1. CLASSI
CS

5. MODER
N

9. CHAPTER II:
POPULAR
LITERATURE
PREPARED BY: MS. GLADYS RAMOS,
LPT

10. Introduction
Popular literature contains
writings that are intended for the
masses and those that find favour
with large audiences.

11. HOW DR. ELLIS DESCRIBES ‘LITERATURE’
Dr. Rod Ellis- known as the “Father of
Second Language Acquisition” (ASL)
defines literature as:
1. The verbal expression of human
imagination and
2. One of the primary means by which a
culture transmits itself.

12. IMPORTANCE OF LITERATURE
□ It entertains you and provides useful occupation in your
free time.
□ It makes you a wiser and more experienced person
by forcing you to judge, sympathize with, or
criticize the characters you read about.
□ It teaches you about the life, cultures and
experiences of people in other parts of the world.
□ It gives information which may be useful in other
subjects, for example, in Geography, Science,
History, Social Studies and so on.

13. 1. Timelessness
2. Eternity
3. Universality
4. Permanence
UNIVERSAL CHARACTERISTIC
OF LITERATURE

14. TYPES OF
LITERARY
CRITICISM

15. The Night
the Ghost
Got In

17. Literary criticism is an analysis of a
literary work. An article of literary
criticism is looking at a work of
literature and analyzing the different
elements. Literary criticism helps a
reader understand the meaning of a
literary work.
What is Literary Criticism?

18. ARCHETY
PAL
CRITICISM

20. ARCHETYPAL
CRITICISM
is a critical theory that interprets a text by
focusing on symbols, images, and
character types in literary works that is
used to discuss in plot, character or
situation.
It recognizes conscious and unconscious
symbols that relates to emotions, values,
feelings to specific images.

21. • Judeo- Cristian scripture
• Greco-Roman
Originated from: Western Culture
Flowers during 1950s-1960s

22. These patterns are embedded deep in
the collective unconscious and
involve racial memories of situations,
events and relationships from time
immemorial
According to Carl Jung

25. Two General
Categories of
Archetypes
a.Character archetypes
b.Situation Archetypes

26. a.Character archetypes
1.Heroic Archetypes
2.Archetypal Villain
3.Wise- Old Figure
4.Damsel In Distress
5.Sidekick
6.Temptress

27. Heroic Archetypes-
“someone who overcomes great odds in
order to achieve his or her objectives.” The
hero’s main undertaking is to defeat the
monster of darkness – a long-awaited and
hoped-for triumph of consciousness over
the unconscious.

28. Archetypal Villain
The villain archetype is the big baddie of your story —
the challenge to which all roads lead. This character has
an objective that is in direct conflict with the hero’s, and
in order for them to reach their goal, they need to make
sure that the hero is unable to reach theirs.

29. Wise- Old Figure
sometimes known as the Sage, is one of an
elderly man of philosophical bearing notable
for his possession of great wisdom,
knowledge and judgement

30. Damsel In Distress
The damsel in distress is a recurring
narrative device in which one or more
men must rescue a woman who has
either been kidnapped or placed in
general peril.

31. Sidekick
represents the qualities of Faith and
Support The Sidekick is the absolutely faithful
and supportive member of the Archetypal
character set.

32. Temptress
The Temptress archetype can be characterized
as a woman of tremendous charm and
desirability but who is at core unethical. She
uses her immense intelligence, beauty, wit,
allure, seductive skills and emotional intuition to
lure men into doing her bidding

33. a.Situation Archetypes
1.Good Vs. Evil
2.The Task
3.The Quest
4.The Journey
5.Transformation

34. CULTURAL
CRITICISM

35. CULTURAL CRITICISM
focuses on the
elements of culture
and how they affect
one’s perceptions and
understanding of texts.

36. 1. Ethnicity, religious beliefs, social class, and
so are crucial component in formulating
plausible interpretations of text

38. Telephone Conversation
By: Wole Soyinka
The price seemed reasonable, location Indifferent. The
landlady swore she lived
Off premises. Nothing remained But self-
confession. ―Madam, I warned,
I hate a wasted journey—I am African.
Silence. Silenced transmission of Pressurized good-
breeding. Voice, when it came, Lipstick coated, long
gold rolled Cigarette-holder pipped. Caught I was
foully.
HOW DARK? . . . I had not misheard . . . ―ARE YOU

39. PSYCHOANAL
YTIC
CRITICISM

40. based on Sigmund Freud ID, ego and superego,
the author’s own childhood effects the book and
character.
It is a type of criticism that uses theories of
psychology to analyze literature. It focuses on the
author’s state of mind or the state of the mind of
fictional character.
Psychoanalytic criticism uses two different
approaches; psychoanalysis of the author and
psychoanalysis of the character.
PSYCHOANALYTIC CRITICISM

42. FEMINIST
CRITICISM

43. FEMINIST CRITICISM
is a product of the feminist movement of the
1960’s and 1970’s that is why writing that time
are combative.
It is the representation of women in literature as
an expression of the social norms about women
and their social roles and as a means of
socialization.
It focused on the images of the women in books
by male writers to expose the patriarchal ideology
and how women characters are portrayed.

49. Foundational Questions of Feminist Criticism
•Does the text refer to, uphold, or resist any of these stereotypes? How?
•What roles have been assigned to the men and women in the text? Are
the roles stereotypical? Do gender roles conflict with personal desires?
•Does the text paint a picture of gender relations? If so, how would you
describe gender relations in the text? On what are they based? What
sustains them? What causes conflict between men and women?
•Are gender relations in the text celebrated? Denigrated? Mocked?
Mystified? If so, how?

51. Knowing that Mrs. Mallard was afflicted with a heart trouble, great
care was taken to break to her as gently as possible the news of
her husband's death.
It was her sister Josephine who told her, in broken sentences;
veiled hints that revealed in half concealing. Her husband's friend
Richards was there, too, near her. It was he who had been in the
newspaper office when intelligence of the railroad disaster was
received, with Brently Mallard's name leading the list of
"killed." He had only taken the time to assure himself of its truth
by a second telegram, and had hastened to forestall any less
careful, less tender friend in bearing the sad message.

52. She did not hear the story as many women have
heard the same, with a paralyzed inability to accept its
significance. She wept at once, with sudden, wild
abandonment, in her sister's arms. When the storm of
grief had spent itself she went away to her room
alone. She would have no one follow her.
There stood, facing the open window, a comfortable,
roomy armchair. Into this she sank, pressed down by
a physical exhaustion that haunted her body and
seemed to reach into her soul.

53. She could see in the open square before her house
the tops of trees that were all aquiver with the new
spring life. The delicious breath of rain was in
the air. In the street below a peddler was crying his
wares. The notes of a distant song which some one
was singing reached her faintly, and countless
sparrows were twittering in the eaves.
There were patches of blue sky showing here and
there through the clouds that had met and piled one
above the other in the west facing her window. end

54. Foundational Questions of Feminist Criticism
•Does the text refer to, uphold, or resist any of these stereotypes? How?
•What roles have been assigned to the men and women in the text? Are
the roles stereotypical? Do gender roles conflict with personal desires?
•Does the text paint a picture of gender relations? If so, how would you
describe gender relations in the text? On what are they based? What
sustains them? What causes conflict between men and women?
•Are gender relations in the text celebrated? Denigrated? Mocked?
Mystified? If so, how?

55. applies political science and economics to the study
of literature.
Grew out of writings of Karl Marx, who was highly
critical of the capitalist system of economics and
politics.
It concerned with the issues of class conflict and
materialism, wealth, work, and the various
ideologies that surrounds these things. It connotes
higher class do control arts, literatures, and
ideologies.
MARXIST CRITICISM

60. My Father Goes To Court - Carlos Bulosan.docx -
Google Docs
Please ready this:

61. critic believes that a reader’s interaction with
the text give its meaning. The text cannot
exist without the reader. It focuses on the
reader or audience and the experience of a
literary work rather than the author or the
context and form of work.
READER-RESPONSE CRITICISM (RR)

62. Popular Literature
Genres

63. POPULAR LITERATURE
GENRES:
1. Romance
2. Science Fiction
3. Detective Story
4. Comic Books
5. Comic Strip

64. In the strictest academic terms, a
romance is a narrative genre in
literature that involves a mysterious,
adventurous, or spiritual story line
where the focus is on a quest that
involves bravery and strong values,
not always a love interest. However,
modern definitions of romance also
include stories that have a
relationship issue as the main focus.
1. WHAT IS A ROMANCE?

65. TYPES OF ROMANCE
a. GOTHIC
In Gothic romance, the settings are usually in distant
regions and the stories feature dark and compelling
characters. They became popular in the late 19th century
and usually had a sense of transcendence, supernatural,
and irrationality. Popular Gothic novels still read by many
high school students today are classics such as:
□ Jane Eyre by Charlotte Bronte
□ Wuthering Heights by Emily Bronte
□ Frankenstein by Mary Shelley
□ The Scarlet Letter by Nathaniel Hawthorne.

66. CREDITS: This presentation template was created by
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B. HISTORICAL
historical romance takes place in
times long past and appears romantic due
to the adventure and wildness of the time.
This also provides value and meaning to
the lifestyle of the characters. The
following novels fit in this sub-genre:
□ The Last of the Mohicans by James Fenimore
Cooper
□ Rob Roy by Sir Walter Scott.

67. c. CONTEMPORARY/MODERN
Contemporary romance focuses on a love relationship
and has a happy ending. There are two ways these romance
novels are written: as a series or category romance (the
author writes a succession of books that fit a theme or
follow a storyline) or as a single-title romance.
Even more so, within the sub-genre romance, and as seen in many
movies, there can be:
□ comedy-romance
□ tragic-romance
□ satire-romance
□ serious romance
Playwrights and poets also treat romance with various tones.

68. ● Science fiction, often called “sci-fi,”
is a genre of fiction literature whose
content is imaginative, but based in
science. It relies heavily on scientific
facts, theories, and principles as support
for its settings, characters, themes, and
plot-lines, which is what makes it
different from fantasy.
WHAT IS A SCIENCE FICTION?

69. ● 1. Hard science fiction
● Hard science fiction strictly follows scientific facts and principles. It is strongly
focused on natural sciences like physics, astronomy, chemistry, astrophysics,
etc. Interestingly, hard science fiction is often written by real scientists, and
has been known for making both accurate and inaccurate predictions of future
events. For example, the recent film Gravity, the story of an astronaut whose
spacecraft is damaged while she repairs a satellite, was renowned for its
scientific accuracy in terms of what would actually happen in space.
● 2. Soft science fiction
● Soft science fiction is characterized by a focus on social sciences, like
anthropology, sociology, psychology, and politics— in other words, sciences
involving human behavior. So, soft sci-fi stories mainly address the possible
scientific consequences of human behavior. For example, the Disney
animated film Wall-E is an apocalyptic science fiction story about the end of
life on Earth as a result of man’s disregard for nature.
TYPES OF SCIENCE FICTION

70. ● Detective story, type of popular literature in which a crime is
introduced and investigated and the culprit is revealed.
● The traditional elements of the detective story are:
● (1) the seemingly perfect crime;
● (2) the wrongly accused suspect at whom circumstantial evidence
points;
● (3) the bungling of dim-witted police;
● (4) the greater powers of observation and superior mind of the
detective; and (5) the startling and unexpected denouement, in which
the detective reveals how the identity of the culprit was ascertained.
III. DETECTIVE STORY

71. I. COMIC BOOK
● A magazine that presents a serialized story in the form of a comic strip, typically 88
featuring the adventures of a superhero.
● A comic is bound collection of comic strips, usually in chronological sequence,
typically telling a single story or a series of different stories.