11

READING AND
WRITING
LEARNER'S ACTIVITY S H E E T
Quarter 4 – Week 1:
Identify the context in which a
text was developed
Reading and Writing – Grade 11
Learner's Activity Sheet
Quarter 4 – Week 1: Identify the context in which a text was developed
First Edition, 2021

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Published by the Department of Education

Secretary: Leonor Magtolis Briones
Undersecretary: Diosdado M . S a n Antonio

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Writer: Rhearose Q. Conde

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L E A R N E R ’ S ACTIVITY S H E E T IN READING AND WRITING FOR

QUARTER 4, WEEK 1
Name: Grade & Section:
School: Teacher:

M E LC: Identify the context in which a text was developed (EN11/12RWS-IVac-7)

a. Hypertext (EN11/12RWS-IVac-7.1)
b. Intertext (EN11/12RWS-IVac-7.2)

Learning Objectives:
1. Compare and contrast hypertext and intertext as the contexts in which a text was
developed;
2. Identify the context (hypertext or intertext) in which the given selections were
developed; and,
3. Use hypertext and intertext to enhance a written composition.

Source:
II. Learn

In this era of technology, readers are very m u c h open to use either the print or the non-
print medium for reading. To some, they are more comfortable to use the former as they can browse
back and forth for clarity and mastery without prejudice to some visual discomforts. A number of
readers however, especially those who belong to the generation Y and Z are more attuned to the
latter because undeniably, it offers an array of information.
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In the course of browsing information, there are readers who find pleasure and satisfaction
in the text by enriching the information at hand, deliberately open the highlighted parts or links
of the text. However, some readers with the intention to further connect the information with a
similar narrative or issue thus making the reading material more comprehensible and meaningful.
Both practices cover the intertextuality and the hypertextuality of the content and the context of
the reading material.

WHAT IS A C O N T E X T ?

There is always an inspiration behind the writing of a text, and often, it leaves clues about the
situation or the reality that served as the backdrop of the text. This backdrop, this situation, this
reality is known as the context of the text.

When you consider context as you write things, be guided by the following reminders:

• If you are writing non-fiction—academic texts, historical narratives, argumentative essays,

position papers, etc.—you need to stick to the facts. Portray reality as it is. To do so, you
must conduct extensive research using scholarly references.

• When using context, try to represent several perspectives—by citing different sources.

• If you are writing fiction and aim to integrate your context into it, remember to not make
the tale too far off from h um an and worldly reality. Works like Harry Potter, The Lord of the
Rings, and Ibong Adarna, while they are fictional, have a lot of the h um an touch in them—
making them relevant to audiences.

1. HYPERTEXTUALITY

According to K . Amaral (2010), hypertextuality is simply a non-linear way of presenting

information. Rather than reading or learning about things in the order that an author, or
editor, or publisher sets out for u s , readers of hypertext may follow their own path, create
their own order-- their own meaning out the material.

This is accomplished by creating "links" between information. These links are provided so that
readers may "jump" to further information about a specific topic being discussed (which may
have more links, leading each reader off into a different direction). For instance, if you are
reading an article about marine mammal bioacoustics, you may be interested in seeing a
picture of a dolphin. Or you may want to hear the sound it makes (-80K). Or you may even be
interested in seeing what a marine mammal sound "looks like" in a spectrogram. You might
even want to find out more about sounds made by other animals in the sea, thus leading you
on a completely different, detailed path. As you can see by these examples, this medium is not
limited simply to text. It can incorporate pictures, sound, even video. So it presents a
multimedia approach to gaining information--hypermedia.

Moreover, hypertext is used because in general, humans learn better associatively. That is, we
are better able to figure out material if we are allowed to move at our own pace, investigating
that which interests u s , and stimulating more senses through multimedia.

According to Berthoff (1990), hypertext in the computer-facilitated writing class which

proceeds in a linear fashion is entirely appropriate when plowing a field or performing a
ceremony or doing the wash or carrying out any other task in which some things must come
before others, in which sequences are regulated or, as we say nowadays, "rule-governed." But
when we move from any suc h process to learning something new, to any act of making
meaning, to symbol making of any kind, these linear models will not serve.
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Hypertext is particularly useful as a way to introduce computer-mediated dialogic interaction

in any writing class because it can be applied in m u c h the same way in non-networked classes
and networked classes alike (both with and without access to the web). Thus, even computer-
facilitated classrooms which have no access to email (much less MU Ds or electronic discussion
groups) can move computer-facilitated pedagogy from simply using word-processors in class
to providing a collaborative, interactive mode of composition by using hypertext.

There are three main pedagogical benefits provided by the incorporation of hypertext in the
composition class:

1. Hypertext promotes dialogue.

2. Hypertext can be constructed as a collaborative medium, and it makes possible forms
of collaboration that emphasize the social construction of meaning.
3. Hypertext can be used in nearly any computer-facilitated classroom.

2. INTERTEXTUALITY

As defined by Michael Riffaterre (2010), intertextuality “depends on [a system of] limitations in

our freedom of choice, of choice, of exclusions, since it is by renouncing incompatible
associations within the text that we come to identify in the intertext their compatible
counterparts.” He further states that this intertextuality is the complete opposite of
hypertextuality because the former builds a “structured network” of limits that will keep the
reader on track (towards the “correct” interpretation), the latter is a “loose web of free
association”.

Intertextuality may also involve connections built on social meanings in which participants
make intertextual links in order to build social relationships or connections (Bloome & Egan-
Robertson, 1993). For example, participants in conversation may allude to shared experiences
to foster a social bond or an insider reference to exclude others. Participation in online chat
exchanges engages early-adolescents in using intertextual links to foster social interaction
(Beach & Lundell, 1997; Lewis & Fabos, 2000).

Another, intertextuality is a literary device that creates an “interrelationship between texts”

and generates related understanding in separate works (Intertextuality, 2015). These
references are made to influence that reader and add layers of depth to a text, based on the
readers’ prior knowledge and understanding.

Intertextual figures include: allusion, quotation, calque, plagiarism, translation, pastiche and
parody.

Fan fiction is a great example of intertextuality where authors enter the fictional world of other
authors and create their own stories.

Taylor Swift’s song “Love Story” makes intertextual references to Romeo and Juliet.

“Cause you were Romeo, and I was scarlet letter

And my daddy said stay away from Juliet”

The situation or context of the above lines was somewhat related to William Shakespeare’s
“Romeo and Juliet .” Thus, the singer-composer was inspired to compose a song connected to
this novel. This is where contextualization and intertextuality come in.
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However, a twist is observed in the singer’s composition. The novel presents a tragic ending
where both of the charters died whereas in the song “Love Story” depicts a happy ending.

“And said: “Marry me Juliet

You’ll never have to be alone
I love you and that’s all I really know
I talked to your dad, go pick out a white dress
It’s a love story baby just say yes”

TYPES O F INTERTEXTUALITY:

Intertextuality have different types. These are: Accidental, Obligatory and Optional.

1. Accidental intertextuality is when readers often connect a text with another text,
cultural practice or a personal experience, without there being any tangible anchor point
within the original text (John Fitzsimmons).

2. Obligatory intertextuality is when the writer deliberately invokes a comparison or

association between two (or more) texts. In this type, you have to have an understanding
of a prior hypotext before you can compare and contrast it with its subsequent piece of
work.

3. Optional intertextuality expresses the intention of the writer in paying homage to the
‘original’ writers, or rewarding those who have read the hypotext. The use of optional
intertextuality may be something as simple as parallel characters or plotlines.
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III. Engage

What I Learned
A. Directions: Fill out the chart below with the advantages and
disadvantages of both hypertext and intertext.

HYPERTEXT INTERTEXT
ADVANTAGES DISADVANTAGES ADVANTAGES DISADVANTAGES
 B. Directions: Read each selection below and identify whether such selection was enhanced
using hypertext or intertext. Write your answer on the blank provided before the item.
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1. Is it better to have loved and lost than to never have loved at all? My answer is
an absolute yes.

2. Most people would agree that some drugs are worse than others: heroin is
probably considered to be more dangerous than marijuana, for instance. Because governments
formulate criminal and social policies based upon clarifications of harm, a study published by the
Lancet on November 1, 2010, makes interesting reading.

3. "Hopscotch" , the novel of Julio Cortazar or the film "Run Lola, run" (1998, Tom
Tykwer) and "The butterfly effect" (2004, Eric Bress and J . Mackye Gruber).

4. As Nelson Mandela says, "Education is the most powerful weapon which you
can use to change the world." Education is the key to eliminating gender inequality, to reducing
poverty, to creating sustainable planet, preventing needless deaths and illness, and to fostering
peace. And in knowledge economy, education is the new currency by which nations maintain
economy competitiveness and global prosperity.

5. In 1941, Jorge Luis Borges created "The Garden of Forking Paths" a short story
that is often considered an inspiration for the concept of hypertext.