ELE 208 (Literary Criticism for Teachers)

Course Guide
1st Semester, AY 2024-2025

Unit 4: Writing the Literary Criticism Paper

Desired Learning Outcomes:

At end of the unit, the students must have:

a) identified the elements necessary for a literary criticism paper;

b) applied the structure and techniques in writing a literary criticism paper; and
c) written an original critique paper addressing problems in critical theory.

Topics:

1. Elements of Literary Criticism

2. Structure of a Critique
3. Guidelines in Writing a Critique

Literary Analysis: THE BIG 5 (Basic Elements of Literature)

PLOT – CHARACTER – SETTING – POINT OF VIEW – THEME

"How can a story be analyzed, and what am I looking for in it?"

When you analyze a literary text, you will deal with basic elements of literature, like plot,
theme, character, point of view, and setting.

Literary analysis is also known as literary criticism. In this context, "criticism" means a close
reading and interpretation of a literary text, such as a poem, a short story, a play, a novel, or
even a movie. The elements that make up a literary work are closely examined for their
meaning and significance. Some of these elements are theme, character, and plot.
Regardless of what aspect you choose to discuss, your analysis will focus on one controlling
idea that, if writing, can be stated in one direct sentence.

Following are some thoughts to keep in mind when you analyze literary texts:

1. Plot /Conflict
Sometimes, students will be assigned a plot summary as a formal essay, as prewriting that
will lead to a deeper analysis, or as part of a longer analysis (such as in a research paper).
The pyramid structure for plot is called a Freytag Pyramid and is used as a basis for
analyzing plot. Each of the levels must be examined in relation to the story being read.
Remember that both the events in the rising action (each event is called a complication) and
the climax can be physical, mental, or emotional. In addition to the terms on the “Pyramid,” a
few others must be taken into consideration.

Conflict – the conflict is the “spark” that ignites the action. Think “What is the struggle /
problem?” to determine the conflict. Knowing the conflict allows the reader to pinpoint the
climax. In the struggle identified, when is it clear that ONE side or the OTHER has
triumphed? Some authors employ both a technical climax and a dramatic climax. The
technical climax is the actual moment of triumph; the dramatic climax is when the READER
becomes aware of the climactic moment.

Time -- Part of plot is how the author chooses to structure time. Many times an author opts
to tell a story out of chronological sequence, perhaps with flashbacks. In addition, many
authors employ foreshadowing to offer hints to future events.

2. Character Analysis / Characterization

What kind of person is the character being analyzed? This is an inference you make based
on the following:
What the person says (what he or she says need not be taken at face value; the person may
be hypocritical, or self-deceived, or biased).
What the person does.
What others (including the narrator of the story) say about the person.
What others do (their actions may help to indicate what the person could do but does not
do).
What the person looks like - face, body, clothes (these may help to convey the personality,
or they may in some measure help to disguise it).
Determine the character's appearance, personality, and ethical qualities.
Use descriptions of other characters sparingly (comparison/contrast) to make your point
about the main character(s). Sometimes the environment (setting) even functions as a
character.

Also, there are some terms of characterization that are important to consider:
Protagonist – the lead character
Antagonist – the character who operates in opposition to the lead character (Either or both of
these can be human, animal, or a force of nature)
Round/Complex character – interesting character, can’t be “second guessed”
Flat/Simple character – not very interesting, often a stereotypical character
Dynamic character – evolves as the story progresses
Static character – stays the same throughout the story
Stock character – a recognizable stereotyped character (air-headed cheerleader, clueless
teacher)

3. Setting
In simple terms, setting is the time, place, and social reality within which a story takes place.
We have to understand where we are, in which period of time, in which society and at which
level in that society if we are to interpret correctly the other elements in the story.

In stories in which place is the important element of setting, the writer usually provides
specific, sometimes extended descriptions of the place.
In other stories, the treatment of time is more significant than place. In literature, time
functions in three different ways: the period of time in which a story takes place, how
much time passes during the plot of the story, and how the passage of that time is perceived
by the lead character (such as, if he or she is having fun time goes quickly, but if he/she is
lonely or worried time drags).

Just as important as time and place, is the social context of a story, which is often a product
of time and place. We must understand enough about the society— its customs, values,
possibilities— to know what constraints the characters’ face, what they are free to choose,
and what they may not do.

4. Point of View
Point of view is the perspective from which the reader will view the events in a story. Each
potential point of view has significant advantages and corresponding limitations. An outside
point of view provides greater flexibility and suggests a greater sense of objectivity. An inside
point of view provides more intimate, often more involving, narration. Following are the main
points of view used by writers:

Third-person omniscient – lets the reader know all that is being said, done, thought, and felt
by all characters. This gives a full over-view, yet prevents the reader from “identifying with”
any particular character.

Third-person limited -- lets the reader know all that is being said, done, thought, and felt by
only one character. This encourages emotional involvement between the reader and
character.

Objective –limits the reader exclusively to exterior reality (what can be seen or heard). The
thoughts, fears, loves, feelings of no characters are available, and there is no interpretation
or comment.

First-person – when a character within the plot is telling the story. This point of view can
allow readers to see either a very clear picture of what is going on... or to see a misleading
one. How reliable is the narrator? Does he/she mean to tell the truth? Does he/she have
emotional biases that make for unreliability? Does he/she have the maturity and experience
to know what is truly going on?

5. Theme
Theme is the central idea and/or universal truth that is the main focus of the story.
Theme should be stated in one sentence.
The theme should be stated as a generalization about life, not as reference to a specific
character or action in a story (for example, if a story includes a major action of robbery and
the results of that action, the theme might be that negative behavior of that sort doesn’t pay
off in the long run).
Theme(s) is/are the central and unifying concept(s) of the work.
Statement of theme should not be cliché.
The statement of theme could be applied to many other situations and pieces of art – both
imagined and experienced.
Now the PLUS 5: How to Read More Deeply in 5 More Steps

1) Figurative language. As you are reading, make note of expressive language such as
similes, metaphors, and personification. Then consider why the author employs these
devices.

2) Structure. Many times an author opts to tell a story out of chronological sequence,
perhaps with flashbacks or integrated tales.

3) Style and Language

How would you describe the choice of words and their arrangement (the style) in this work?
Does the author call attention to the way he or she uses words, or is the style
inconspicuous?
What are the various connotations (shades of meaning, or emotional suggestions) of key
words in this work?
If dialect or colloquial speech is used, what is its effect? Is the level of language appropriate
for the speaker or characters in the work?
Are there statements or actions in this work that are presented ironically (that is, there is a
discrepancy between appearance and reality, or between what is said and what is
intended)?
Is the style consistent throughout the work or does it shift to a different style (more formal or
less formal, for example)?
Is the style suitable for the subject and theme of the work? Does it contribute to the meaning
of the whole or hinder the reader's understanding?
If you are reading a translation of a foreign work of literature or a modern translation of an
older English work, what limitations or difficulties are created by your lack of contact with the
author's original language?

4) Symbolism. Ah, the most dreaded word for many a reader. What is a symbol and how
can you identify one in literature? A symbol typically encompasses both a literal meaning
and a figurative meaning. Unlike a metaphor, a symbol is not necessarily a statement: a
single word can evoke meaning and become a symbol. Being aware of common symbols in
novels will increase your ability to read a work critically. Spring, for example, is often a
symbol of renewal; conversely, winter often symbolizes a figurative death. Other common
symbols include lightness and darkness, the Christian cross, the Star of David, and the Nazi
swastika. The more symbols you are able to identify, the richer your critical interpretation will
be.

5) Read and reread. Resist the impulse to assess a work after you first read it, even if you
have diligently completed the first five steps given here. A thorough critical analysis cannot
be accomplished until you’ve reread the work.

Assessment Tasks:

Write an original literary criticism paper of a modern text analyzing the period/movement
and identifying an appropriate theory/school of thought focusing on Appropriateness of
Text and Period, Theory Chosen, Analysis and Discussion, Organization of Ideas, and
Language Mechanics. (You may enhance your papers previously passed.)
Your work will be checked based on the following criteria:
Content - 50%
Organization - 30%
Mechanics - 20%
-------
100%

Observe this mechanics for this paper (PDF or hard copy): short-sized bond paper, double
spaced, 1 inch-margin in all sides, 12 font size, Arial/Calibri/Tahoma font, appropriate use of
bold faced or italics.

Time Frame: (Week 15-18)

References:

Bantados, W., Marcos, L., & Valez, S. (2012). Introduction to literature. Manila: Purely
Books Trading & Publishing Corp.

Baronda, A.J. (2016). 21st Century literature from the Philippines and the world. Pasay City:
JFS Publishing Services.

Gnenoba, F., & Okoroegbe, F. (n.d.) Literary theory and criticism. Lagos: National Open
University of Nigeria

Golban, P. & Ciobanu, E.A. (2008). A short history of literary criticism. Turkey: Üç Mart
Press.

https://www.pgsd.org/cms/lib/PA01916597/Centricity/Domain/176/Big%205%20Guide%20to
%20Reading%20Literature.docx