This module is eight unit course available in the second semester of the Second year of “Curso de Formação dos Professores Primários”. The course serves as a foundation course in the study of literary where it introduces the basic concepts of literature. The main aim of this course is to introduce students to various texts and sources in Children's Literature, and to give students the opportunity to discuss many genres, issues, and theories that pervade the field. Students will also, gain practice using various critical literary elements to analyze literature for children.

This module also aims to help you develop an approach to using literature in the language classroom by asking you to think about some of the issues and debates which have arisen on this subject. At the same time, this module aims to provide you with the tools for developing your own classroom materials and for using these materials in a way that is relevant to your learners. The tasks and activities in this module should provide you with certain generalizable procedures and techniques which you can then apply or adapt to your own setting.

This book does not contain enough exercises for classroom practice. Thus, most of activities will be found on the supplementary materials provided with this module.

Unit 1 Defining Literature

(4 lessons)

Introduction
The unit will cover basic fundamentals and general definition of literature.

Required Evidence
By the end of this unit trainees should be able to:

define literature
evaluate the different definitions of literature
give different forms/genres of literature.

Resources

Introduction;

WHAT IS LITERATURE

“literature is a body of writing by people using the same language.” ( Encyclopaedia Britannica) Apparently, the answer seems to be self-evident, yet the question gives rise to continuing debate. Thus, in order to get our learners familiarised with the basic concept of literature we have selected some definitions of literature and identify the common emphases.
Various definitions of literature

“Literature is a body of written works. The name has traditionally been applied to those imaginative works of poetry and prose distinguished by the intentions of their authors and the perceived aesthetic excellence of their execution. Literature may be classified according to a variety of systems, including language, national origin, historical period, genre, and subject matter.” Encyclopedia Britannica
Macmillan English Dictionary defines literature as “Stories, poems and plays, especially those that are considered to have value as art and not just entertainment.”
Gyasi (1973) defines literature in its broad sense as anything that is written.
Rees (1973) sees literature in its narrow sense as writing which expresses and communicates thought, feelings and attitudes towards life.

Looking at all the above definitions we can find certain things that are common to them. They all recognize the fact that:

Literature is imaginative
Literature expresses thoughts and feelings
Literature deals with life experiences
Literature uses words in a powerful, effective and yet captivating manner
Literature promotes recreation and revelation of hidden facts.
Literature is thus summed up as permanent expressions in words (Written or spoken), specially arranged in pleasing accepted patterns or forms. Literature expresses thoughts, feelings, ideas or other special aspects of human experiences.

Go to activity one in the Self-assessment

Summary of the Subject. We are now ready, if not to define, at least to understand a little more clearly the object of our present study. Literature is the expression of life in words of truth and beauty; it is the written record of man's spirit, of his thoughts, emotions, aspirations; it is the history, and the only history, of the human soul. It is characterized by its artistic, its suggestive qualities

- SECTION TWO
What Is Literary Form?

Literary form— It is the organization, arrangement, or framework of a literary work; the manner or style of constructing, arranging, and coordinating the parts of a composition for a pleasing or effective result.
Every literary form is the orderly method of arrangement and presentation of a literary work's parts or ideas; it is the course of its reasoning, its development, and the manner in which its elements are coordinated.
Thus, every literary form identified by literary specialists has a name or label which, by convention, has been accepted by most or all literary experts. Many of these names are familiar to the public and are used by critics, publishers, and others to help identify works for evaluation or for sale. For example: Poetry.
A Reggae of peace
A dove
Flying in the blue sky
Bringing with it
The Reggae of peace
To the world.
Peace
Like sunlight
And the rain
And the air we breathe
Is priceless.
Let there be peace
In the world.
By Angela Bilole( Breakfast of Sjamboks)
Various forms of literature are written in and further categorized by genre. Sometimes forms and genre are used interchangeably to define genre. However, a form, e.g., a novel or a poem, can itself be written in any genre. Genre is a label that characterizes elements a reader can expect in a work of literature. The major forms of literature can be written in various genres.
Some authors consider forms of literature as oral literature and written literature. In order to avoid this ambiguity I am going to use the common term used in literature “Genre”
Genre (French: “kind” or “sort”): A type or category of literature marked by certain shared features or conventions. The three broadest categories of genre include poetry, drama, and fiction. These general genres are often subdivided into more specific genres and subgenres. For instance, precise examples of genres might include murder mysteries, westerns, sonnets, lyric poetry, epics, tragedies, etc.
Literary Genres

Four genres of literature:
1. Prose fiction
- Myths, parables, romances, novels, short stories
2. Poetry
- Open form and closed form
- Relies on imagery, figurative language, sound
3. Drama
- Made up of dialogue and set direction
- Designed to be performed
4. Nonfiction prose
News reports, feature articles, essays, editorials, textbooks, historical and biographical works

Self-assessment

ACTIVITY 1
A group of students from UEM “ELT COURSE” were each asked to write down a definition of literature. As you read them, think about the following questions.
Are there any similarities between the definitions given here and the ones above?
Which definition(s) do you reject? Why?
Which definition conforms most closely to your idea of what literature is? Why?

A. Literature is ‘feelings’ and ‘thoughts’ in black and white.
B. Literature is the use of language to evoke a personal response in the reader or listener.
C. Literature is a world of fantasy, horror, feelings, visions . . . put into words.
D. Literature means . . . to meet a lot of people, to know other different points of view, ideas, thoughts, minds . . . to know ourselves better.
ACTIVITY 2
Every well-organized, well-written work of literature falls into a specific genre. Your teacher will give different kind of literary texts; identify them and name them based on what you have studied so far.

Key to exercises

Most of the answers depend on the resources presented by the teacher

Bibliography

Carter, Ronald and Nunan, David (2001) –Teaching English to Speakers of Other Languages- CUP

Gillian Lazar (1993) LITERATURE AND LANGUAGE TEACHING1 A guide for teachers and trainers2 CPU
Mkuti, LuKas, 1987 Breakfast of Sjamboks Zimbabwe Publishing House
Macua, Carlos and Tembe, Castigo Introduction Literature Module 1- Universidade Pedagogica
Macua, Carlos - Didactis of Literature - Universidade Pedagogica
WWW. literatureinthelanguageclassroomtheory-
Macmillan dictionary
Encyclopaedia Britanna
Detlor, Theda (2001) -Teaching with Aesop’s Fables- printed in USA

Unit 2 Literary and Non- Literary texts		Introduction In this unit we are going to look at the distinction between literary text and non-literary text.
Required Evidence By the end of this unit trainees should be able to: Distinguish literacy from non-literary texts.
Resources	Simple distinctions provide a starting point. Non-literary texts are found in newspapers, magazines, leaflets, advertisements plus popular nonfiction genres (informational, mass media etc.) Literary texts fall into several different genres all of which are characterized by their own purpose, together with those conventions that are proper to the genre. The conventions used in a specific literary text include, for example, literary techniques and elements, as well as rhetorical devices. Comparing Non-literary and Literary Text The substantial difference between the two is that whereas non-literary text is concerned with information, facts and reality, literary text comprises the world of the mind, i.e. ideas and feelings and is grounded on imagination. While non-literary texts are primarily about objects from the extra-linguistic reality, literary texts usually revolve around fictitious characters, being ontologically and structurally independent from the real world. Even though literary texts attempt to represent reality, they only imitate it at their best, which makes them mimetic in nature. This pre-determines some semantic specifics of these two text types under discussion: while non-literary texts are based on precision, reason and can be characterized by more or less logical argumentative progression, literary texts as the product of author’s imagination offer a breeding ground for vagueness of meaning, ambiguity and multiple interpretations. An important difference in lexis between the two textual genres also lies in the use of poetic language, so endemic to literary texts, abounding in metaphors, similes, personifications and other poetic devices which in a way make the language of literature truly specialized, too. However, in marked contrast to non-literary texts, no specialized subject matter knowledge is usually required for a literary text’s comprehension Non-literary text forms an independent part of a publication .Non-literary texts are informational writing: factual material, informational explanations, newspaper articles, textbooks, journal and diary entries, and so forth that are published in newspapers, Informative magazines current affairs news and educative articles. Non-literary composition uses facts and figures to proof a point. Examples of non-literary texts are personal diaries, current affairs news, journals, text books and articles. Non-literary composition is written objectively. Elements of Literary Works: There are at least four basic forms of literature: poetry, drama, and fiction and non-fiction prose. Many of the readings you confront in humanities courses take the form of non-fiction prose, and the kinds of questions we ask about literary texts can also be directed to many of the texts in those courses, which might be viewed as "literary" in a broad sense. Why do people write in these forms rather than in "ordinary" language? The purpose of literature, of course, goes beyond practical communication: it aims to evoke emotion, an atmosphere, a unique experience, moral or political conflicts and psychological development, with intensity beyond that attainable in everyday speech. Hence, when we look at literature, we need to consider not only the content, or what is said, but how this is conveyed. In other words, we stress the form of a text as much as its content. There are a number of strategies typically used in literature: symbolism, allegory, metaphor, irony, and the material connections of words as apparent in alliteration, assonance, rhyme and metre. The opposite of literal language is figurative language. Figurative language is language that means more than what it says on the surface. It usually gives us a feeling about its subject. Poets use figurative language almost as frequently as literal language. When you read poetry, you must be conscious of the difference. Otherwise, a poem may make no sense at all. Literal language is language that means exactly what is said. Here are some types of Figurative language and exercises Imagery Descriptive writing that appeals to the senses (sight, taste, touch, smell, and hearing). When a writer uses imagery, the descriptive writing helps create a picture or image in your mind. Imagery = Mental Image Example: The hot July sun cast an orange glare over the ocean waves. The cool waves crashed over my feet as we walked along the gritty sand. Activity Which of the following is another example of imagery? There is a white bird in the sky. The delicate white bird flew gracefully through the blue sky. I heard the birds and saw them flying.
	Simile Comparing two unlike things using “like” or “as” Example: She ran like the wind. Running and the wind are unlike things. When you compare the speed of running to the speed of the wind, you are using a simile. More examples: The snow was as thick as a blanket. She was as light as a feather. You are acting like a baby. He felt like a bug under a microscope. His temper was as explosive as a volcano. Activity Which of the following is NOT another example of a simile? He’s as messy as a pig when he eats. He eats like a pig. He is a pig. Metaphor vs. Simile The definition of a metaphor is similar to the definition of a simile but there is one important difference between the two. There will also be two parts to the definition of a metaphor. Remember the definition of simile has two parts: Two unlike things are being compared The words like or as are used to make the comparison Use the following examples to figure out the definition of metaphor. Simile: Nino is like a teddy bear. Simile: Nino is as soft as a teddy bear. Metaphor: Nino is a teddy bear. Simile: That boy is like a pig. Simile: That boy is as messy as a pig. Metaphor: That boy is a pig. Activity Which of the following is the correct definition for metaphor? Comparing two similar things by using like or as Comparing two similar things without using like or as Comparing two unlike things by using like or as Comparing two unlike things without using like or as Alliteration Take a look at the following examples of alliteration. You will later select the best definition for this figure of language. Macamo wore his blue and brown blazer. Matibedjane held his head high. Charles loves lemonade and lolly pops. Six swans went swimming in the sea. Have you figured it out yet? Here are more examples to help you refine your definition. Alliteration : Helena shook her silky silver hair as the sun was setting. NOT Alliteration: Elizabeth easily eyed an elephant in the elevator. Activity Which of the following is the best definition for alliteration? Repetition of beginning consonant sounds Repetition of beginning vowel sounds Repetition of ending consonant sounds Repetition of ending vowel sounds Think about what is repeating. Is it a consonant sound or a vowel sound? Is it at the beginning or end of the words? Other Figures of language are: Hyperbole is a major exaggeration or overstatement. Authors use this figure of speech to emphasize a point or add humor. Think about many times in a day you exaggerate what you say and use hyperbole. Onomatopoeia is a word that sounds like its meaning. It can also be described as the use of a word which imitates a sound. Other examples include: screech, whirr, sizzle, crunch, bang, pow, zap, roar, growl, click, snap, crackle, and pop. Personification is giving human traits or characteristics to something that isn’t human, such as animals, objects or non-living things Think of it this way: Definition: When a writer uses personification, he or she gives characteristics of a person to an animal, object or thing. Summary Alliteration: Repetition of beginning consonant sounds Hyperbole: A major exaggeration or overstatement Imagery: Descriptive writing that appeals to the senses Metaphor: Comparing two unlike things without using like or as Onomatopoeia: A word that sounds like its meaning Personification: Giving human traits or characteristics to something that isn’t human Simile: Comparing two unlike things using like or as
Key to exercises	Activity 1. The delicate white bird flew gracefully through the blue sky” is an example of imagery because it gives the reader a mental image by appealing to the senses. “He is a pig” is NOT a simile because even though it does compare two unlike things, it does not use the words like or as. Although similes and metaphors both compare unlike things, metaphor do not use the words like or as. Alliteration is the repetition of beginning consonant sounds, such as “ Six silly swans went swimming in the sea.” It’s important to note that not every word in the sentence has to begin with the same letter in order for it to be considered alliteration. In the above example, only 5 out of 8 words begin with an “s”.
Bibliography	Carter, Ronald and Nunan, David (2001) –Teaching English to Speakers of Other Languages- CUP Gillian Lazar (1993) LITERATURE AND LANGUAGE TEACHING1 A guide for teachers and trainers2 CPU Mkuti, LuKas, 1987 Breakfast of Sjamboks Zimbabwe Publishing House Macua, Carlos and Tembe, Castigo Introduction Literature Module 1- Universidade Pedagogica Macua, Carlos - Didactis of Literature - Universidade Pedagogica WWW. literatureinthelanguageclassroomtheory- Macmillan dictionary Encyclopaedia Britanna Detlor, Theda (2001) -Teaching with Aesop’s Fables- printed in USA

Unit 3 Elements of Fiction

Introduction
This part of the module will cover all important elements of fiction which shall help trainee to analyse a given text or book both for adults and children alike.
The unit will also provide basic tools for the production of simple fiction stories.

Required Evidence
By the end of this unit trainees should be able to:

Distinguish fiction from non-fiction written materials
Describe basic elements of fiction.
Analyze simple works of fiction
Produce simple pieces of fiction texts.

Activity 2 on page 19

Resources

Distinction between fiction and non-fiction written materials

Non-fiction consists of any material that is true and fiction is untrue. This statement best describes the difference between the above terms. Non-fiction normally involves real events that were performed by real people and also factual writing. Conversely, fictional writings or materials are only made-up things. More distinctions are as follows.
Whereas a writer uses his imagination to create fiction, any non-fiction material is not based on imagination but facts. As such, characters in non-fiction normally deal with authentic people, whereas fiction involves made up characters. This means if an event is supposed to have occurred in a real place, whether present or past, then it falls under non-fiction category. However, if a similar event is supposed to have occurred in a non-existing location, then that is fiction.
The purpose of non-fiction and fiction also varies. Fiction writings and movies are simply made for entertainment purposes, while non-fiction is made to be informative. Some of the examples of non-fictions include history books, journals and autobiographies of prominent people. Short stories, novels and most films are good examples of fictions. Many people like reading or watching fictional material as it is more interesting than non-fictional material.
Fiction writers are not restricted in their writing style as they aim to make their audience believe everything that they see or read. However, non-fiction writers do not have such a leeway. They are therefore supposed to create stories that are only based on facts without any kind of dedication to their audience. They simply elaborate on key views and ideas. Nonfiction writers cannot write about their imaginations.
In short, clarity and simplicity are very essential in all non-fiction materials. Conversely, fiction materials provide the chance for readers to make their own conclusions.
Activity
Are you reading any kind of fiction book or non-fiction? What is the title?

Elements of Nonfiction

In general the non-fiction has similar elements to the elements of fiction but with different purpose.

Purpose: Explains; Informs; Persuades; Describes; Entertains.
Subjects: Fact-based events; Real people; Real placesNarrator/Speaker
Author is always the speaker
Nonfiction: Autobiography/Biography/Essay Journalism/ News Speech Report
underlying meaning of the story is a universal truth, a significant statement the story is making about society, human nature, or the human condition.

Elements of Fiction

Plot

The Author's Role
Conflict
Setting
Mood
Plot Techniques
e.g. suspense, flashback, telescoping & foreshadowing
Theme
Symbolism
Point of View
A. Plot
Definition of Plot: Events that form a significant pattern of action with a beginning, middle and an end. They move from one place or event to another in order to form a pattern, usually with the purpose of overcoming a conflict. The plot is more formally called a narrative.
Elements of Plot:

1. Plot Line: a graph plotting the ups and downs of the central character's fortunes. A very conventional plot might look like the one above.
2. Exposition/Introduction – the start of the story, the situation before the action starts

Characters: Who are the central characters? What do they aspire to?
Setting: Where/when do the characters live? Does the setting contribute to the narrative?
Conflicts: What are the challenges facing the protagonist(s)? What are the conflict(s) that he or she (or they) will have to overcome?

The beginning is often called the introduction or exposition. By establishing the characters, setting and initial conflicts, the beginning sets the scene for the rest of the narrative.
Vicary’ opening line in Mutiny on the Bounty,
“It was a cold day in December, 1787. There was a strong wind and a green sea. Three men and a boy stood on the deck of little ship, HMS Bounty. Behind them, on the other hand, were some hills and small white houses. The ship moved slowly out to sea.”

Rising Action

The rising action is the longest part of a story.
In the rising action, one or more of the story’s characters work to resolve the conflict of the story.
The characters work through a series of events that makes it hard for the characters to get what they want.
Episodes: After the introduction, a story usually presents a series of separate events in the plot, building from one situation to the next. A new episode (or scene) begins when the place and time change, or when something really important interrupts what has been happening. With each successive episode, the conflict becomes more and more intense, demanding some sort of resolution.
Example: ‘thank you Captain,’ Otoo said. ‘You are welcome here. I must give the King of England something too. But he’s a very rich man. What would he like? Do you know?’
Bligh smiled. It was an important question. ‘my king is very rich, Otoo,’he said. ‘but we don't have any breadfruit trees in England. My king would like some, for his people in Jamaica. Can I take some on my ship?’
Otoo laughed. ‘Of course,’ he said. That’s easy! Take lots of them. My people can help you.’
The Bounty stayed at Tahiti for five months, and by March there were a thousand breadfruit trees on the ship. Tahitian children played on the ship, and in the evening s the sailors danced and sang with the women.
One morning, some sailors and Tahitan women took a ship’s boat to a different island . Bligh was very angry…’
Climax: the critical point at which the central character is about to win or lose all. When the probable outcome of the main conflict is finally revealed (i.e. the turning point), the story has reached its climax. In Mutiny on the Bounty, the climax occurs when the main character's “momentum” switches from failure to success. Beyond that point, the ending is inevitable. However, the climax does not mark the end of conflict; it only determines how the conflict will be decided. The climax usually occurs anywhere from 50% to 90% of the completed story.
Falling Action: Shows what happens to the character after The conflict is resolved.
Resolution: Gives the final outcome of the story. Can also reveal the Theme of the story.
Theme is the main idea or message about life the author wishes to express. Could be the moral or “point” of the story. Should be summarized into one sentence maximum. Implied theme must be inferred by considering all the elements of a story and asking what message about life is conveyed.
Look at the two sentences

The courage people can show under great pressure.
Ordinary people are capable of showing great courage under great pressure.

Sentence A is not a theme but it is the subject or a thing. Sentence B is a theme because it expresses a point of view

Types of Plot

Boy meets girl
Man vs. Man
Man vs. Self
Man vs. Nature
Man vs. Civilization
Point of View: The vantage point from which a story is told. It reveals who tells the story and what that narrator can “see” or how the narrator or the characters “see” the story.
First-person point of view: When the narrator is one of the characters and calls himself or herself “I.”
This point of view often helps readers identify with the narrator.
Second-person point of view: When the story is written as if the reader is one of the characters and is the “you” referred to in the story.
Third-person point of view: When the narrator is a storyteller who isn’t part of the story.
A limited third-person narrator reveals the thoughts and feelings of only one character. It’s as if the storyteller is perched on one character’s shoulders and can see inside the character’s head.
An omniscient (all knowing) third person narrator reveals the thoughts and feelings of several characters. It’s as if the story teller can fly around, seeing what goes on everywhere, and looking into several characters’ minds.

Characters

Protagonist: The main character
This is not always a heroic person. They can have good and bad characteristics, or they can have all negative characteristics.
Antagonist: The character who opposes the protagonist
Activites

Idendentify all the elements of fiction in this short story:

Cindirella

Once upon a time, there was a beautiful girl named Cinderella. She lived with her wicked stepmother and two stepsisters. They treated Cinderella very badly. One day, they were invited for a grand ball in the king’s palace. But Cinderella’s stepmother would not let her go. Cinderella was made to sew new party gowns for her stepmother and stepsisters, and curl their hair. They then went to the ball, leaving Cinderella alone at home.
Cinderella felt very sad and began to cry. Suddenly, a fairy godmother appeared and said, “Don’t cry, Cinderella! I will send you to the ball!” But Cinderella was sad. She said, “I don’t have a gown to wear for the ball!” The fairy godmother waved her magic wand and changed Cinderella’s old clothes into a beautiful new gown! The fairy godmother then touched Cinderella’s feet with the magic wand. And lo! She had beautiful glass slippers! “How will I go to the grand ball?” asked Cinderella. The fairy godmother found six mice playing near a pumpkin, in the kitchen. She touched them with her magic wand and the mice became four shiny black horses and two coachmen and the pumpkin turned into a golden coach. Cinderella was overjoyed and set off for the ball in the coach drawn by the six black horses. Before leaving. the fairy godmother said, “Cinderella, this magic will only last until midnight! You must reach home by then!”
When Cinderella entered the palace, everybody was struck by her beauty. Nobody, not even Cinderella’s stepmother or stepsisters, knew who she really was in her pretty clothes and shoes. The handsome prince also saw her and fell in love with Cinderella. He went to her and asked, “Do you want to dance?” And Cinderella said, “Yes!” The prince danced with her all night and nobody recognized the beautiful dancer. Cinderella was so happy dancing with the prince that she almost forgot what the fairy godmother had said. At the last moment, Cinderella remembered her fairy godmother’s words and she rushed to go home. “Oh! I must go!” she cried and ran out of the palace. One of her glass slippers came off but Cinderella did not turn back for it. She reached home just as the clock struck twelve. Her coach turned back into a pumpkin, the horses into mice and her fine ball gown into rags. Her stepmother and stepsisters reached home shortly after that. They were talking about the beautiful lady who had been dancing with the prince.
The prince had fallen in love with Cinderella and wanted to find out who the beautiful girl was, but he did not even know her name. He found the glass slipper that had come off Cinderella’s foot as she ran home. The prince said, “I will find her. The lady whose foot fits this slipper will be the one I marry!” The next day, the prince and his servants took the glass slipper and went to all the houses in the kingdom. They wanted to find the lady whose feet would fit in the slipper. All the women in the kingdom tried the slipper but it would not fit any of them. Cinderella’s stepsisters also tried on the little glass slipper. They tried to squeeze their feet and push hard into the slipper, but the servant was afraid the slipper would break. Cinderella’s stepmother would not let her try the slipper on, but the prince saw her and said, “Let her also try on the slipper!” The slipper fit her perfectly. The prince recognized her from the ball. He married Cinderella and together they lived happily ever after.

Select as many Short story as you and practice to identify the elements of fiction

Key to exercises

Activity 1

The setting in “Cinderella” The story takes place a long time ago in a land ruled by a king and a queen.
Characters in “Cinderella” The main characters are Cinderella, the stepsisters, their mother, the fairy godmother, and the prince. Protagonist : Cinderella Antagonist : the stepsisters, their mother
Point of View Point of view: Cinderella is told through the third-person omniscient point of view.
The theme of “Cinderella” is implied. The reader can infer the message that if you are in a bad situation, you should do the best that you can. In the end, things will work out for you.
Problem and Conflict in “Cinderella” Problem : Cinderella wants to go to the ball, but her stepsisters prevent her from going.
The 5 Stages of plot in Cinderella Cinderella lives with her stepsisters and their mother. they make her wear rags and do all the hard work. An invitation to the ball arrives. A fairy godmother appears and provides Cinderella with clothes, a coach, and footman. The stepsisters go to the ball. Cinderella goes to the ball. Cinderella dances with the prince, but leaves hurriedly at midnight; losing a slipper The prince says he will marry the woman whom the slipper fits. The stepsisters try to force their feet into the slipper. It fits Cinderella. Cinderella and the prince marry. They live happily ever after. CLIMAX EXPOSITION RISING ACTION FALLING ACTION RESOLUTION

Bibliography

Carter, Ronald and Nunan, David (2001) –Teaching English to Speakers of Other Languages- CUP

Gillian Lazar (1993) LITERATURE AND LANGUAGE TEACHING1 A guide for teachers and trainers2 CPU
Mkuti, LuKas, 1987 Breakfast of Sjamboks Zimbabwe Publishing House
Macua, Carlos and Tembe, Castigo Introduction Literature Module 1- Universidade Pedagogica
Macua, Carlos - Didactis of Literature - Universidade Pedagogica
WWW. literatureinthelanguageclassroomtheory-
Macmillan dictionary
Encyclopaedia Britanna
Detlor, Theda (2001) -Teaching with Aesop’s Fables- printed in USA

Unit 4 Assessment

Introduction

Required Evidence
Measure level of knowledge acquired so far

Key to exercises

Bibliography

Unit 5

Children´s Literature

Introduction
The second half of the module comprises a wider unit which should cover major aspects of children´s literature.
The unit explores the four main elements literature for young language learners, namely, prose, poetry, rhymes and storytelling.
The unit is meant to be more practical so that trainee is not only taught the theoretical part (definitions, etc.) but is also provided with material to be used later in the classroom with children.

Required Evidence

Distinguish relevant elements of children´s literature.
Select adequate literary materials for children.
Introduce children to prose, poetry, rhymes and storytelling.
Promote reading amongst young learners.

Encourage young learners to write simple stories/tales/poetry.

Resources

SECTION ONE

Children´s Literature

Children's literature or juvenile literature includes stories, books, and poems that are enjoyed by children. Modern children's literature is classified in two different ways: genre or the intended age of the reader.
One can trace children's literature back to stories and songs, part of a wider oral tradition that adults shared with children before publishing existed. Even after printing became widespread, many classic “children's” tales were originally created for adults and later adapted for a younger audience. Since the 1400s, a large quantity of literature, often with a moral or religious message, has been aimed specifically at children. The late nineteenth and early twentieth centuries became known as the “Golden Age of Children's Literature” as this period included the publication of many books acknowledged today as classics.

Thus we can define children’s literature based on its targeted audience, namely children and young adults.
These books and poems will share the following characteristics:

The texts imply an audience of child readers and address them in ways that make their being young a matter of significance
Their style is simple, especially in comparison to texts targeted for adults.
A focus on actions, namely straightforward reports of what people do and say, not much detailed descriptions of people, places, or emotions.
The protagonists of these narratives are either children or childlike animals or adults.
The texts are focalized through their child or childlike protagonists and thus offer a childlike view of the events described.
While the focalization is childlike, the texts are not first-person narratives. They report the protagonists’ perceptions by means of third-person narrators who often report or imply perceptions at odds with those of the protagonist.
Since the narrator is presumably an adult (like the adults who write the narratives intended for children), the texts tend to offer two different points of view, one childlike and one adult. In being different and often opposite, the two points of view imply a conflict between childlike and adult perceptions and values.
The texts deal centrally with questions of desire, as well as with questions of knowledge: what children or other childlike beings want and whether or not it is wise to want it; also, what adults want children to be (or to seem). As a result, they often depict the good or bad consequences of children’s wishes being fulfilled; and they often report “happy endings” that represent adults’ wishes for children being fulfilled.

Folklore is a collection of fictional tales about people and/or animals. Folktales describe how the main character copes with the events of everyday life, and the tale may involve crisis or conflict. Superstitions and unfounded beliefs are important elements in the folklore tradition.
Fairy Tales are stories that tell of miraculous and fantastic happenings..
Characters The main character in fairy tales are often supernatural and can do all sorts of extraordinary things
Characters These beings could be creatures such as fairies, goblins, elves, giants, trolls, leprechauns, witches, and wizards.
Settings Fairy Tales can take place anywhere at any time.
Examples of Fairy Tales Sleeping Beauty The Three Little Pigs Cinderella Hansel and Gretel Jack and the Beanstalk.
Fables are short, fictional stories. They often have animals as the main characters. Fables also have a moral, or lesson, that is taught.
A tall tale is a fictional story that stretches the truth. The heroes of tall tales are "larger than life.“
Sometimes the heroes in a tall tale are completely made up. Sometimes they are based on an actual person who really lived.

Four things all Tall Tales Have in Common

The main character has a regular job but is larger-than-life or superhuman in his or her abilities.
The character has a problem or problems that he or she solves in a funny way
Details in the story are exaggerated beyond belief.
The characters use everyday language and are like common people in behavior.

ACTIVITIES
Select as many as many Fairy Tales, Fables, Folktales and Tall Tales as you can a practice filling in the table below.

BEGINNING, MIDDLE, AND ENDING

BEGINNING	MIDDLE	ENDING
Once upon a time...	First Then Next After that Finally	They lived happily ever after.

SECTION TWO
Introduction

Children sometimes struggle to grasp the elements of poetry because there are so many different types of poetry. It may help your child if you break basic poetry down into elements of style and prose so your child understands what makes a poem a poem instead of a story or a song.

Poetry Tips

When teaching your children about poetry, encourage them to try the following suggestions:

Choose a style of poetry the child understands and believes she can master.
Find an example poem for the child to refer to while working on his own poem.
Keep a list of poetry terms and definitions available for reference.
Choose a topic the child enjoys. Humorous poems appeal to most children, as do poems about actual experiences.
Encourage the child to illustrate the poem. Sometimes the illustration process will inspire additional prose or tweaking of the written words.

Elements Of Poetry FORM SOUND DEVISES IMAGERY MOOD/TONE THEME
Poetry: Poetry is a form of writing that uses not only words, But also form, Patterns of sound, Imagery, And figurative language To convey the message.
Poems are divided into lines. Many poems, especially longer ones, may also be divided into groups of lines called stanzas. Stanzas function like paragraphs in a story. Each one contains a single idea or takes the idea one step further.

The wind was a torrent of darkness,

among the gusty trees.

The moon was a ghostly galleon

tossed upon cloudy seas.

The road was a ribbon of moonlight

over the purple moor,

And the highwayman came riding

- Riding – riding –

The highwayman came riding up to

the old inn door. Sets the scene

Rhythm: The pattern of beats or stresses in a poem. Poets use patterns of stressed and unstressed syllables to create a regular rhythm.
RHYME: The repetition of the same or similar sounds, usually in stressed syllables at the ends of lines, but sometimes within a line. There are strange things done in the midnight sun By the men who moil for gold;
Try beating out the rhythm with a finger as you read these lines.

She was a child and I was a child,

In this kingdom by the sea;

But we loved with a love that was

more than love –

I and my Annabel Lee;

Poems use the same Figure od Language mentioned above
SECTION THREE

Do's

Begin reading to children as soon as possible. The younger you start them, the better.
Use Mother Goose rhymes and songs to stimulate the infant's language and listening. Simple but boldly colored picture books arouse children's curiosity and visual sense.
Read as often as you and the child (or class) have time for.
Try to set aside at least one traditional time each day for a story. In my home, favorite story times are before going to bed and before leaving for school.
Remember that the art of listening is an acquired one. It must be taught and cultivated gradually - it doesn't happen overnight.
Picture books can be read easily to a family of children widely separated by age. Novels, however, pose a problem. If there are more than two years between children, each child would benefit greatly if you read to him or her individually. This requires more effort on the part of the parents but it will reap rewards in direct proportion to the effort expended. You will reinforce the specialness of each child.
Start with picture books and build to storybooks and novels.
Vary the length and subject matter of your readings.
Follow through with your reading. If you start a book, it is your responsibility to continue it - unless it turns out to be a bad book. Don't leave the child or class hanging for three or four days between chapters and expect their interest to be sustained.
Occasionally read above the children's intellectual level and challenge their minds.
Avoid long descriptive passages until the child's imagination and attention span are capable of handling them. There is nothing wrong with shortening or eliminating them. Pre-reading helps to locate such passages and they can them be marked with a pencil in the margin.
If your chapters are long or if you don't have enough time each day to finish an entire chapter, find a suspenseful spot at which to stop. Leave the audience hanging; they'll be counting the minutes until the next reading.
Allow your listeners a few minutes to settle down and adjust their feet and minds to the story. If it's a novel, you might begin by asking if anyone remembers what happened when you left off yesterday. Mood is an important factor in listening. An authoritarian "Now stop that and settle down! Sit up straight. Pay attention!" is not conducive to a receptive audience.
If you are reading a picture book, make sure the children can see the pictures easily.
Remember that even sixth-graders love a good picture book now and then.
Allow time for discussions after reading a story. Thoughts, hopes, fears and discoveries are aroused by a book. Allow them to surface and help the child deal with them through verbal, written or artistic expression if the child is so inclined. Do not turn discussions into quizzes or insist upon prying story interpretations from the child.
Remember that reading aloud comes naturally to very few people. To do it successfully and with ease you must practice.
Use plenty of expression when reading. If possible, change your tone of voice to fit the dialogue.
Adjust your pace to fit the story. During a suspenseful part, slow down, draw your words out, bring your listeners to the edge of their chairs.
The most common mistake in reading aloud - whether the reader is a 7-year-old or a 40-year-old - is reading too fast. Read slowly enough for the child to build mental pictures of what he just heard you read. Slow down enough for the children to see the pictures in the book without feeling hurried. Reading quickly allows no time for the reader to use vocal expressions.
Preview the book by reading it to yourself ahead of time. Such advance reading allows you to spot material you may with to shorten, eliminate or elaborate on.
Bring the author to life, as well as the book. Either before or during the reading, tell your audience something about the author. Let them know that books are written by people, not machines.
Add a third dimension to the book whenever possible. For example: Have a bowl of blueberries ready to be eaten during or after the reading of Robert McCloskey's Blueberries for Sal; bring a harmonica and a lemon to class before reading McCloskey's Lentil; buy a small plastic cowboy and Indian for when you read The Indian in the Cupboard by Lynn Reid Banks.
When children are old enough to distinguish between library books and your own, start reading with a pencil in hand. When you and your child encounter a passage worth remembering, put a small mark - maybe a star - in the margin. Readers should interact with books and one way is to acknowledge beautiful writing.
Reluctant readers or unusually active children frequently find it difficult to just sit and listen. Paper, crayons and pencils allow them to keep their hands busy while listening.
Fathers should make an extra effort to read to their children. Because 98 percent of primary-school teachers are women, young boys often associate reading with women and schoolwork. And just as unfortunately, too many fathers prefer to be seen playing catch in the driveway with their sons than taking them to the library. It is not by chance that most of the students in remedial reading classes are boys. A father's early involvement with books and reading can do much to elevate books to at least the same status as baseball gloves and hockey sticks in a boy's estimation.
Regulate the amount of time your children spend in front of the television. Excessive television viewing is habit-forming and damaging to a child's development.
Arrange for time each day - in the classroom or in the home - for the child to ready by himself (even if "read" only means turning pages and looking at pictures). All your read-aloud motivation goes for naught if the time is not available to put it into practice.
Lead by example. Make sure your children see you reading for pleasure other than at read-aloud times. Share with them your enthusiasm for whatever you are reading.

Don'ts

Don't read stories that you don't enjoy yourself. Your dislike will show in the reading, and that defeats your purpose.
Don't continue reading a book once it is obvious that it was a poor choice. Admit the mistake and choose another. Make sure, however, that you've given the book a fair chance to get rolling; some start slower than others. (You can avoid the problem by prereading the book yourself.)
Consider the intellectual, social and emotional level of your audience in making a read-aloud selection. Challenge them, but do not overwhelm them.
Don't read above a child's emotional level.
Don't select a book that many of the children already have heard or seen on television. Once a novel's plot is known, much of the interest is lost. You can, however, read a book ahead of its appearance on television or at the movies. Afterwards, encourage the children to see the movie. It's a good way for them to see how much more can be portrayed in print than on the screen.
Don't be fooled by awards. Just because a book won an award doesn't guarantee that it will make a good read-aloud. In most cases, a book award is given for the quality of the writing, not for its read-aloud qualities.
Don't start a reading if you are not going to have enough time to do it justice. Having to stop after one or two pages only serves to frustrate, rather than stimulate, the child's interest in reading.
Don't get too comfortable while reading. A reclining position is bound to bring on drowsiness, and a slouching position produces similar effects because the lungs can't easily fill to capacity.
Don't be unnerved by questions during the reading, particularly from very young children. Answer their questions patiently. Don't put them off. Don't rush your answers. There is no time limit for reading a book but there is a time limit on a child's inquisitiveness. Foster that curiosity with patient answers - then resume your reading.
Don't impose interpretations of a story upon your audience. A story can be just plain enjoyable, no reason necessary. But encourage conversation about the reading. Only seven minutes out of 150 instructional minutes in the school day are spent on discussions between teacher and students.
Don't confuse quantity with quality. Reading to your child for 10 minutes, given your full attention and enthusiasm, may very well last longer in the child's mind than two hours of solitary television viewing.
Don't use the book as a threat - "If you don't pick up your room, no story tonight!" As soon as the child sees that you've turned the book into a weapon, they'll change their attitude about books from positive to negative.
Don't try to compete with television. If you say, "Which do you want, a story of TV?" they will usually choose the latter. That is like saying to a 9-year-old, "Which do you want, vegetables or a donut?" Since you are the adult, you choose. "The television goes off at eight-thirty in this house. If you want a story before bed, that's fine. If not, that's fine, too. But no television after eight-thirty." But don't let books appear to be responsible for depriving the children of viewing time.

ACTIVITIES
Writing your own story
Before reading any further, cover all of the boxed paragraphs with a piece of paper. You are going to read these paragraphs, which are extracts from a short story, one at a time. At each stage of the reading ask yourself the following questions as a guide to making links between the separate paragraphs:
Who?
Why?
What?
How?
Begin by moving your sheet of paper to the end of the first box and reading the first paragraph. Then ask yourself the questions above, using your imagination to answer them. Move your sheet of paper down to the next paragraph, and ask yourself the same questions. Do this until you have read all the paragraphs and completed the activity.

She sat at the window watching the evening invade the avenue. Her head was leaned against the window curtains, and in her nostrils was the odour of dusty cretonne. She was tired.

She had consented to go away, to leave her home. Was that wise? She tried to weigh each side of the question.

She was about to explore another life with Frank.

The white of two letters in her lap grew indistinct. One was to Harry; the other was to her father.

1. How do you think the story is going to end?

The rest of Activities come in the books of activities attached to this book

Key to exercises

Bibliography

Carter, Ronald and Nunan, David (2001) –Teaching English to Speakers of Other Languages- CUP

Gillian Lazar (1993) LITERATURE AND LANGUAGE TEACHING1 A guide for teachers and trainers2 CPU
Mkuti, LuKas, 1987 Breakfast of Sjamboks Zimbabwe Publishing House
Macua, Carlos and Tembe, Castigo Introduction Literature Module 1- Universidade Pedagogica
Macua, Carlos - Didactis of Literature - Universidade Pedagogica
WWW. literatureinthelanguageclassroomtheory-
Macmillan dictionary
Encyclopaedia Britanna
Detlor, Theda (2001) -Teaching with Aesop’s Fables- printed in USA

Unit 6 Assessment		Introduction
Required Evidence Measure level of knowledge acquired so far
Resources
Key to exercises
Bibliography

Unit 7 Methodological Approach to using Literature in the language Class		Introduction In this unit trainees will be exposed to teaching children´s literature methods necessary for the implementation of the above.
Required Evidence By the end of this unit trainees should be able to: Use the four major literary genres in a young learner’s language classroom both to enhance and diversify of his /her lessons.
Resources	SECTION ONE 1. A language-based approach Studying the language of the literary text will help to integrate the language and literature syllabuses more closely. Detailed analysis of the language of the literary text will help students to make meaningful interpretations or informed evaluations of it. At the same time, students will increase their general awareness and understanding of English. Students are encouraged to draw on their knowledge of familiar grammatical, lexical or discourse categories to make aesthetic judgments of the text. SELECTION AND ORGANISATION OF MATERIAL Material is chosen for the way it illustrates certain stylistic features of the language but also for its literary merit. 2. Literature as content This is the most traditional approach, frequently used in tertiary education. Literature itself is the content of the course, which concentrates on areas such as the history and characteristics of literary movements; the social, political and historical background to a text; literary genres and rhetorical devices, etc. Students acquire English by focusing on course content, particularly through reading set texts and literary criticism relating to them. The mother tongue of the students may be used to discuss the texts, or students may be asked to translate texts from one language into the other. SELECTION AND ORGANISATION OF MATERIAL Texts are selected for their importance as part of a literary canon or tradition. 3. Literature for personal enrichment Literature is a useful tool for encouraging students to draw on their own personal experiences, feelings and opinions. It helps students to become more actively involved both intellectually and emotionally in learning English, and hence aids acquisition. Excellent stimulus for group work. SELECTION AND ORGANISATION OF MATERIAL Material is chosen on the basis of whether it is appropriate to students’ interests and will stimulate a high level of personal involvement. Material is often organized thematically, and may be placed alongside non-literary materials which deal with a similar theme. SECTION ONE Here are some of the techniques for teaching Short stories or Prose Pre-reading activities 1. Helping students with cultural background 2. Stimulating student interest in the story 3. Pre-teaching vocabulary While-reading activities 1. Helping students to understand the plot 2. Helping students to understand the characters 3. Helping students with difficult vocabulary 4. Helping students with style and language Post-reading activities 1. Helping students to make interpretations of the text 2. Understanding narrative point of view 3. Follow-up writing activities 4. Follow-up fluency practice Here are some of the techniques for teaching Poetry some of the distinctive features of poetry as well as ways of using poetry in the language classroom. Putting a poem back together again It involves the reordering of the lines of a poem. Making decisions about the correct order of the lines in the poem above involves far more than comprehension of meaning. It involves drawing on your knowledge and experience of the way poetry is structured. Dealing with distinctive features It is useful to identify these features because by doing so we might be able to help our students grapple with certain problems they may encounter when reading poetry. It will also enable us to decide how poetry can be of value to the language learner. Summary of the procedures to help students understand figurative meanings
Key to exercises
Bibliography	Carter, Ronald and Nunan, David (2001) –Teaching English to Speakers of Other Languages- CUP Gillian Lazar (1993) LITERATURE AND LANGUAGE TEACHING1 A guide for teachers and trainers2 CPU Mkuti, LuKas, 1987 Breakfast of Sjamboks Zimbabwe Publishing House Macua, Carlos and Tembe, Castigo Introduction Literature Module 1- Universidade Pedagogica Macua, Carlos - Didactis of Literature - Universidade Pedagogica WWW. literatureinthelanguageclassroomtheory- Macmillan dictionary Encyclopaedia Britanna Detlor, Theda (2001) -Teaching with Aesop’s Fables- printed in USA

Unit 8 Assessment		Introduction
Required Evidence Measure level of knowledge acquired so far
Resources
Key to exercises
Bibliography

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REPÚBLICA DE MOÇAMBIQUE

WHAT IS LITERATURE

What Is Literary Form?

Literary Genres

Unit 2 Literary and Non- Literary texts

Comparing Non-literary and Literary Text

Elements of Literary Works:

Alliteration

Summary

Unit 3 Elements of Fiction

Distinction between fiction and non-fiction written materials

Elements of Nonfiction

Elements of Fiction

Plot

Rising Action

Characters

Unit 4 Assessment

Unit 5

Children´s Literature

Four things all Tall Tales Have in Common

Unit 6 Assessment