Module

tended Types and Elements of Fiction

Learninng Outcomes: At the end of this chapter, the students are expected to:
1.1Unit 2.121
Interpreting and Evaluating Fiction
Intended Learning Outcomes: At the end of this chapter, the students are
expected to:

1. Explain the characteristics of fiction. types and elements of fiction.

2. Interpret and evaluate fiction.

1. Identify the 10 principle of CBT.

2. Explain the principles of CBT.

1. Develop awareness about TESDA and its programs

2. Describe Trainers Methodology I
3. Identify the Unit of Competencies of Trainers Methodology I
4. Describe Facilitating Learning Session as a Unit of Competency for Trainers
Methodology I

Competency Based Training (CBT) is training delivery approach that focuses on the
competency development of the learner as a result of the training.
Competency Based Training emphasizes on what the learner can actually do;
focuses on outcomes rather than the learning process within specified time; is
concerned with the attainment and application of knowledge, skills and attitude to
specific level of competency.

CBT is based on the following basic principles:

Fiction is the form of any work that deals, in part or in whole, with information or events
that are not real, but rather, imaginary and theoretical-that is, invented by the author.

Fiction, literature created from the imagination, not presented as fact, though it may be
based on a true story or situation. Types of literature in the fiction genre include the
novel, short story and novella.

Types of Fiction:
Fable 6. Prose Satire
1. Myth 7. Novel
2. Legend 8. Short Story
3. Fairy Tale 9. Novelette
4. Folktale

“Fiction” is
defined as any
imaginative re-creation
of life in prose narrative
form. All fiction is a falsehood of sorts because it relates events that never actually
happened to people (characters) who never existed, at least not in the manner
portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,”
since they seek to demonstrate meaningful insights into the human condition.
Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense
1. The training is based on curriculum developed from the competency
standards;
2. The trainer should be aware that all training activities are done
towards the attainment of the assessment criteria set in the competency based
curriculum.
3. Learning is modular in its structure;
4. One competency is generally considered as one module. Since
learning is modular in instruction, a trainee should be competent in the module
currently being trained before going to the other competency. Competency
Based Learning Materials are prepared per competency which shall serve as the
main material and guide in training. Information in the attainment of knowledge
and skills are provided for in the CBLM. In case other training materials such as
videos, computer-based learning materials and other references are needed, the
CBLM usually gives direction on how these materials can be accessed and used.

Training delivery is learner-centered and should accommodate individualize and self-

paced learning strategies;
Trainees are treated as individual learners with different characteristics, learning
styles and training needs. The sessions should therefore provide for varied activities,
employing different methods of training. Considering that trainees are being trained
simultaneously on different competencies, activities should always allow trainees to
work independently or in small groups with minimum supervision. Learning Materials
should provide for self-evaluation or peer evaluation so that immediate feedback on the
performance of each trainee is sought for in every learning activity. Answer keys, model
answers and performance criteria checklist are very important tools to attain these
objectives.

5. Training is based on work that must be performed;

6. Training is always based on actual industry practices. Training
should provide for a simulated work environment.
7. Training materials are directly related to the competency standards and
curriculum modules;

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 8. The Competency Based Learning Materials used during the training
should conform to the competency based curriculum and the competency
standards. The trainer should always check his session plans CBLMs to make sure
that all assessment criteria are attained. The competency standards always
provide the minimum requirements of the competency. A trainer should always
aim for the attainment of every criteria. Enhancements are also encouraged.
9. Assessments is based in the collection of evidence of the performance of
work to the industry required standard;
10. Assessment is done to test whether that trainee is able to perform
the job based on the required criteria in the competency standards. This should
be done before a trainee can advance to another competency. A carefully
prepared Institutional Evaluation Tool should be used to assess the competency;
it is based on the satisfaction of the criteria/evidences which are collected
through an institutional competency evaluation.
11. Training is based both on and off the job components;
12. Training is done in a simulated work environment (the laboratory)
and/or in an actual work environment such as in training cum production,
enterprise based training, supervised industry training and on-the-job training.
13. Training program allows for recognition of prior learning (RPL) or current
competencies;
14. Current competencies acquired through training or work
experience are recognized before training through a validation process so that
the trainer can provide activities that match the learning level of each trainee.
Prior learning is recognized by giving them a Certificate of Achievement for the
competencies acquired previously. Data on other acquired skills should be
carefully recorded to serve as data for planning the training activities of a
particular trainee. A trainee who has prior experiences as a janitor but is not yet
competent in “Providing Housekeeping Services to Guest”, for example, may not
practice how to use cleaning equipment anymore but would concentrate on
other activities that would help him satisfy the assessment criteria of the
competency. This would shorten the training hours of the particular trainee.
15. Training allows for multiple entry and exit;
16. Trainees do not need to wait for others to be competent before he
can exit either a competency or the qualification. Fast learners may graduate
faster than others.

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 17. Training programs are registered with the UTPRAS.
18. All programs should be registered to the Unified TVET Program
Registration and Accreditation System. UTPRAS registration assures the quality
of training.
19. The competency-based TVET system recognize various types of
delivery modes, both on and off-the job as long as the learning is driven by the
competency standards specified by the industry. The following training
modalities may be adopted when designing training programs:
20. The dualized mode of training delivery is preferred and
recommended. Thus programs would contain in-school and in-industry training
or fieldwork components. Details can be referred to the dual Training System
(DTS) Implementing Rules and Regulations.
21. Modular/self-paced learning is a competency-based training
modality wherein the trainee is allowed to progress at his own pace. The trainer
just facilitates the training delivery.
22. Peer/teaching mentoring is a training modality wherein fast
learners are given the opportunity to assist the slow learner.

Supervised industry training or on-the-job training is an approach in training

designed to enhance the knowledge and skills of the trainee through actual experience
in the workplace to acquire specific competencies prescribed in the training regulation.
Distance learning is a formal education process in which majority of the
instruction occurs when the students and instructor are not in the same place. Distance
learning may employ correspondence study, or audio, video or computer technologies.
Project-based instruction is an authentic instructional model or strategy in
which students plan, implement and evaluate projects that have real application.

Please watch videos that further explain CBT with the links provided below:

https://www.youtube.com/watch?v=YaRjaBcvTSw
https://www.youtube.com/watch?v=RschZFj3vHI

https://www.youtube.com/watch?v=In0qjHXruM0

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Unit 1. What is TESDA and its programs

The Technical Education and Skills Development Authority (TESDA) is the

government agency tasked to manage and supervise technical education and skills
development (TESD) in the Philippines. It was created by virtue of Republic Act of 1994.
The said Act integrated the functions of the former National Manpower and Youth
council (NMYC), the Bureau of Technical-Vocational Education of the Department of
Education, Culture and Sports (BTVTE-DECS) and the Office of Apprenticeship of the
Department of Labor and Employment (DOLE).

 May watch about TESDA @ https://www.youtube.com/watch?v=-evtO5xPgoo

Policies, Plans and Information

Programs and services relating to these concerns embody the role of TESDA as
the authority in technical vocational education and training (TVET). These are aimed at
providing clear directions and priorities for TVET in the country. These include the
formulation of plans and policies for the TVET sector and the generation through
researches and studies and the dissemination of relevant data and information for
informed decision of stakeholders of the sector.

Philippine Technical Vocational Education and Training System

The education system in the Philippines embraces formal and non-formal

education. It is closely related to the American mode of education but differs in the
number of school years as other countries have 12 years basic education. In the country

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however, elementary education is composed of 6 years and secondary education is 4
years which together with the tertiary education comprise the formal education system.
On the other hand, non-formal education includes education opportunities,
even outside school premises, that facilitate achievement of specific learning objectives
for particular clienteles, especially the out-of-school youths or adult illiterates who
cannot avail of formal education. An example is functional literacy programmes for non-
literate and semi-literate adults which integrate basic literacy with livelihood skills
training.

Part of this TVET System are the Technical Schools offering short term
programs or trainings, as well as, Universities and Colleges that integrates technology
or offer technology related programs.
In our school, we embrace TVET system under Bachelor of Technology,
Diploma of Technology, Bachelor of Industrial Technology major in Food Preparation
and Service Technology, Food Preparation and Service Technology, and Bachelor of
Technical Vocational Teacher Education.

Standards Setting and Systems Development

Another pillar towards the realization of TESDA’s authority role in the

TVET sector is to ensure quality through provision of standards and system development
services. Competency Assessment and Certification of workers is continuously done in
pursuit of professionalizing skilled workers. (See sample Appendix B)

Support to TVET Provision

In view to the need to provide equitable access and provision of TESD

programs to the growing TVET clients, TESDA continues to undertake direct training
provision. There are four training modalities – school-based, center-based, enterprise-
based and community-based. These are being done with the TESDA’s infrastructure in
place – 57 administered schools, 60 training centers, enterprise-based training through
DTS/Apprenticeship and community – based training in convergence with the LGUs.

TESDA Supports and Training Provision

TESD creates opportunities for people to be responsible and become

productive citizens. The need to provide and make accessible relevant to TESD compels
TESDA to undertake direct training activities at the same time support training activities
undertaken by other key players in the TESD sector.
TESDA Technology Institutions are composed of 125 schools, regional, provincial
and specialized training centers nationwide which undertake direct training activities for
TESDA. The absence of an institution in the area which can provide people equitable

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access to TESD necessitates TESDA to undertake direct training activities. These TTIs also
serve as venues to test new training schemes and are used as laboratories for new
technology.
Among the TESDA’s specialized training centers are the following:

TESDA Women’s Center (TWC) seeks to advance the economic status of women
through training, entrepreneurship development, gender sensitive policies, programs
and projects and research and advocacy. It was established through a grant from the
Government of Japan.
Language Skills Institute (LSI) serves as TESDA’s facility for language programs
specifically for workers intending to work abroad. The LSI conducts training workplace
communication on the language of the country of the worker’s destination. There are 35
LSI nationwide offering different language courses which include English, Korean,
Mandarin, Japanese and Spanish.
Korea-Philippines IT Training Centers are grant-assisted projects from the
Government of the Republic of Korea. These KPITTCs are located at the Polytechnic
University in Novaliches, Quezon City and at the Regional Skills Development Centers in
Guiguinto, Bulacan and Tibungco, Davao City, respectively.

Competency Standards Development

TESDA develops competency standards for middle-level skilled workers.

These are in the form of units of competency containing descriptors for acceptable work
performance. These are packaged into qualifications corresponding to critical jobs and
occupations in the priority in the priority Industry sectors. The qualifications correspond
to a specific level in the Philippine TVET Qualifications Framework (PTQF).
The competency standards and qualifications, together with training standards
and assessment arrangements comprise the national training regulations promulgated
by the TESDA Board. The TRs serve as basis for registration and deliver of TVET
programs, competency assessment and certification and development of curricula for
the specific qualification.
(See Appendix C for sample of Training Regulation and Units of Competency)

Competency standards units of competency

Competency standards + qualifications + training standards + assessment
arrangements = TRAINING REGULATION

Unit 2. Trainers Methodology 1

The TRAINERS METHODOLOGY LEVEL I consists of competencies a TVET trainer

performing functions of trainer and assessor must achieve. A TVET trainer is a person

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who enables a learner or a group of learners to develop competencies to performing a
particular trade or technical work.

A person who has achieved this qualification is competent to be a TVET Trainer /

Technical Trainer, Training Facilitator / Coordinator and Competency Assessor.

Watch: https://www.youtube.com/watch?v=uR5HpIy077Y

Unit 3. Unit of Competencies of Trainers Methodology 1

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12.1 Fiction: The Story and the MoralElements of Fiction: Plot and
Structure

Cause Effect

The old man died. Then, the old woman died in grief.

This shows a set of actions to illustrate a plot. “The old man died; then the old woman
died in grief.”

The statement presents that one thing (grief) controls or overcomes the other (the
desire to live).

Motivation and causation enter the sequence to form a plot.

If the second statement is simply “The old woman died,” motivation and causation are
absent.

In a well plotted story, things precede or follow each other because effects follow
causes.

Plot is the logical sequence of

events. It contrasts the
development of actions. This
means to say one event controls or
overcomes another event. In a
good story, nothing is irrelevant or
accidental, everything is related
and causative.

Conflict presents the connected

pattern of causes and effects
which a character (protagonist)
must face and try to overcome
(often the antagonist). It brings out
complications that make up most stories.

It is the opposition of two people. Their conflict may be in the form of envy, hatred,
anger, argument, avoidance, gossip, lies, fighting, and many other forms and actions.

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It may also occur between groups. Conflicts may be also be between an individual and
lager forces like natural objects, ideas, modes of behavior, and public opinion.

Dilemma is a natural conflict for an individual person who is placed in a difficult and
impossible choice.

Conflict is the major element of plot because opposing forces arouse curiosity, cause
doubt, create tension, and produce interest.

Structure describes how the writer arranges and places materials based on the general
ideas and purpose of the work.
Plot is concerned with the conflict or conflicts, structure defines layout- the way the
story is shaped.
To study the structure is to study the arrangements (e.g. relationships between two
people from their first introduction to falling in love or move from countryside to falling
in love) and the purposes for which they are made.

Stories and plays follow a pattern of development as follows:

Exposition – refers to the layout of the materials of the story --- the main characters,
their backgrounds, their characteristics, interests, goals, limitations, potentials and basic
assumptions.

Complication – refers to the major conflict. The major participants are the protagonist
and antagonist, together with whatever ideas and values they represent (e.g. good –evil,
freedom-suppression, or love-hate).
Crisis – refers to a decision or action undertaken to resolve the conflict. This is the point
of the greatest curiosity and tension. It is closely followed by climax which is often
considered to be the same.
Climax – is the consequence of the crisis. It is the peak of the story because is it the
stage where a decision, an action, an affirmation or denial, or realization has to be
made. It is also the logical conclusion of the preceding actions for there are no new
developments that follow after it.

Resolution or Denouement – is the relaxation of tension and uncertainty. Most authors

untie things as quickly as possible to avoid losing the interest of the readers.

Possible variants of
structure: Formal Real Structure
Structure -most stories depart from forma
1. Flashback – present is an ideal structure to real structure
circumstances are pattern that example is a suspense story keeps the
explained by the moves from protagonist ignorant, but provide the
beginning to readers with abundant details to
end. increase tension about the outcome
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 selective introduction of past events. The moment it is introduced may be part of
the resolution of the plot, may lead the reader to the climax, but then go from
there to develop the details that are more properly part of the exposition. May
be used through conversation, through a ceremony, dream sequence, recall of
memories and etcetera.
2.
3. Foreshadowing – the series of hints and clues to show the reader what will
happen and usually whether the upcoming events will be happy, fearful, sad, etc.
It alerts the reader and makes him/her anticipate the ending. Example, if
character hears a loud and horrible cry in the distance and then feels a “curious
dread.”

2.2 Elements of Fiction: Character

Characters told in stories who are drawn from life and who can either be good or
bad. The action and speech reflect their environments which comprise the social,
economic and political conditions that affect their lives. In modern fiction has
accompanied the development of psychological interest in human beings – that they are
not evil by nature; that they are not free of problems; that they make mistakes in their
lives; but they are important and interesting, and, therefore, worth writing about.

Character Traits

Trait is a quality of mind or habitual mode of behavior such as escaping from a problem,
attracting attention, lying consistently, or avoiding eye contact.

Characters may also me ambitious, arrogant, lazy, serene, careful or careless, generous
or selfish, quiet or noisy and so on.

Types of Characters
Round Characters
- they recognize change with or adjust to circumstances
- benefits from experience and changes are reflected in (realization of a new
condition)
- often called the hero or heroine, and thus, the protagonist – moves against the
antagonist
- dynamic - - undergo change and growth (e.g. simple wife to successful career
woman after she was deprived and exploited by a domineering husband for
twenty years)
- Flat Characters

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 - do not grow because they may be stupid, insensitive, or lacking in knowledge
and insight
- static not dynamic
- highlight the development of round characters
- usually minor characters, though not all minor characters are necessarily flat
- may be prominent in detective stories where they focus more on performance
than on characters
- Shock character refers to characters in these repeating situations (e.g.
insensitive father, the interfering mother, the greedy politician, the resourceful
detective and the submissive or nagging wife)
- stay flat as they only perform their roles and exhibit conventional and
unindividual traits
- Stereotypes are stock characters possess no attitudes, except those of their
class.
they appear to have been cast from the same mold (e.g. that all Muslims are
terrorists or that all Hispanic people belong to a gang)

Presentation of Characters (STEAL)

1. Speech (Dialogue)
2. What does the character say? How does the character speak?
3. Example:
“Hey, we can have lots of fun at camp this summer! I love being outside!”
(shows the character is upbeat and happy)

4. Thoughts
What is revealed through the character’s thoughts and feelings?
Example:
I wish it would stop raining. I am tired of sitting inside!
(shows the character is not happy about the situation)

5. Effect on Others
What is revealed through the character’s effect on other people?
How other characters feel or behave in reaction to the character?
Example:
The boy glared at his sister as she ate his dessert.
(shows that the character is upset about his sister’s behavior and inability to
think of others)

6. Actions
What does the character do? How does the character behave?
Example:

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 The girl rode the lawn mower through the house and into the garage.
(shows the girl is not concerned with rules or safety)

7. Look or Description (Physical Description)

8. What does the character look like? How does the character dress?
9. Example:
The little girl left the game with slumped shoulders and a frown on her face.
(shows the little girl is not enjoying herself and is upset)

2.3 Elements of Fiction: Setting

In many novels and short stories, setting is crucial.

Some critics have considered setting as main character.
Characters can be shaped by their environment.
Word choice and sensory imagery, which are important for a mood, must also be
created.

In literature, values and behavior can often be traced to setting, just in real life.
Setting is the natural, manufactured, political, cultural, and temporal environment –
including everything the characters know and own.

Types of Setting

1. Nature and the Outdoors

- natural surroundings (hills, valleys, mountains, meadows, fields, trees, lakes,
streams),
- living creatures (birds, dogs, horses, snakes)
- and the conditions in which things happen (sunlight, darkness, calm, wind, rain,
storm, heat, cold)
- may influence characters and action
-
2. Objects and Buildings
- Authors include details about buildings and objects to reveal qualities of
characters and make fiction lifelike
- Houses, both interiors and exteriors are common possessions
- Some possessions that bear connotative messages are: walking sticks, fences,
park benches, toys, automobiles, necklaces, hair ribbons and so on.
-
3. Cultural Conditions and Assumptions
- these influence character
- example:

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 In “Nanking Store,” the characters live in a conservative-Chinese-Filipino
community that finds a husband’s inability to produce children unacceptable, yet
blames the wife for it.

Setting helps create atmosphere or mood (e.g. taking a walk in a forest needs
just the statement that there are trees; however, if you find description of
shapes, light and shadow, animals, wind and sounds, the author is creating an
mood the action)
Descriptions of bright colors may contribute to happy mood while darker or
shaded colors may suggest gloom or hysteria
References to smells and sounds bring the setting to life by asking additional
sensory responses from the reader
Examples of descriptive setting

 A ray of sunshine glistened off of the glass of my freshly squeezed orange juice.
 As I sat in my bedroom the smell of burning pine began to waft up through the
sill. I peered outside my window and mom waved. I saw dad and grandpa
chopping wood in the crisp afternoon as my brother fueled the fire pit. I peered
to the right and caught my sister devilishly running into the leaves I had raked
earlier and figured it was time to join the rest of the family.

2.4 Elements of Fiction: Point of View

Point of View - is an outlook from which the author tells what happened.
- Refers to the position of the voice that the authors adopt for their
works.
- It supposes a living narrator or persona who tells stories, presents
arguments, or expresses attitudes such as love, anger or excitement.
-
Types of Point of View

1. Participant or First Person Point of View – the story is told by someone within the
story using such first person, pronouns as I, me, we, my, our, us.
2. This perspective can take the reader into the story, and the author can speak to
him/her directly
3. What is known here is what one character sees, hears, thinks, feels, says, etc.
4. The character tells the story
5. Sometimes, the first person narrator tells a story that focuses on another character
6. The narrator still says “I” but the reader feels that the story is about some other
figure (e.g. “Nanking Store”)

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7. The story depends upon the curiosity and sympathetic imagination of the narrator
who describes his or her examination of various information relating to major
character, such as: what they have done, said, heard and thought (first hand
witness), what others have told them (second hand testimony and hearsay), what
they are able to find (hypothetical or imaginative information) and what they are
able to imagine a character or characters as doing or thinking, given certain
conditions.
8.
9. Third Person Point of View – is used when the author steps out of the story and
watches what happens from the point of view of one of the characters within the
story
10. also called a limited point of view because the readers only know what the
character sees, says and hears
11. author uses the third-person pronouns such as he, she, it, they and them
- the teller is not a character in the tale
- it is the omniscient point of view since the author plays the creator of his/her story,
reader sees not only what the characters say or do, but the reader is also told about
what is happening in their hearts and minds
- author can comment on all the characters and shows the reader information
-
-
- Types of Third Person Point of View
-
- 2.1 Omniscient Point of View – narrator relates the story using the third person,
whose knowledge and prerogatives are unlimited
- - storyteller is free to enter the minds of and hearts of his or her characters and tell
the readers what they are thinking and feeling
- - storyteller can interpret the characters’ behavior, comment significance of the
story he or she is telling, knows all and he or she can tell us little or more as he or
she pleases
- Ex. “Linda was inwardly angry, but gave no sign. Peter continued chatting, but he
sensed Linda’s anger.”
-
2.2 Neutral Omniscience – the narrator recounts deeds and thoughts, but does not
judge
- actions and thoughts of characters speak for themselves and are free to the
readers’ interpretations
- the narrator doesn’t explain the thoughts or actions of characters but simply telling
things as they are

2.3 Editorial Omniscience – the narrator recounts as well as judges

- the writer may come between her reader and her story by offering too many
interpretations of events

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 2.4 Selective Omniscience – author may only limit his or her omniscience to the
minds of few characters

2.5 Elements of Fiction: Idea or Theme

Idea – refers to the result(s) of general and abstract thinking and may also mean
concept, thought, opinion and principle
In literary study, the consideration of ideas relates to meaning, interpretation,
explanation and significances
- Must be phrased as assertions (e.g. one might say that the idea in
“The Fence” is hatred, but it would be difficult unless the assertion is
made such as this: “the story demonstrates the idea that hatred
destroys a meaningful and happy life.”
- Theme – the major idea in the story
- Also called as major or central idea
- The theme of a fable is its moral, of a parable is its teaching and of a
piece of fiction id its view about life and how people behave
- Not presented directly at all, one must extract it from the characters,
action and setting that make up the story
- One must figure out the theme oneself
-
How to Find Ideas

1. Pause after finishing a passage.

2. Ask: What did the main character learn?
3. Jot down your ideas.

Example:

Alexis learned to be strong from her mother.

She learned to think of others in a time of danger. – very important life’s lesson
She learned that having a puppy made her very happy.

A Dog’s Tale

The theme of this passage is remembering always to think of others before you think of
yourself.

2.6 Elements of Fiction: Images

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Image – is a sensory impression used to create meaning in a story (e.g. “thrust her own
pretty head into the street, letting the wind play with the pink ribbons of
her cap.”)

Types of Image

1. Visual – the most frequent type of imagery used to recreate a certain image.

 The crimson liquid spilled from the neck of the white dove, staining and matting
its pure, white feathers.
 The shadows crisscrossed the rug while my cat stretched languidly in one of the
patches of sun.

2. Auditory – is the mental representation of any sound and it is vital in imagining and
feeling a situation.
"At the next table a woman stuck her nose in a novel; a college kid pecked at a laptop.
Overlaying all this, a soundtrack: choo-k-choo-k-choo-k-choo-k-choo-k--the metronomic
rhythm of an Amtrak train rolling down the line to California, a sound that called to
mind an old camera reel moving frames of images along a linear track, telling a story."
(excerpt from 'Riding the Rails')
3. Kinesthetic – is a broader term used to describe the sense of movement or tension.

"The clay oozed between Jeremy's fingers as he let out a squeal of pure glee."

"Tossing their heads in sprightly dance" (from 'Daffodils' by W. Wordsworth)

4. Olfactory – is related to smell and this imagery helps summon and deliver the smells
to the reader.

"I was awakened by the strong smell of a freshly brewed coffee."

"Gio's socks, still soaked with sweat from Tuesday's P.E. class, filled the classroom with
an aroma akin to that of salty, week-old, rotting fish"

5. Gustatory – illustrates and recreates the tastes, of food or many other things.

"Tumbling through the ocean water after being overtaken by the monstrous wave,
Mark unintentionally took a gulp of the briny, bitter mass, causing him to cough and
gag."

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  "I have eaten the plums that were in the icebox and which you were
probably saving for breakfast

6. Tactile – appeals to the sense of touch by presenting attributes like hardness,
softness, or hot and cold sensations.
'The bed linens might just as well be ice and the clothes snow.' From Robert Frost's "The
Witch of Coos"
"When the others went swimming my son said he was going in, too. He pulled his
dripping trunks from the line where they had hung all through the
shower and wrung them out. Languidly, and with no thought of going in, I
watched him, his hard little body, skinny and bare, saw him wince slightly
as he pulled up around his vitals the small, soggy, icy garment. As he
buckled the swollen belt, suddenly my groin felt the chill of death." From
E.B.White's, 'One More To The Lake'
7. Organic – concentrates on recreating internal sensations like hunger, thirst, fear or
fatigue.

'It's when I'm weary of considerations, and life is too much like a pathless wood.' From
Robert Frosts "Birches"

2.7 Elements of Fiction: Symbols

Symbols – these could be images or objects that stand for something other than
themselves and they do not just represent their own concrete qualities,
but the idea or abstraction that is associated with them or implied by
them.
If an image in a story is repeatedly and begins to carry multiple layers of meaning
These are often objects, or may be parts of a landscape, like a river
Some are universal, like water for cleansing but others are more culturally based (e.g. a
black cat in African societies is seen as good luck)
Writers use preexisting cultural associations as well as meanings drawn from the context
of the story to create multiple levels of meaning (e.g. Faith’s pink ribbons
carry cultural connotations of innocence and purity, but the fact that the
wind plays with the ribbons in one key image also brings to mind
temptation, alluring chaos, the struggle with natural forces)

Example:

In Alice and Wonderland, a white rabbit appears and Alice follows him down the rabbit
hole that leads to Wonderland. The white rabbit is a herald—a character archetype that

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signifies the first challenge or the call to adventure. This is the change in the main
character’s life that marks the beginning of the story.

Fiction is subjective and evocative. It is "made up," and indirect in its

communication. A work of fiction may evoke:

• the thrill of imagining impossible or unavailable experiences

• intrigue with playing out "what if" or" if only" scenarios
• feelings and perceptions of another historical period, or simply observations on
the human condition

We thus read fiction not to gain new

information so much as to
experience the ideas and feelings a
story inspires within us.

Readers have different expectations

from fiction and nonfiction. Proof is a major
issue with nonfiction; emotional
involvement is a major issue with fiction.
We expect a story (fiction) to grab us, an
essay (nonfiction) to convince us. We will suspend belief when reading a romance novel
or science fiction, but demand reason and evidence from nonfiction.

For passing time or sheer enjoyment, of course, simply reading the story can be
satisfaction and reward enough. We do not have to analyze everything we read. The
point is to be able to interpret when we want to—or have to.

Both fiction and nonfiction can be subjected to analysis and

interpretation. These two forms of expression are, however,
examined somewhat differently. One analyzes a nonfiction text
• to discover underlying themes and perspectives, as well
as
• to realize how choices of content and language shape the reader's perception
and encourage the reader's acceptance.

Analyzing Lincoln's Gettysburg Address, for instance, we can recognize not only
remarks on the dedication of a cemetery, but comparisons between images of the living
and dead, between what has been done and what must be done.

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 We analyze fictional works for recurring themes that reflect on the broader
human experience. People do not
really tell nursery rhymes so that
children know about a girl named
Cinderella or about pigs who built
houses. The stories have deeper,
unstated meanings: virtue
rewarded (Cinderella) or the folly of
a lack of industry (The Three Little
Pigs). We respond to both the story
and an underlying message.

On the surface, Melville's Moby Dick, for instance,

might be seen as an adventure story about a man hunting a
whale. On closer analysis and interpretation, the novel
might be seen as a depiction of man's battle to subdue
nature or of a battle between good and evil. Since fiction is
indirect, fiction can require a significant degree of analysis
and interpretation if one is to get beyond simply following
the story.

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1.2 Fiction is Subjective

Fiction is, by definition, subjective. A novel, story, drama, or poem is the

expression of an author's imagination. The characters and situations are "made up."
Readers expect fiction to reflect the real world; they do not expect it to portray the real
world. And yet fiction can seem very real
without being factual. Poems can capture
feelings or images to perfection. Events
depicted in movies such as Schindler's List,
Amistad, or Titanic can appear just as they
might have in real life.

Fiction can be true, however, only

in the sense that the actions or behaviors
"ring true" with what we know of the
world. The sentiment may be real, but the
characters and incidents are the fruits of
the author's imagination. And author and directors—as in the movies referred to above
—often use "dramatic license" to distort history for dramatic effect.

1.3 Fiction is Evocative: Images and Symbols

Fiction conveys meaning indirectly (other than, of course,

through morals at the ends of fables). The specifics are not
significant. We draw meaning from the types of actions. This
principle lies behind the fact that television crime series follow
essentially the same plot line, week after week. It does not matter
whether a crime victim is a socialite, a prostitute, a drug dealer, or
politician, whether the crime is murder, extortion, or robbery. The
message that the police always catch the criminal remains the
same.

Fiction evokes ideas and feelings

indirectly by triggering emotional responses
and mental pictures. Fiction commonly
communicates through images and symbols.
Color is often symbolic, as with the red
passion of the Scarlet Letter in the novel of

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 that title. Sunlight often conveys truth or reason.

In Willa Cather's short story "Death Comes to the

Archbishop" the development of the Bishop's garden is a
metaphor for the expansion of Catholicism in the New World. And
then there is the politically incorrect use of white and black for
good and bad, as in old Western movies.

Readers must be open to associations and reflection,

creative in their understanding and interpretation. They must
recognize a richness of figurative language and concomitant
element of ambiguity. The more evocative a text, the more the
reader must do the work of finding meaning within the text.

1.3 Interpretation: A Personal Understanding

The meaning of fictional works is more personal than that of nonfiction texts.
With nonfiction texts, we assume any two readers will come away with pretty much the
same understanding of what the text states. While we may not agree with someone
else's interpretation, we should be able to follow their analysis.

With fiction, the meaning is dependent on the perceptions, imagination, and

feelings of the reader. In both cases, however, we demand that an interpretation be
based on evidence on the page. And in both cases, part of understanding is
understanding one's own interests, values, and desires and how they affect what one
looks for and how one thinks about what one finds.

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1.4 Analyzing and Interpreting Fiction: Perspectives

The discussion of nonfiction texts focused on the analysis of

choices of content, language, and structure. The same focus is
useful for the analysis of fiction--with some adjustments. The
discussion examines:
• the general perspective on each of the three major
genres: novels (stories), drama, and poetry
• the application of the notions of content, language, and
structure for each genre

Fiction, we saw above, is mostly about telling stories and

expressing feelings. The content of fiction may take the form of the
events of a story, especially in novels and short stories, spoken
remarks, especially in drama, or images and symbols, especially in
poetry. All three elements appear to varying degrees in all forms of
fiction.

1.5 Commercial Fiction and Literary Fiction

Commercial Fiction

 Intended solely to entertain

 Legal thrillers, romance novels
 Escapist
 Formulaic

Literary Fiction

 Written with serious artistic intentions by someone who hopes to

enable readers to broaden understanding of life and to empathize with
others
 Literary writers are more like explorers who take us out into the
midst of life, show us the props and mirrors and seek to dispel the
illusions.

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  Provides keener awareness of our humanity in a friendly and hostile
world.
 Usually need to read twice.
 Plot: the sequence of events through which an author constructs a
story.
 Structure: usually chronological or cause/effect, however, a complex
structure is often required to convey complex meanings, so it may be
more experimental and unpredictable.

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Unit 4. Facilitate Learning Session as a Unit of Competency for Trainers Methodology 1

Unit of Assessment
Learning outcomes Methodology
Competency Approach
 Prepare training
facilities /resources
 Group
 Conduct pre-
discussion
assessment
Facilitate
 Simulation  Written test
learning  Facilitate training
 Demonstration/
session session
 Lecture oral questioning

 Conduct competency
 Self –pace
assessment
instruction

 Review delivery of
training session

Exploring the Different Types of Fiction

Fiction is a general term used to describe an imaginative work of prose, either a

novel, short story, or novella. Recently, this definition has been modified to include both
nonfiction works that contain imaginative elements, like Midnight in the Garden Of
Good and Evil by John Berendt (Random House, 1994) and Dutch by Edmund Morris
(Random House, 1999), and novels consisting largely of factual reporting with a patina
of fictionalization, such as Memoirs of a Geisha by Arthur Golden (Knopf, 1997).
However, in the truest sense, a work of fiction is a creation of the writer’s imagination.

2.8 Two main types of fiction: literary and commercial

Commercial fiction attracts a broad audience and may also fall into any
subgenre, like mystery, romance, legal thriller, western, science fiction, and so on. For
example, The Bridges of Madison County by Robert James Waller (Warner, 1992) was a
hugely successful commercial novel because the book described the fulfillment of a

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romantic fantasy that is dear to the heart of millions of readers. Written in a short, easy-
to-read style, the book was as mesmerizing to 15-year-olds as it was to 100-year-olds.

Other blockbuster commercial fiction authors include John Grisham, Sidney

Sheldon, Danielle Steele, and Jackie Collins.

Literary fiction tends to appeal to a smaller, more intellectually adventurous

audience. A work of literary fiction can fall into any of the subgenres described in the
following sections. What sets literary fiction apart, however, is the notable qualities it
contains — excellent writing, originality of thought, and style — that raise it above the
level of ordinary written works. A recent work of literary fiction that enjoyed wide
popularity was Cold Mountain by Charles Frazier (Atlantic Monthly Press, 1997). Other
popular authors of literary fiction include Toni Morrision, Barbara Kingsolver, John
LeCarre, and Saul Bellow.

Mainstream fiction is a general term publishers and booksellers use to describe

both commercial and literary works that depict a daily reality familiar to most people.
These books, usually set in the 20th or present-day 21st century, have at their core a
universal theme that attracts a broad audience. Mainstream books deal with such
myriad topics as family issues, coming of age initiations, courtroom dramas, career
matters, physical and mental disabilities, social pressures, political intrigue, and more.
Regardless of original genre or category, most of the novels that appear on the
bestseller list are considered mainstream, whether the author is Sue Grafton, Arundhati
Roy, Michael Crichton, or David Guterson.

Mystery

Mystery is a popular genre, boasting a huge established audience. All

mysteries focus on a crime, usually murder. The action tends to center on the
attempts of a wily detective-type to solve the crime. And the climax usually
occurs near the end, in a leisurely setting where all the elements of the
mystery are neatly assembled for the reader’s convenience. The solution,
complete with surprises, is then delivered to the characters and the reader
alike.

Mystery subgenres include spy, detective, and crime stories. You can find a
vast network of mystery writers associations, conventions, and conferences,

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 as well as publications to help mystery writers pursue their craft. For
information, contact Mystery Writers of America.

Great practitioners in this genre include Arthur Conan Doyle, Raymond

Chandler, Dashiell Hammett, and Earle Stanley Gardner, creator of Perry
Mason. Present day giants include Carl Hiaason, James Ellroy, Robert Parker,
James Lee Burke, and Elmore Leonard.

Romance

Romance is a huge category aimed at diverting and entertaining women. In

romance novels, you have elements of fantasy, love, naïveté, extravagance,
adventure, and always the heroic lover overcoming impossible odds to be
with his true love. Many romances, especially the gothic romance, have an
easy-to-follow formula — a young, inexperienced girl living a somewhat
remote existence is courted or threatened by an evil man and then rescued by
a valiant one.

Other subgenres include historical, contemporary, fantasy romance, and

romantic suspense. If historical detail and settings interest you, try writing a
regency or historical romance. If you enjoy a dash of mystery or intrigue, then
romantic suspense novels are for you. However, if you are interested in more
modern stories with sexual candor, then consider writing a contemporary
romance.

Certainly, you have lots of opportunity in the field of romance writing, which is
the largest, most diverse, and most popular of the commercial genres. And romance
writers’ organizations can provide exact writing guidelines. To receive a set of
guidelines, contact Romance Writers of America.

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 First-class romance writers include Jude Deveraux, Victoria Holt, Judith
McNaught, Daphne Du Maurier, Jennifer Greene, and Nora Roberts

Women’s fiction

It is
common
knowledge in
the publishing
industry that
women
constitute the
biggest book-buying segment. So, it is certainly no accident that
most mainstream as well as genre fiction is popular among
women. For that reason, publishers and booksellers have
identified a category within the mainstream that they classify as
Women’s Fiction. And its no surprise that virtually all the selections
of Oprah’s Book Club are in this genre.
From a writer’s perspective, some key characteristics of
these books include a focus on relationships, one or more strong
female protagonists, women triumphing over unbearable
circumstances, and the experiences of women unified in some
way. The field includes such diverse writers as Barbara Taylor
Bradford, Anne Rivers Siddons, Alice McDermott, Judith Krantz,
Anne Tyler, Rebecca Wells, and Alice Hoffman.

Science fiction/fantasy

Science fiction/fantasy novels depict distant worlds and

futuristic technologies that whirl readers far away from the here
and now and yet provoke contemplation of contemporary issues.
Imaginative, thoughtful, and other-worldly, this robust category is
made even more popular by the Star Wars and Star Trek series.
Leading science fiction
and fantasy writers
include Ray Bradbury,
Arthur Clarke, Isaac
Asimov, C.S. Lewis, and
J.R.R. Tolkien, as well

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 as the current, multi-best-selling, young adult author J.K. Rowling.

To obtain professional assistance in this genre, contact the

Science Fiction and Fantasy Writers of America.

Suspense/thriller

Suspense novels and thrillers are tense, exciting, often sensational works with ingenious
plotting, swift action, and continuous suspense. In this genre, a writer’s objective is to
deliver a story with sustained tension, surprise, and a constant sense of impending
doom that propels the reader forward. Unlike mysteries, thrillers are dominated by
action in which physical threat is a constant companion, and a hero (James Bond, for
example) is pitted against a nefarious villain.

This genre includes the great espionage writers, including John Le Carre, Len Deighton,
Ian Fleming, Clive Cussler, and Frederick Forsythe. It also includes the police procedurals
of Patricia Cornwell, Tony Hillerman, and Lawrence Sanders, as well as the courtroom
bestsellers of Scott Turow, Richard North Patterson, Steve Martini, and John Grisham,
and the military thrillers of Tom Clancy and Stephen Koontz.

Western

Known simply as westerns, these novels about life on America’s post Civil War western
frontier usually involve conflicts between cowboys and outlaws, cowboys and Native
Americans, or Easterners and Westerners. While this category still has a mass-market
audience and a thriving regional market, it is not the popular genre it was 25 years ago.

If you are interested in writing a western, contact the

Western Writers of America Zane Grey and Louis Lamour, both
deceased, are still among the popular western writers.

Horror

Filled with gut-wrenching fear, this popular genre keeps readers turning the

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 blood-filled pages. From a writer’s perspective, the defining characteristic is
the intention to frighten readers by exploiting their fears, both conscious and
subconscious: fears of supernatural forces, alien visitations, madness, death,
dismemberment, and other terrifying notions.

Tracing its roots back to the classic tales of Edgar Allan Poe, the
horror genre today is dominated by Stephen King, whose vast output of
bestsellers under his name as well as his alter-ego Richard Bachman
has dominated the bestseller lists for nearly 25 years. Other major
horror writers include Mary Shelley, Roald Dahl, Clive Barker, Peter
Straub, Dean Koontz, and Anne Rice. While horror isn’t science
fiction, the SFWA provides a great deal of information and
community services aimed at horror writers. To obtain its professional
assistance, contact the Science Fiction and Fantasy Writers of
America.

Young adult

This genre includes any type of novel with a protagonist in the

12 to 16 age range that speaks to the concerns of teenagers. Currently,
J.K. Rowling and her amazing Harry Potter (Scholastic Press) books are
dominating the
field. Rowling’s
accomplishment
— a truly
universal story,
brimming with
magic and
fantasy as well as
likable characters
that readers identify with — is an amazing feat.

Watch out for all the Harry Potter wannabes in the coming year.
Success stories in this genre share many of the qualities evident in the
Harry Potter books: a memorable voice (J.D. Salinger’s Catcher in the
Rye, Little Brown, 1951), believable characters (Golding’s Lord of the

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 Flies, Perigee, 1959), and a willingness to write about the disturbing
subjects that preoccupy teens and preteens (Are You There God, It’s Me,
Margaret by Judy Blume, Dell Yearling, 1972, or Holes by Louis Sachar,
FSG, 1998).

 In this course/subject you are not to be assessed for you to be a Trainers

Methodology 1 holder.
 In this course/subject you are to learn what are the competencies a Trainer
shall have because such will be the competencies that you should possess as a
Senior High or Junior High School Teacher or a Technical Vocational Trainer
 Particularly, you will learn in this course/subject how to Facilitate Learning
Session among your future students.
 At the end of the semester, you should be able to achieve the Learning
Outcomes mentioned above.
 Other competencies are to be taught in other Professional Education Subjects.
 This means that before you will graduate, all the competencies required by the
TM 1 are acquired by you and may submit yourself for National Assessment.
 REMEMBER: IN THIS COURSE/SUBJECT, YOU ARE TO LEARN HOW TO BE A
TRAINER/TEACHER PARTICULARLY TO FACILITATE TRAINING SESSION – ONE OF
THE FIVE COMPETENCIES OF TM1








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 
 Module (Eng Ed 211)
Name: ____________________________________________
Activity No. 21 Program/Year: ____________Date Submitted: ___________

Self – Check Test

Multiple ChoiceEnumeration. Select the best answer among the choices given per
item. List down or enumerate what are asked for each of the following.
I.

Elements of Fiction Types of each element of Fiction

II.
III.

1. Which of the following statements about Fiction is INCORRECT?

A. It is defined as any imaginative re-creation of life in prose narrative form.
B. It seeks to demonstrate meaningful insights into the human condition.
C. The events actually happened to the characters.
D. It is true in the universal sense.

2. A fiction may evokes ___________________.

A. Facts
B. Information

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 C. Real life situations
D. Thrill
E.
3. What characteristic of a fiction is being described by the statement “Fiction can
be true, however, only in the sense that the actions or behaviors "ring true"
with what we know of the world.
4. Commercial
A. Evocative
B. Literary
C. Subjective
D.
5. Which of the following is under literary fiction?
A. Mystery
B. Poetry
C. Romance
D. Science fiction

6. The discussion or analysis of fiction focuses on the following, EXCEPT.

A. Content
B. Language
C. Structure
D. Style

7. Fiction commonly communicates through images and symbols.

A. True
B. False

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 Two Main Types of Fiction Types for each main type of Fiction

Module (Eng Ed 211) Name: ____________________________________________

Activity No. 2a1 Program/Year: ____________Date Submitted: ___________

Activity

1. Answer the given questions relative to the story “The Necklace.”

2. (Please refer to Appendix A)
3.
4. Is the story fiction or non-fiction? Why do you say so?
5. What characteristics of a fiction are reflected in the story? Support your answer.
6.
7. Criteria:
8.
9. 1 – 5 sentences 3 points
10. Content 4 points
11. Citation 3 points
12. Total 10 points/number
13.

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 14. Make a summary and write an interpretation and analysis of the story “The
Necklace” by Guy de Maupassant.
15. (Please refer to Appendix A)
16.
17. Summary
18. 1 paragraph - 2 points
19. 6 – 8 sentences - 2 points
20. Chronological order - 3 points
21. Content - 3 points
22.
23. Interpretation
24. 1 paragraph - 2 points
25. 6 – 8 sentences - 2 points
Name: ____________________________________________
26. Content - 3 points
Program/Year: ____________Date Submitted: ___________
27. Support - 3 points
28.
29. Analysis
30. 1 paragraph - 2 points
31. 6 – 8 sentences - 2 points
32. Content - 3 points
33. Support - 3 points
34.
35. Module 21 (Prof Ed 212)
36.
37. NOTE: Activity number 2 will be submitted for Plagiarism Checker and if the
result will be above 30%, your score total score will be deducted with 10
points.
38. Self-Check Test 2.11
39. Activity No. 2.11
40.
41. Instructions:
42.
43. Encode in the subject field the Subject Code- Program& Section-Last Name of
Student-First Name of Student-Activity Number (e.g. ProfEd111-BSE2A-Dela
Cruz-John-1). This is your 1st 2nd activity for this subject, please consider for it
would affect the recording of scores.
44. Encode your answer in the mail or message field. Please see sample below.

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 45.

46.
47. For Multiple Choice and Identification type of test, just write the number of the
item and the choice of answer (e.g. 1. a) or answer.
48. If your answer is hand written in a paper, then take a picture and copy paste in
the mail/message field. Sample of a picture, which is copied and pasted in the
mail field, is shown below.

49.
50.
51. Email your answer in my email add on or before October 2September 23, 2020,
before 12 midnight (for online).
52.

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 53. For those who opt to have their learning through offline modular mode, submit
your printed answer or written answer on the same date with the online
submission at the Guard house in our school gate. Place your paper on a brown
long folder with my name on the side. Place the folder inside a plastic envelope.
Submission shall be from 8 am to 5 pm only.
54. PLEASE DO NOT SEND ME MESSAGE THAT IS ASKING IF I HAVE RECEIVED
YOUR MAIL OR ASKING ME TO CHECK YOUR MAIL OR INFORMING ME THAT
YOU HAVE SENT YOUR ACTIVITY IN MY MAIL.
55.
56.
57.
58.
59. Self-check 2.1
60.
61. TRUE OR FALSE:
62.
63. Write TRUE if the statement is correct and FALSE if the statement is not
correct.
64. In CBT, the trainee is facilitator.
65. Competency Based Learning Material is a must CBT.
66. Supervised Industry Training is a must CBT.
67. In peer teaching, fast learners are the trainer/facilitator of training.
68. Multiple entry and multiple exit means a trainee can enter a class in any time he
wishes and learners in his own place.
69. Assessment is always done after every activity.
70. The Job Sheet is a tool use to assess the competency of a trainee.
71.
72.
73. Activity 2.1
74.
75.
76. Essay: Answer the following questions briefly.
77.
78.
79. What is the difference between the traditional learning and competency based
learning? Cite at least two (2) examples to support your answer.
80.
81. What is meant with time is flexible and learning is fixed in CBT?
82.
83. Criteria:
84.
85. 3 to 5 sentences - 3 pts
86. Idea/content - 4 pts

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 87. Examples/citation - 3 pts
88. Total 10 pts/per number
89.
90. Self – Check Test 1
91.
92.
93. Multiple Choice. Select the best answer among the choices given per item.
94.
95.
96. In the current educational system in the Philippines, TVET system starts in
____________.
97. A. Kindergarten
98. B. Primary
99. C. Secondary
100. D. Tertiary
101.
102. It is the government agency that is tasked to manage and supervise
technical education and skills development in the Philippines.
103. A. CHED
104. B. DOLE
105. C. NMYC
106. D. TESDA
107.
108. Which of the following statements of National Certification of TESDA is
incorrect?
109. It is issued to prove the professionalizing of skilled workers.
110. It is one of the pillars of the realization of TESDA’s authority role in TVET
sector.
111. It is the proof of ensuring quality through provision of standards and
system development services.
112. It is issued to a candidate who has demonstrated competence in some
units of competency that comprise a Qualification.
113.
114. A person who is competent in all the competency units of Trainers
Methodology 1 could be the following, except.
115. TVET Trainer
116. Technical Trainer
117. Professor
118. Competency Assessor
119.
120. A _______________ is comprised of competency standards and
qualifications, together with training standards and assessment
arrangements.

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 121. TESDA Handbook
122. TESDA Manual
123. Training Guide
124. Training Regulation
125.
126. It is a government office in the Philippines which has the authority in the
technical vocational education and training.
127. CHED
128. NMYC
129. TESDA
130. TESD
131. If Automotive and Land Transportation Sector has 37 qualifications, it
also means that there are 37 Training Regulations.
132. True
133. False
134.
135. It is the number of unit of competencies for Trainers Methodology 1 a
candidate shall passed or be competent before he or she shall be qualified
as a Trainer.
136. 3
137. 4
138. 5
139. 6
140.
141.
142.
143. Activity No. 1
144.
145.
146. Among the qualifications stated in a sector your major is under, select
one which you think you can be competent and could have the National
Certificate II or an National Certificate II that you already passed and
competent with. (See Appendix A). (2 points)
147. Example:
148. Automotive and Land Transportation - Automotive Body
149. Painting/Finishing NC II

150. Search online the Training Regulation of the selected qualification. If you
have a printout/hardcopy, then take a picture of the front page.
151. Example: Automotive Body Painting/Finishing NC II Training Regulation
152.
(5 points)

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 153. Take a screenshot or picture of one the competencies under the
qualification being searched. (5 points)
154. Example: One (1) core unit of competency of Automotive Body
Painting/Finishing NC II Training Regulation
155.
156. How do you understand Trainers Methodology? How does it relate to
your profession as a Teacher in the future?
157.
158. Criteria:
159. In 5 – 6 sentences only - 2 points
160. Content - 4 points
161.
162. How do you understand Facilitate Learning Session as a Unit of
Competency for Trainers Methodology 1?
163.
164. Criteria:
165. In 3 sentences only - 2 points
166. Content - 2 points
167.
168.
169. Appendix A
170.
171. List of Sectors and Qualifications per Sector
172.
173.
174.
175.
176.
177.
178.
179.
180.
181.
182.
183.
184. Appendix B
185.
186. Sample National Certificate
187.

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 188.

189.
190.
191.
192.
193.
194.
195.
196.
197.
198.
199.
200.
201.
202. Appendix C
203.
204. Sample Training Regulation as one of the Qualifications for Automotive
and Land Transportation
205.

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 206.

207.
208.
209.
210.
211.
212.

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 213.
214.

215.

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 216.
217.
218.
219.
220.
221.
222.
223.
224.

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 225.
226.
Literary Analysis (Formalism Approach)

1. Read the story entitled “Nanking Store.” (Refer to Appendix B)

2. Give or supply what are asked for your analysis.

I. Title:
_________________________________________________________________

II. Author:
_________________________________________________________________

III. Type of Fiction/Genre: (from the two main types)

_________________________________________________________________

IV. Point of View: (the type and give an example to prove your answer)
_________________________________________________________________

V. Characterization: (Give the how the author present the characters – apply the
STEAL and give one example for each presentation)
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________

VI. Setting: (Give the type of setting and the setting based in the story)
_________________________________________________________________

VII. Plot. (Give the sequence of the story and each sequence shall have 2 -3
sentences only.
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________

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 _________________________________________________________________
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________

Module (Eng Ed 211) Name: ____________________________________________

Activity No. 2b Program/Year: ____________Date Submitted: ___________

Activity

VIII. Theme. (Give one complete statement)

_________________________________________________________________

IX. Imagery. (Give types and an example for each type)

_________________________________________________________________
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________

X. Symbol. (Give two symbols from the story and the meaning)
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________

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Module (Eng Ed 211) Name: ____________________________________________
Activity No. 2c Program/Year: ____________Date Submitted: ___________

Activity

1. Tasks: 
• Read and annotate the story “Eve’s Diary” by Mark Twain.
• Then, complete the handouts
• Analyzing Author’s Technique
• Infer Author’s Purpose
• Then, underneath your notes, summarize the story. (minimum 3
paragraphs).
• Complete Reflection underneath your summary.
2. Reflection: (Guide Questions)
• What did you learn about analyzing fiction? Be specific and include all
details.
• How can this lesson help you in successfully answering questions
relating to fictional passages on the ACT?
• What are your feelings about the story “Eve’s Diary?” What did you take
away from reading the story?

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