should be well thought of. This part can be called the
lead or opening paragraph or intro. A straight news story usually has the
most important facts in the lead. As with a good news story, the lead
should be as interesting as possible and it should incorporate or
emphasise any of the journalistic five Ws and the H , and immediately,
give the reader information about the what, where, when, who, why, and
how - depending on which is more dominant.
This is a desirable format of all journalistic writing. There are several

straight news attention-getting leads you can experiment with. The
commonest is the summary lead which encapsulates or provides a
synopsis of the plot or action or description of appearance.
The main body- this can divide the five (5) Ws and H and your views,
unfolding the details in decreasing order of importance. Some parts can
be criticism, either all authoritative or all impressionistic or both and
some parts review. This part of the review can contain the heart of your
views and must be constructed to carry your essential summaries and
opinions and should be brisk and concise.
87
The ending- this is the second most important part of the review after
the opening paragraph and is almost as difficult to construct as the
beginning; but several sound possibilities exist for you. One is that your
review can end with your (critic’s) main points. Another is that you can
end your review with a major point that is an integral part of the body of
the review.
3.2 Preparation of Copy
Here, you are to note the following considerations.

Selecting material- constructing a review is a process of selecting
material. As a journalistic critic, decide what you shall include in your
review by deciding what you want to say about the art, thinking what
your readers may require of you. A review should however tell all the
news of the event, anything worthy of mention.
Taking notes- you must also understand that note-taking is fundamental

to your success as a beginning critic. It is therefore wise to make notes
while listening to music or watching a play or movie or wandering about
an art gallery or reading a book. The notes you taken will add spice to
your review. It is even wiser that you take more notes than you need so
that you can choose the more important items and omit the rest.
Length- you must be conscious of the length of your review. Length,

usually, is determined by the medium; therefore, you must familiarise
yourself with length policies of different publications. Ordinary
newspaper criticisms however run from 300 to 600 words in length.
Using quotations- use quotes in your review. If it is a book or some

such art, include quotations from the original, alternating between direct
and indirect quotes, for they give the reader a clue to the author’s or
artiste’s style and lend authenticity to the review.
Use of pronoun- here, be careful how you use pronoun in your reviews.
Remember that you are speaking for your newspaper, avoiding the first-
person pronoun makes your review appear more factual, rather than
being just one man’s statement of opinion. Therefore, let your review
speak for itself. It carries more weight when expressed in impersonal
terms.
Using words- words are a reviewer’s stock in trade. The bigger your
vocabulary, the better equipped you are. Words help you to express
yourself precisely and to convey fine distinctions. Avoid flamboyant
phrases and esoteric words that are understood by only a minority of
readers or those that send your readers to the dictionary.
88
MAC 313 MODULE 5
Beginning and ending- facts at the beginning and end of a review often
carry more weight than if placed deeper into the story. Therefore, do not
start or end your review with an observation that is an exception to your
general premise.
The legal angle- you cannot safely be ignorant of the laws of journalism
that cover libel and slander, plagiarism, copyright, and related topics.
Knowledge of these has particular pertinence for you, since as a critic,
you express opinions and opinions are the commonest source of libel
and slander. As a critic, you are at liberty to say what you wish about a
work of art but you must be careful not to reflect upon the artist in a way
that damages him or her, professionally.
Discuss some of the common ways used by critics in developing their

reviews.
4.0 CONCLUSION
In this unit, it has been made clear to you that no accepted pattern of any
sort exists for writing reviews. Experienced critics begin framing their
reviews while watching or hearing what they are to criticise, and the
opening paragraphs occur to them, effortlessly. By the time the critic
settles down to write, the body of the review may take shape also and
he/she has, well in mind, what he/she wishes to say. For a beginner, a
formula is of considerable help, until you learn, eventually, to dispense
with the pattern.
5.0 SUMMARY
This unit considered possible ways of writing reviews. The unit

acknowledges that while no accepted pattern of any sort exists for
writing, it is better for a beginner to reduce his/her reviewing to a
formula which may serve as a guide.
Reduce reviewing to a formula and discuss your formula with practical

reference to a particular work of art.
89


90
MAC 313 MODULE 5
UNIT 2 WRITING A CRITICAL ARTICLE
CONTENTS
1.0 Introduction
2.0 Objectives
3.0 Main Content
3.1 The Critical Article and the Critic
3.2 Writing a Critical Article
4.0 Conclusion
5.0 Summary
1.0 INTRODUCTION
Writing the critical article is a major test of the critic’s abilities. The
critical article is more extensive than the review. It is also more
intensive, more penetrating, and analytical. In a critical article, you
cannot stop at merely describing or reporting, but you must also dissect.
2.0 OBJECTIVES
 identify a critical article at first sight

 write a good critical article
 state the conventional features of a critical article.
3.0 MAIN CONTENT
3.1 The Critical Article and the Critic
The critical article, like the essay, is difficult to define, for it has no
special form, as does the news story. It resembles the essay in that it,
too, is a short piece of prose, with less emphasis on style, and wider
purpose. It may be intended to inform, guide, entertain, and influence
and it is collection of facts or ideas assembled to gratify on or more of
these intentions. Largely, the critical article can be defined as a piece of
prose which is intended to analyse some phase of the arts, and attempts
to evaluate them. To Wilson (2000), the critical article is a careful
composition that evaluates and appreciates the whole body of a writer’s
work, the whole career of a singer or the complete field.
91
Whatever it is called or however it is classified, on important thing is

that, as a critic, you must be dominantly idea-minded as opposed to
thing-minded. Some persons react most strongly to things – persons,
facts, events; others attend more spontaneously to ideas, notions,
generalisations, and thoughts about things. The reporter gives pictures of
persons, things, and events in writing; the critic explains, relates and
analyses them and points to opinions and conclusions resulting from his
cerebration. The writer of the critical article therefore should be idea-
minded.
3.2 Writing the Critical Article
In writing the critical article, you can find the following steps very
useful.
Step 1- you are endowed with an idea or you are given an idea by an
editor; either way, you obtain a topic or subject for the critical article.
Step 2- you research and gather facts and opinions relating to your
subject. Research can come from your observation, from interviews,
books and other media.
Step 3- after research, you analyse and relate facts gathered to gain new
insights pertaining to the general purpose of the article in question. Also,
you are to reflect on the different dimensions of the subject, on available
alternatives and consequences, discount prejudices and biases. You can
record your observations and makes use of your notes, clippings, letters
and other sources.
Step 4- you can prepare an outline at this stage and list words, phrases,
and sentences that represent all the different items that will go into the
article regardless of relationship or order. Analyse this list in turn, group
related items together, or arrange them in any desired order. You may
wish to write a paragraph setting forth the purpose of the article at this
point, as a starter.
Step 5- design an attractive opening or ending; you can begin with

strong news- peg based on news event relating to the subject of the
article among other openings. Your ending should grow naturally from
the beginning or from the theme of the article. It may repeat the
beginning to clinch the idea, or it may be an anecdote which emphasises
the chief message of the article.
Step 6- next, you develop methods of presenting you materials in the

body of the article. You can use either the deductive method or inductive
method. The deductive method proceeds from general to the particular.
92
MAC 313 MODULE 5
Using the deductive method you may start with a general statement that
follows an example or incident, and then provide minor details, all
leading to the general statement of the original proposition. The
inductive method proceeds from the particular to the general; it begins
with minor and works up to the general proposition which is usually
stated at the end as a sort of conclusion.
Step 7- to write is to write and re-write, and write until the critical
article is ready after a number of drafts. You may allow a more
experienced person to read your copy before you finally submit for
publication along with whatever necessary pictures or artwork.
Examine some newspapers and magazines, identify critical articles-

those run as regular parts of publications and those which appear under
special features. Can you discern any conventional pattern? Analyse any
of them in terms of structure or design.
4.0 CONCLUSION
As you can see from this unit, the design of the critical article is not very
different from that of the critical review. It has a beginning, middle and
an end. Its structure resembles that of a human being- it has a head, a
body and feet. These distinctions must be different. The head must be
smaller than the body, and the feet are of different construction
compared to either of the two.
5.0 SUMMARY
This unit has exposed you to the fact that there are two common
methods of developing a critical article. If you plan to begin inductively,
there are various choices for the opening. You can begin with an
anecdote, or an incident, or a news-peg, or an example which sets forth
the detail, or a slight descriptive passage. You must not forget that the
body of the article stems, naturally, from the type of beginning. If your
article begins with a generalisation, you must proceed to supply the
support for that generalisation in the body. Your ending should grow,
naturally, from the beginning or from the theme of the article.
Submit a three-paged critical article on A4-sized paper, with 1.5 spacing

on any work of art of your choice. Try to follow the steps suggested in
this unit. You may shuffle them to suit your purpose.
93

Wilson, D. S. (1977). Introduction to Print Media: Readings in

Nigerian Journalism. (Ed.). Ibadan: Stirling Horden
Publishers.

94
MAC 313 MODULE 5
UNIT 3 THE REVIEWER AND THE CRITIC
CONTENTS
1.0 Introduction
2.0 Objective
3.0 Main Content
3.1 The Reviewer
3.2 The Critic
4.0 Conclusion
5.0 Summary
1.0 INTRODUCTION
A true critic is not, necessarily, a reviewer; a reviewer is not necessarily

a critic- in fact, and he/she rarely is. Each has his/her rightful place and
are really quite different.
2.0 OBJECTIVE
 differentiate between a reviewer and a critic.
3.0 MAIN CONTENT
3.1 The Reviewer
A reviewer is not a critic, even though he/she too must be critical.

He/she is a reporter who writes what amounts to a follow-up news story
about the material viewed or heard. He/she, therefore, avoids opinion.
He/she merely reports; that is, describes through the senses without
attempting to evaluate or appreciate.
A review is objective reporting. You report what goes on outside you.

You take note of first hand events; consult reference books for facts
about the artist and their schools; familiarise yourself with catalogues,
ask the artist direct questions, talk to the guards and people at an
exhibition, ask the ticket taker for facts about attendance, report on
special events, incidents, or whatever else that may make attractive
copy, but you do not enter the area of criticism.
95
As a reviewer, you are, fundamentally, a newsman, and the review is

basically a piece of news. You are, temperamentally, very different from
the critic. Your philosophy of writing is objectivity; as much as possible,
be accurate, thorough, and well rounded. Your strong points are speed,
topicality, wit, and fact.
As a critical reviewer, you should be able to summarise the performance

so well that you not only satisfy the man who was not there but add
something to the overall impression, perhaps by some enlivening details
to the man who was. As such, the reviewer should also help the reader
or listener make up his mind what he thinks of the movie, play, or
concert he attended night before.
3.2 The Critic
The critical article is a subjective reporting. The critic expresses an

opinion about a performance or a work of art or music. You tell your
readers what goes on inside you. As such you must go beyond reporting
or reviewing into the realm of the subjective. You must move from the
objective the subjective. As a critic though, you too must at least meet
all standards of good reporting then add what converts a report into
criticism- your opinions and comments.
The critic publishes several months after the reviewer has forgotten what
the work of art was even about. As a critic, you are really a kind of a
‘garden-variety’ philosopher. Your virtues are long meditation, a firm
historical sense, profound insight, and truth-(absolute truth). Your
audience finds the reviewer flashy and cheap, the master of snap
judgment. Consequently, you must be overly elaborate bearing in mind
that your arguments may even change the reader or listener’s mind.
In a logical sequence, outline how a reviewer thinks and writes.
4.0 CONCLUSION
For you as a new writer of critical material The value of these

distinctions between the reviewer and the critic is that if you feel you are
not grounded enough in the art form at stake, you can skip the critical
writing and confine yourself to objective reporting so that you can
produce something that is fair and usable.
5.0 SUMMARY
96
MAC 313 MODULE 5
You have learnt from this unit that the reviewer and the critic write in
different ways, in different places, for different audiences. They operate
on different levels and they think in different ways. Nevertheless, as you
can notice, there is a thin line between the two; the same person can
sometimes do the same jobs, sometimes even fuse the two activities.
Discuss the similarities and differences between a critic and a reviewer.


97
UNIT 4 THE CRITIC’S STYLE
CONTENTS
1.0 Introduction
2.0 Objectives
3.0 Main Content
3.1 The Critic’s Style
3.2 The Tone of Criticism
3.3 Developing your Style
4.0 Conclusion
5.0 Summary
1.0 INTRODUCTION
The journalistic critic’s style is limited by the type of publication in

which his or her work appears or the audience he/she addresses. The
critic’s writing must be suitable for most publications or other media,
and for the not too literate, as well as the technically well-informed
readers he or she tries to serve.
2.0 OBJECTIVES
 describe the style of a critique

 cultivate your own style.
3.0 MAIN CONTENT
3.1 The Critic’s Style
For a journalistic critic, it is advisable to conform to the stylistic

traditions of the press. The journalistic critic’s style is characterised by
use of short sentences, simple words, brief paragraphs, and avoidance of
foreign terms and exotic references and, except where inescapable, of
technical terms; brightness and newness of tone and an introduction of
human interest where possible.
However, as a critic, you share the editorial and article writer’s measure
of freedom; and since you are thought to appeal to a somewhat better
educated group of readers, you are allowed to use a few of the technical
98
MAC 313 MODULE 5
words of your occupation and the specialised language of the art you are
evaluating.
Style refers to the method, the manner, and the personality of the writer;
but Percy Marks (Wolseley, 1959:93) says “personality is as elusive as it
is real and important. If we could define personality, we could define
style…” He adds that the style of writing should reflect the personality
of the writer, and that when as a student critic you have learned to give a
true expression of yourself, you have achieved style.
Your goal as a critic therefore, according to Oscar Thompson (Wolseley,

1959:97-98), is to “rid writing of its last suggestions of effort, by
perfecting a technique that reads a if it took care of itself”. You must go
straight to point, paragraph by paragraph, sentence by sentence, and
word by word. There should be no waste, no padding, no clutter, or
circuitous phrases. You must say what you wish to say, no more, no
less. Yet you must never be curt and must never spare. The amplitude of
your ideas should prevent that. Your style should be as mellow and easy
as it is precise and clear.
Vary your sentence structure. Each sentence should be a complete idea

in itself and each sentence should be related to what precedes and
follows; but at the bottom of all is the use of words. As Oscar Thompson
(Wolseley, 1959: 98) again says, “none has a happier faculty for finding
the exact and illuminative term”. Your words must be reasoned and
organized. When you express any opinion, and you are expected to –
your words must buttress your opinion. Remember that your opinions
are the main points of his story. While the general reviewers with nouns
and verbs, the most interesting words in a critical review are the
adjectives and adverbs.
3.2 The Tone of Criticism
The tone of criticism has various characteristic resulting from the nature
of the writer. Some of these include simplicity, smartness, banality,
pomposity, and humour. As a beginning critic, you must learn never to
pretend to be radical and pass judgment in alarming manner or feign
dignity of mind and solidity of judgment when actually you are
concealing the fact that you have nothing to say. Be wary of humor,
wisecracking and punning.
Humour is always difficult to write. You must use an expression only

because it says what you mean and not because it makes you look bright
and clever. You must be mindful also at whom you direct your barbs for
they may be out of place. Avoid ornamentation of style, excessive resort
to technical jargon and appallingly stale expressions. Chesty writing and
such triteness shows you have a barren vocabulary and no taste. It is
99
possible for you to be simple and direct without being commonplace in

style. You must not over-quoting from a book being reviewed or
paraphrasing such that you distort the original and employing words
inaccurately.
3.3 Developing Your Style
Now that you are dumped into critical writing responsibilities, it is

necessary you consider what is involved in developing your own style.
First, if you are sincere in seeking after a useful and effective style, it is
helpful if you devote many hours reading writings of established writers
on the subject.
Also, if you are to become a master critic in your profession, you must
begin to write, write and write for many years. You must not imitate the
styles of others as a means of developing your own and do not try to
develop a style before you begin to write. Thirdly, understand that a
good style should show no sign of effort. Therefore, you must never take
the smallest pains with your style or think about it or try to know
whether it is style at all. Just continue to write as your personality directs
and you will arrive at your objective.
Lastly, try to understand the forms of discourse, that is, description,

exposition, argumentation, and narration as a way of increasing the
attractiveness of your writing in both form and style.
Is there any ideal style? Fully justify your answer.
4.0 CONCLUSION
It is clear from this unit that style is a personal characteristic. If it does

not come to you naturally, you can and should acquire it. And you can
always improve your style through borrowing the characteristics of
others, through practice, and through self-criticism.
5.0 SUMMARY
In this unit, you learnt that the journalistic style must first conform to the
stylistic traditions of the press though you share the editorial and article
writers’ measure of freedom. You have learnt also that you can achieve
style through honest self expression, practice, and self-criticism, and that
your style need not be, unnecessarily, ornamental.
100
MAC 313 MODULE 5
A good style must show no signs of effort. Discuss.



101
MODULE 5
Unit 1 Reviewing the Fine Arts

Unit 2 Reviewing Books
Unit 3 Reviewing Stage Play or Drama
Unit 4 Reviewing Music
Unit 5 Reviewing TV and Motion Pictures
UNIT 1 REVIEWING THE FINE ARTS
CONTENTS
1.0 Introduction
2.0 Objective
3.0 Main Content
3.1 Reviewing the Fine Arts
3.2 The Art Review
4.0 Conclusion
5.0 Summary
1.0 INTRODUCTION
The fine arts- painting and sculpture- come under the broad subject of
arts. They have been with mankind for long, particularly sculpture. Their
value appreciates with time; many see them as a good investment and
they are increasingly receiving attention in the media in form of
exhibitions and shows.
2.0 OBJECTIVE
 discuss the nitty-gritty of art reviews.
3.0 MAIN CONTENT
3.1 Reviewing the Fine Arts
The fine arts, painting and sculpture are the most subjective of arts and
the pose problems for the reviewer. Probably, nowhere in the arts forms
is the field more bewildering as on the fine arts themselves-painting and
sculpture. The reviewer of these and other visual arts has a problem,
unlike those who deal with books which have a more or less fixed
102
MAC 313 MODULE 5
physical form. A critic need not worry whether a book is set in a

particular font or typeface or its cover has a particular color.
Now, as a reviewer of an exhibit of paintings you have to watch out for

many different points on which you are expected to have something to
say such as the quality of color, the pigment used, techniques employed
in laying it on canvas, the portrayal of reality and meaning, method of
presentation, artistic philosophy, the context in which the work appears,
the painting’s frame, its lighting, and the type of work. In an exhibit of
from two to three hundred paintings or works of sculpture, the
complexity of your task is obvious.
Yet you may utilise the material-form-workmanship formula as a

reasonably objective standard and a workable process in appraising any
work of art. You may ask, as with other art forms, what the artist is
trying to do (or say) and how well he does it. Instead of working in
abstracts you can deal in concrete terms. You can name the materials,
try to analyze the form, qualify the workmanship.
Remember time has changed everything. Canvas is no longer the only

surface for painters. Marble and bronze are no longer the only materials
for sculptors. In fact, the line between painting and sculpture is
sometimes blurred. A painter today does not always use odds and ends
from the woods or the rubbish heap and use spray gums on them. The
sculptor may work with time-honored materials or he many use plastic,
welded steel plates, wood, foam, or a combination, and may paint over
the entire objected art.
Since the materials and the form are on display, concentrate on the direct
data-form, material and workmanship. Where today critical judgment
comes into play is in the matter of originality and workmanship. Who
first used spray paint on flotsam and jetsam and sold the results to art
connoisseurs, for instance? Is it this artist’s own idea or is he following
in the path of past practitioners? The artist may use a previous
practitioner’s idea and give it new horizons and new force.
As a critic attending exhibitions by new artists, you must broaden your

own standards. When an exhibit by an acknowledged master arrives, or
when your local museum acquires an expensive masterpiece, you the art
critic must interpret these “standard” works for your audience; why are
they masterpieces? What is so wonderful about them? Your study of the
history of art, your background, and your knowledge of art will help you
here. Your background is most helpful in detecting originality.
Just as a music critic should be able to delineate the fine points of a

concert to his readers, you should, as an art critic, be able to write why
103
an artist is great; why a painting or a sculpture is great. You should also

be able to distinguish between an etching; a print, and a lithograph;
water color wash, and gouache; glass, stone, concrete, wood, or plastic,
and how oil looks on these various materials.
Ask yourself whether the artist is consistent in his execution. One work
will usually stand out in an exhibition and others may be judged, in
relation to it. A retired art critic once suggested the impressionistic
approach for reviewing the arts- take a look at any work of art; ‘shut
your eyes, open them suddenly, and write about your first instantaneous
impression’; but ask yourself if the artist’s methods and style, that is, his
signature, are his own or a forgery.
3.2 The Art Review
Since art productions are shown in galleries, museums, and other

exhibition places and open only between certain dates and hours,
journalism critics on painting and sculpture often must give considerable
news emphasis to their reviews. Members of the public can more easily
read books, hear music on radio and watch TV shows, film, drama and
dance but not many have opportunities of direct contact with these arts.
Hence, as a reviewer of these arts, you tend to be first of all a reporter

than you need be for the other arts. The event you cover is news of a
specialised nature. The articles therefore are written not in the strict
inverted-pyramid form but in the form of the journalistic straight news
format. The art review should, thus, have a certain general construction.
As with any good news story, the lead should be as interesting as
possible. The body will detail the materials, try to analyse the form,
qualify the workmanship. Concentrate on what the artist is trying to do
or say, that is, the meaning being conveyed, how well he does it, and
conclude with a wrap – up comment.
What makes the fine arts difficult to review?
4.0 CONCLUSION
The fine arts- painting and sculpture, are the most subjective of arts, and
they pose problems for the reviewer. Formal training for effective art
reviewing is.
104
MAC 313 MODULE 5
5.0 SUMMARY
In this unit, you have learnt that the fine arts are a bewildering field,
especially for a beginning critic. The best option for you is the material-
form-workmanship formula. It is a workable process in appraising any
work of art. And the basic format for presenting art reviews is the news
format.
Explain, in detail, how you would approach a review of the arts.
Barrett, T. (1994). Criticising Art: Understanding the Contemporary.

California: Mayfield Publishing Company.


105
UNIT 2 REVIEWING BOOKS
CONTENTS
1.0 Introduction
2.0 Objective
3.0 Main Content
3.1 Reviewing Books
4.0 Conclusion
5.0 Summary
1.0 INTRODUCTION
Books are a storehouse of knowledge. They help the progression of

civilisation. Books are reviewed for several reasons; you may be entitled
to free copies; you may influence readers’ opinions whether to buy or
not. You review books not only for flaws but for the message of the
book or the theme (which few books have).
2.0 OBJECTIVE
 assess the value of books.
3.0 MAIN CONTENT
3.1 Reviewing Books
When you review books, first get a notebook handy and make notes as
you read through the book. Quote page references for startling
revelations and unusual twists as you jot down important points. Write
down striking passages and your reactions to them. Did the book hold
your attention? Classify the book as to biography, fiction, drama,
tragedy, comedy, romance, etc.
Describe its content- give a synopsis of what the book is all about;
communicate something of its quality of paper make, quality of content,
plot, setting, grammar, and such other elements. Also, you are to pass
judgment upon it; in other words, you have to assess whether the
dialogue was natural and true, whether it was didactic or not. You also
have to compare it with previous works by the same author or similar
works by other authors.
106
MAC 313 MODULE 5
At the top of your review, put the title of the book, author, publisher’s
price, date of publication and number of pages. Do not forget to talk
about its style, typography, type of binding (hard or soft). Higher
standards of book reviewing generally require that you answer the
following , crucial questions, especially in historical writing:
 Does it establish its factual details by a strict of the historical

method?
 Does it have a philosophy or frame of reference” that is of a more
than transient and local significance?
 Is it written in a style that helps rather than impedes the reader’s
understanding?
 Is it merely a piece of hackwork repeating an already known
story, or does it present new data or new interpretation of old
data?
 No matter how limited its subject may be, does the author seem
aware of the questions that men at all times in all places persist in
asking?
Assess book reviews in Nigerian newspapers in terms of whether they

are regular, what type of books are featured most; and make an
observation about the structure and style of such reviews.
4.0 CONCLUSION
The fact of book reviews is that they enrich your knowledge and help
you to be a better writer. You improve your writing style; improve
yourself intellectually by writing and reading. Books help you to read
wide and reading wide is the prescription for good writing and
intellectual richness.
5.0 SUMMARY
There is no acceptable formula for reviewing books. You only say it

how you see it and how you feel; call a spade a spade and not a farming
implement. Ask yourself what the author has set out to do and how well
he has done it; who is expected to buy his work; how well he has
competed with other books on the subject and what chances he has of
success.
What six ways can you make a book review complete and interesting?
107

Wolseley, R. E. (1959). Critical Writing for the Journalist. Philadelphia:

108
MAC 313 MODULE 5
UNIT 3 REVIEWING STAGE PLAY OR DRAMA
CONTENTS
1.0 Introduction
2.0 Objective
3.0 Main Content
3.1 Reviewing Stage Play or Drama
4.0 Conclusion
5.0 Summary
1.0 INTRODUCTION
Drama is a part of our culture, and the stage has long been a forum for
projecting national image. Before the advent of television, theatre had
been a place of entertainment and it has continued to fascinate and
attract large audiences. It has still been able to survive television and
motion pictures. Many plays are still been written. So many things can
be dramatised-books, stories; life itself is drama acted daily by people.
2.0 OBJECTIVE
 evaluate stage drama performances.
3.0 MAIN CONTENT
3.1 Reviewing Stage Play or Drama
There is no fixed pattern for reviewing drama, but the following

suggestions can be useful and valuable, particularly, to a new reviewer.
When you review a play, first find out if it is a new one. If it is not new,
do not spend much time on it, since people already know it. Now, if it is
a new one, give a synopsis of what the play is all about. You can also
provide a capsule description of the play and, if possible, your verdict
early in the article, but not necessarily in the first sentence.
Sometimes, the pluses and minuses of a new play may be so balanced

that you cannot reach a clear-out decision. Your review should reflect
this; but if full consideration of all the factors leads to indecision, by all
means, stay on the fence. However, stay on the fence only as a last
resort; habitual fence-sitters have few readers. So, come to a favorable
or unfavorable conclusion whenever necessary; if readers do not get this,
109
they are disappointed, especially, those who depend on your verdict to

guide them whether they should or should not spend their money on that
show. Then, consider the following specifics.
o Evaluate the plot of the play- does it have universality? Is the

story believable? Is the plot well drawn or it is taut, or does the
playing at leave any loose ends?
o Consider the congruity of the technical factors-setting, costumes,
lighting - whether outstandingly good or bad.
o Consider stage management and direction also as well as
transitions from scene to scene; are the actions logical? Is that
how things happen or are the actions so contrived that you have
unnatural coincidence
o Are the actions chronological?
o Are the exits and entrances merely artificial devices to get
characters on and off stage?
o Does the drama or comedy move forward steadily, or is it uneven
in pace? Are there interruptions or digressions of unnecessary
character - that serve only to pad the story?
o Asses the quality of production whether everything flows-
whether there is organic unity.
o Distinguish between acting and actor’s role. Acting is effective
portrayal of the designated character; role may be to do bad
things only or to provide comic relief- are the characters true
representative of the types they portray in real life or are they
superficial caricatures? That is, are characters true representative
of the types they portray in real life or are they superficial
caricatures; that is, are the characters drawn true to life? Are they
humanly etched?
o Does the playwright write with insight? Evaluate the ability of
the playwright to present and achieve his purpose. Has he
achieved his objective? Does he dip beneath the surface in plot
construction and character analysis?
o Does the play have a message? A message is perfectly acceptable
in a play. If a play does not convey some message or moral,
expressed or inherent, it is liable to be dull. When a play has a
message, the reviewer should be careful to check his feelings. He
may agree or disagree with the playwright’s precepts; but
whether the author is wrong or right, the important thing is- how
well does he say it?
o Did the playwright face the problem squarely or is such a
problem simply falsely simplified as something not really as
difficult as people believe? This is, however, not to suggest that
you as a reviewer should not have feelings about any
controversial or non-controversial subject. Reviewers too are
human.
110
MAC 313 MODULE 5
o Classify the play as comedy, tragedy, historical or otherwise.
After you have finished the business of summarising the play, get down
to the business of explicit credits.
o List the players in meritorious order.

o When mentioning characters, do not mix your performers and the
characters they play. Do not contradict yourself in appraising
details.
o Give credit to directors and producers equally as to actors but
without mentioning names. Identification of actors, players,
producers-in movies, plays or television all vary according to the
familiarity to the reader of your review.
o The review should tell all the “news of the event”, in other words,
anything worthy of mention.
o The review of a new play, however, should include a few words,
about the playwright. And it is news when a first play is a hit.
As a reviewer, what critical standards provide your basis for evaluating

play content and performance?
4.0 CONCLUSION
The suggestions on the structure of stage review are meant as guidelines,

not as strait-jacket. As one must crawl before one can walk, these set of
guidelines may be welcome to a genuine reviewer but you have the
liberty to ignore them later provided you write intelligently and
convincingly.
5.0 SUMMARY
As with any art, the review is not necessary written in the inverted
pyramid style but an attention getting lead is desirable. Main body of the
review then will detail the nature of the show, a minimum appraisal of
individual performance and consideration of such technical credits as
writing, direction and the conclusion will be a wrap up comment. The
first paragraph will summarise your impression of the play. Just as types
of news leads in basic reporting are varied, the leads on show reviews
are equally diverse.
Using your knowledge of stage performance review, provide a three-

page criticism of any stage review published in any of the dailies in
111
Nigeria. Endeavour to attach a photocopy of the article you are

criticising.
Barranger, M. S. (1995). Theatre: A Way of Seeing. New York:

Wadsworth Publishing.


112
MAC 313 MODULE 5
UNIT 4 REVIEWING MUSIC
CONTENTS
1.0 Introduction
2.0 Objective
3.0 Main Content
3.1 Reviewing Music
4.0 Conclusion
5.0 Summary
1.0 INTRODUCTION
Music is the most subjective and ephemeral of the arts. Some

performance can move one listener to tears and make another gnash his
teeth; it can keep others on the edge of their seats and bore others.
Musical compositions are also a broad category - pop, classical, reggae,
soul, blues, jazz, etc.
2.0 OBJECTIVE
 appraise any musical composition or performance.
3.0 MAIN CONTENT
3.1 Reviewing Music
As with many other medium of performance - stage, film, television -

many general comments apply here; but certain factors are unique to
music, technical perfection is one of them. The efforts of producers and
sound engineers, including the balancing and mixing of sound tracks
into finished product are among factors that help differentiate a
recording from a live performance. How well the recording is done
should be a prime criterion for the music reviewer. So, comment,
generally, on the technical quality.
Technical perfection achieved through careful editing may sometimes

rob a performance of spontaneity and urgency. These qualities may be
more apparent in a recording made form a live concert-hall or theatre
along with audience applause and perhaps, coughs or laughs. At any
rate, the reviewer of music tries to assay the effectiveness of the
performance – play, dace, musical concert, poetry, musical composition
113
or whatever. To do this well, he must have a good stereo-system or good

sound re-producing equipment on which to listen. The goal of record
reviews is to capture the sound at its best.
Therefore check for proper balance of voices and instruments and for
“presence” for surface noise, or other intrusion of extraneous sound.
You check also for realism and balance. A stereo, generally, provides a
better more realistic reproduction of a stage show or other musical event
involving more than one performer. Look at the harmony between voice
and instruments and the balancing of the instruments with the lyrics
whether the base overrides the lead guitar; the quality of recording itself,
whether it is concert, mono or stereo recording.
There may be many tracts but one message. Use your judgment as a
reviewer and say whether the record does satisfy the taste of potential
buyers. Do not forget to classify the record as to rock, pop, highlife,
jazz, and reggae or otherwise. A record reviewer should comment not
only on the quality of the performance but also how it stakes up to
others of the same work. Your reader may want to buy this new
recording upon your recommendation or he may be interested in how his
copy rates in comparison to a new one. You have the problem of
balancing phonographic and interpretative factors in making
recommendations to him.
Do not fall prey to the occupational hazard of becoming too engrossed

in recorded music such that you neglect performances in the concert-
hall. Always remember that recordings spring form live performances.
Continuing attendance at shows and musical events will keep your mind
refreshed, help maintain your sense of proportion and equip you to point
out the trends.
What makes music difficult to review?
4.0 CONCLUSION
Reviewing music is compounded by many factors. Just as much as in

the live performing arts, reviewing music demands taste and
background. Besides, the art has many experimenters and innovationists
than theater, movie, literature or dance.
5.0 SUMMARY
Today, millions of recordings are available and their types are becoming
complex as a result of the various speeds they are produced and
114
MAC 313 MODULE 5
numerous devices on which to play them. All - music channels and

stations are also springing up and blooming. These pose problems for
the reviewer. Each age seems to have something different from the last.
The music critic must update his knowledge and sharpen his tastes to be
able cope with the times.
If you are assigned to cover a live musical performance, how best would
you approach your assignment?


115
UNIT 5 REVIEWING TELEVISION AND MOTION

PICTURES
CONTENTS
1.0 Introduction
2.0 Objective
3.0 Main Content
3.1 Reviewing Movies
3.2 Reviewing Television Programs
4.0 Conclusion
5.0 Summary
1.0 INTRODUCTION
Both television and motion pictures are entertainment media. The screen
dominated the screen until the arrival of television which has made it
possible for people to enjoy movies and other programmes indoors;
because they have much in common, they are treated as such in reviews.
2.0 OBJECTIVES
 appraise movies
 criticise television programs.
3.0 MAIN CONTENT
3.1 Reviewing Movies
The recipe for the basic structure of a stage-play review applies to

movies as well, but there is the principal additional factor of the use of
camera. The screen is two dimensional, the stage is three dimensional,
but astute camera work can more than make up the difference. The
camera is free and can rove and roam beyond the confines of stage and
all sorts of “prick and special effects” are also possible.
The reviewer essays camera work in the whole pattern- is the trick
photographing a substitute for substance, or does it enhance the story?
Does it help carry the action along or is it merely a gimmick? The
mobile camera is more mobile than the human eye and can achieve
effects impossible in a live stage. The reviewer should not only attempt
to see the movie from the stand point of the group for which it is
116
MAC 313 MODULE 5
primarily intended but should also appraise the picture in general terms
while still mentioning its specialised appeal.
The reviewer should also decide whether nude scenes (if any) are
properly a part of the story or whether they are tastefully done or merely
inserted for sensationalism. Most of all, the critic should essay the
movie on all its points – plot, characterisation, technical effects,
material, form and workmanship - in terms of the cinematic medium.
3.2 Reviewing Television Programs
There are several points unique to the television medium; the time
allotted for programmes is one- the show must be within 15,30,60,90, or
120 minutes- minus time for commercials and stations breaks. Movies
and stage shows rarely have such a strict time limit. You should check
whether the program has conformed to the time limit. Be conscious also
whether the program is appropriate to the time of the day. A station may
present a program at an hour inconvenient for most of its potential
audience.
You should also question whether the length of time is ideal for the
presentation- is it a drama compressed into half an hour or an hour, but
which cries for lengthier production? Is it a wispy comedy spread out
over an hour or more, but which deserves much less? Is it a show that
would profit by being presented in installments? The television medium
is “prey” to cycles: the western, the situation comedy, the spy story, the
supernatural either in comedy or melodrama, the variety show and sub-
divisions of these categories. Has the program rhymed with its circle?
Program cycle can be in terms of climatic conditions or program type or
seasons. Do not forget to state the sponsors of what program you are
reviewing.
Classify the program as to type - drama, documentary, newscast, as

general or specialised, and whether it is meant for women, children or
adults. Hardly any television program is duller than a static
documentary. So the primary consideration is- is it interesting? Other
factors are- does the program cover the subject adequately in the allotted
time? Should the program have been longer or shorter? Does it probe the
question in-depth or skin the surface? If the documentary deals with a
controversial subject, does it shun the controversial aspects of plunge
right in? Are both sides presented? Is the treatment convincing? Does
the program make its points persuasively? Does it leave the viewer
satisfied? Or is something missing? Or is the program top-heavy in
some aspect? It is up to you the reviewer to essay the favorable and
unfavorable points, the active credits, and the sins of omission as well as
commission.
117
Many programmes appeal to certain portions of the population, women

or children, for instance. The reviewer should try to assess their quality
and effectiveness from the viewpoint of the designed audience; also
whether such program will appeal to the population at large. Specialised
programs of quality usually have wider appeal. Watch out for the
advertisements in the program. Has their placement distorted the story
line? Advertisements in between may destroy the program entertainment
value and may even be irritating. Sometimes their sound level could be
more than the program itself.
There are regulations for placement. Some regulations say they should
come at the beginning, some say at the end so as not to break the
program. Watch out for the ground level. It may not be uniform and may
fluctuate - goes down at one point, booms at the next. This is noise;
watch out for it and how it affects the program.
How does the review of television program differ from motion picture
reviews?
4.0 CONCLUSION
Because television and motion pictures have much in common, they are
treated the same in reviews. The movie critic must be capable of
criticising everything- acting, directing, photograph, staging, casting,
writing, music, news, sports, or any other subject matter visible or
invisible on television.
5.0 SUMMARY
You can see that the criteria used for a movie apply to a drama or
comedy on television-i.e. freshness and originality of story, quality of
action, direction and physical production. The last factor includes
optimum use of camera and, if warranted, special effects.
Discuss seven characteristics peculiar to television and motion picture

reviews.
118
MAC 313 MODULE 5


119

Critical Writing and Reviewing PDF

Uploaded by

Copyright:

Available Formats

Critical Writing and Reviewing PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Critical Writing and Reviewing PDF

Uploaded by

Copyright:

Available Formats

What are the main topics covered in the course?

What are the main topics covered in the course?

What are the components of a television or movie review?

What are the components of a television or movie review?

NATIONAL OPEN UNIVERSITY OF NIGERIA

SCHOOL OF ARTS AND SOCIAL SCIENCES

COURSE CODE: MAC 313

COURSE TITLE: CRITICAL WRITING AND REVIEWING

Unit 1 Meaning of Critical Writing……………… 1

Unit 1 Functions of Criticism…………………… 14

Unit 1 Components of Criticism: The Critic……. 23

Unit 1 Writing a Review…………………………. 32

Unit 1 Reviewing the Fine arts…………………… 48

Course Team Dr. R. Ciboh (Course Writer)-BSU, Makurdi.

NATIONAL OPEN UNIVERSITY OF NIGERIA

National Open University of Nigeria

First Printed 2013

All Rights Reserved

MAC 313 Critical Writing and Reviewing is a two credit-unit course

WHAT YOU WILL LEARN IN THIS COURSE

Your understanding of Critical Writing and Reviewing will prepare you

At the end of this course, you should be able to:

WORKING THROUGH THIS COURSE

The main components of the course are listed below.

Unit 1 Meaning of Critical Writing

Unit 1 Functions of Criticism

Unit 1 Components of Criticism: The Critic

Unit 1 Writing a Review

Unit 1 Reviewing the Fine arts

Each unit has a number of self-assessment exercises which are drawn

The presentation schedule included in your course materials sets

according to deadlines set in the assignment file. The assessment will

There are seventeen tutor-marked assignments in this course. You need

FINAL EXAMINATION AND GRADING

COURSE MARKING SCHEME

This table shows how the actual course is broken down.

HOW TO GET THE MOST FROM THIS COURSE

Each of the study units follows a common format. First, there is an

1. Read this course guide thoroughly

2. Refer to the presentation schedule for details to help you organise

3. Once you have created your own study schedule, do everything

5. Assemble the study materials. Information about what you need

8. When you are confident that you have achieved a unit’s

9. When you have submitted an assignment to your tutor for

FACILITATORS/TUTORS AND TUTORIALS

There are 8 hours of tutorials provided in support of this course. You

Contact your tutor if:

 you have a question or problem with an assignment, with your

This course is packaged to introduce you to the basic concepts and

 what is the meaning of critical writing?

Unit 1 Meaning of Critical Writing

UNIT 1 MEANING OF CRITICAL WRITING

At the end of this unit, you should be able to:

 define what criticism is

3.0 MAIN CONTENT

3.1 Definition of Critical Writing

Criticism is an appraisal, evaluation or judgment offered on a piece of

Wilson (2000) says critical writing is the literary art of assessing or

1. finding fault and pulling to pieces [the text] in a negative sense