0. Introduction.
Even at the early stages students can in fact do a great deal with the language: identifying
sounds; produce them orally; recognize then in a text. In short, even the very beginners can do
something with the language. We must build from that point by adding input which is neither
too advanced, nor too easy.
Cinema, music and literature are rich and motivating materials. If we manage to know
how to select and to present content in such a way that it will both challenge and motivate
them.
Our curriculum establishes two general aims which are related this topic. They read as
follows:
Objectives Assessment criteria
1. To understand easy written and oral texts... 7. To read with the help of the teacher...
4. To read short and easy texts...
According to this it is clear that we can and, it is possible, we should use literature in our
classroom. The general aim of our approach to the teaching of literature is to let our pupils
derive the benefits of communicative activities for language improvement within the context
of suitable works of literature.
We may find three types of justification for using literary texts. Each one deals with a
different type of content:
Concepts: literary texts offer genuine samples of a wide range of styles,
register and text-types, they provide a rich context in which individual
lexical or syntactical items are made more memorable.
Skills or procedures: the opinion gap between one pupils interpretation and
anothers can be bridged by genuine interaction.
Attitudes: the genuine feeling of literary texts is a powerful motivator.
When selecting a work of literature we must bear in mind that we want our pupils
engage interactively with the text, with classmates, and with us, the teachers. To reach this we
must follow these guidelines:
a) The text itself, and not information about it, is of central importance.
b) Our pupils must genuinely interact with the text, their classmates and
the teacher and not be mere recipients.
c) Our activities must be designed so as to enable our pupils to share
their personal experiences, perceptions and opinions.
d) Our activities must be varied and interesting.
e) The selection must be based on their potential interest for our pupils
and not in the literary qualities of the works.
1.2. Storybooks.
1. Criteria for selecting storybooks.
We can find many simplified storybooks which have been graded with children learning
English in mind. Most authors, however, consider that the use of authentic materials can be
more fruitful (real language and motivation). We can also find authentic books with high-
quality illustrations which will play an important role in aiding comprehension.
Our youngest pupils, those in the second cycle, will not be able to read at this speed in
English so we must use short, simple texts with illustrations. We can also use reading
techniques to improve our pupils reading speed. These are normally divided into technical
or practice methods.
Technical methods: use a device of some kind to cover up the written words
as our pupils read, forcing them to speed up their reading. These methods
may be more useful for the Spanish language classroom.
Practice methods are more suitable for the English class our oldest pupils,
as the texts they are able to cope with begin to increase in size, e.g. texts
followed by certain tasks, decrease the time allowed for reading.
Therefore, if both sentence structure and vocabulary must be at a level they can
understand, we will not be able to use classic children storybooks masterpieces. In fact the
only type of classic childrens literature we can use will be rhymes and songs. We must
use modern storybooks with simple, short texts and meaningful illustrations.
Given the problems that lexical and structural difficulty pose, we may need to assess
linguistic difficulty in a systematic way. From the point of view of EFL it would be better,
as Hill suggests to use a cloze test:
Stylistic level.
The use of unusual word order, divergent vocabulary, and son will produce
instances of foreground that cannot be appreciated if we do not have a solid
knowledge of what constitutes the linguistic norm.
It is useless therefore to choose texts of great stylistic complexity for the early
stages of language learning. Style analysis should be based on the linguistic features
with which our pupils are already familiar.
It is clear that our pupils limited knowledge of the world will not allow us to expand
on most of these topics. Once and again we can obviously see that the linguistic, stylistic
and background knowledge which is required for a fully understanding of most classic
childrens literature works is far beyond our pupils ken. Modern storybooks are also
more suitable from needed background knowledge point of view.
e) Conclusions.
The study of the previous sections enables us to come to the following conclusions
about the most suitable periods, literary genres and authors.
Once we have decided on the previous questions we can begin to plan a story-based
lesson:
Planning story-based lessons.
There are many ways to plan a lesson. However, a predominantly oral lesson normally
follows quite a fixed plan with small variations. We may have for example:
- Warm-up and review: informal chat to maintain rapport with our pupils.
We remind our pupils of what we did during the last lesson.
- Presentation: both of the aims of the lessons and subsequently of the new
language.
- Practice: controlled stage.
- Production: communicative stage.
- Final rounding-up.
2. Types of storybooks.
There is a wide range of texts that we could use for the teaching of English. However, we
consider storybooks as one of the most useful for that purpose, hence, we will mainly focus
on this type.
We have also made distinctions based on the level of difficulty but it is even more
important to distinguish between authentic and graded or adapted texts. We prefer to use
authentic texts if this is not possible, at least we should use real-simulated texts giving
suggestions to adapt too difficult texts.
Nunan describes authenticity as follows authentic materials are usually defined as those
which have been produced for purposes other than to teach language (video clips, recordings
of authentic interactions, extracts for TV).
Authentic materials are easily justified on the grounds that specially scripted texts are
artificial. Manipulating these texts does not mean that our pupils will comprehend and
manipulate language in real communicative situations.
However, especially with our pupils, who are beginners, it may be necessary to edit
authentic materials in a way. Edited materials can be classified into simulated authentic and
artificial.
A non-authentic text, in language teaching terms, is one that has been designed especially
for learners (Harmer). We can make a distinction here, however, between texts which have
been made to illustrate particular language points for presentation (artificial) and those which
appear to be authentic.
Manipulating and comprehending simulated authentic texts will help our pupils to acquire
the necessary skills they will need when they come to handle authentic material. So we can
conclude saying that the material designed to foster the acquisition of communicative
competence must at least be simulated authentic.
We will finally see how we can adapt authentic texts which are slightly above our pupils
level.
ADAPTING STORIES
Vocabulary and 1. Check unfamiliar content or words.
general meaning. 2. Check idioms.
3. Check clarity
Grammar. 1. Check tenses.
2. Check use of structures.
3. Check word order.
Organization of ideas. 1. Check sentence length and complexity.
2. Check time references.
3. Check the way ideas are linked.
4. Check the way ideas are explained.
Story length. 1. Check the number of ideas in the story.
By following the previous criteria of selection and use of storybooks we will intend to
make the most of literature in the classroom.
3. Bibliography.
Childrens literature:
The Cambridge Guide to English literature. CUP. Cambridge, 1990.
Methodology:
ELLIS, G. and BREWSTER, J.: The storytelling Handbook for Primary
Teachers. Penguin. London, 1991.
WELL-LOVED TALES SERIES: Loughborough: Ladybird Books, 1974.