LESSON PLAN of Literature
LESSON PLAN of Literature
LESSON PLAN of Literature
INTRODUCTION
The inclusion of literary works in ESL/EFL classes has attracted more interest among
teachers, and more and more studies on how to use literature in EFL/ESL classes are
conducted. This interest in using literature in language teaching lies in three
interrelated elements: authenticity, culture and personal growth. First of all, literary
texts can be more beneficial than informational materials in stimulating the
acquisition process as they provide authentic contexts for processing new language.
Since literary texts contain language intended for native speakers, literature stands as
a model for language learners to become familiar with different forms and
conventions (Collie and Slater, 1991, 4; Ur, 1996, 201). Containing real examples of
grammatical structures and vocabulary items, the literary texts raise learners
awareness of the range of the target language and advance their competence in all
language skills (Povey, 1967). Second, using literature in language teaching has the
advantage of providing cultural information about the target language. Literary texts
increase foreign language learners insight into the country and the people whose
language is being learnt (Collie and Slater, 1991), which fosters learners ability to
interpret discourse in different social and cultural target language contexts (Savvidou,
2004). Finally, since literature enables students to understand and appreciate other
cultures, societies and ideologies different from their own, it encourages personal
growth and intellectual development (Carter and Long, 1991, 2-4).
LITERATURE REVIEW
What is Literature?
According to Boas (1931) literature is the record of experience interpreted by
personality that behind every book which the race has preserved is a human being s
eager effort to give life meaning, to create beauty, to express vivid emotions and
ideas, to make men aware of themselves and the life they lead. The above extract
presents an integrated meaning of the value and the importance of literature.
Why use Literature?
1. Motivating material:
Literature exposes students to complex themes and fresh, unexpected uses of
language. A good novel or short story can take the students to foreign countries and
fantastic worlds. A play or a poem can bring up certain dilemmas and powerful
emotional responses. All this can be transposed to their real lives.
2. Access to cultural background:
Literature can provide students with access to the culture of the people whose
language they are studying.
3. Encouraging language acquisition:
Obviously, at lower levels, students may be unable to cope on their own with an
authentic novel or short story in English. Any extensive reading we encourage them
to do outside the classroom would probably need to be of graded material, such as
graded readers. But at higher levels, students may be so absorbed in the plot and
characters of an authentic novel or short story, that they acquire a great deal of new
language almost in passing.
4. Expanding students language awareness:
One of the debates centred around literature teaching in the language classroom is
whether literature language is somehow different from other forms of discourse in
that it breaks the more usual rules of syntax, collocation and even cohesion. Using
literature with students can help them to become more sensitive to some of the overall
features of English.
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emphasizes the value of literature apart from its context (in effect makes literature
timeless). Virtually all critical approaches must begin here.
Disadvantages: The text is seen in isolation. Formalism ignores the context of the
work. It cannot account for allusions. It tends to reduce literature to little more than a
collection of rhetorical devices.
A Checklist of Formalistic Critical Questions:
How is the work structured or organized? How does it begin? Where does it go
next? How does it end? What is the works plot? How is its plot related to its
structure?
What is the relationship of each part of the work to the work as a whole? How
are the parts related to one another?
4
Who is narrating or telling what happens in the work? How is the narrator,
speaker, or character revealed to readers? How do we come to know and
understand this figure?
Who are the major and minor characters, what do they represent, and how do
they relate to one another?
What are the time and place of the workits setting? How is the setting related
to what we know of the characters and their actions? To what extent is the setting
symbolic?
What kind of language does the author use to describe, narrate, explain, or
otherwise create the world of the literary work? More specifically, what images,
similes, metaphors, symbols appear in the work? What is their function? What
meanings do they convey?
3. Psychological Approach: Psychological critics view works through the lens of
psychology. They look either at the psychological motivations of the characters or of
the authors themselves, although the former is generally considered a more
respectable approach. Most frequently, psychological critics apply Freudian and/or
Jungian (archetypes) psychology to works.
Advantages:
How does your understanding of the characters, their relationships, their actions,
and their motivations in a literary work help you better understand the mental
world and imaginative life, or the actions and motivations of the author?
How does a particular literary workits images, metaphors, and other linguistic
elementsreveal the psychological motivations of its characters or the
psychological mindset of its author?
To what extent can you employ the concepts of Freudian psychoanalysis to
understand the motivations of literary characters?
What kinds of literary works and what types of literary characters seem best
suited to a critical approach that employs a psychological or psychoanalytical
perspective? Why?
How can a psychological or psychoanalytical approach to a particular work be
combined with an approach from another critical perspectivefor example,
biographical, formalist, or feminist criticism?
4. Mythological / Archetypal: A mythological / archetypal approach to literature
assumes that there is a collection of symbols, images, characters, and motifs (i.e.,
archetypes) that evokes a similar response in all people.
Advantages: Provides a universalistic approach to literature and identifies a reason
why certain literature may survive the test of time. It works well with works that are
highly symbolic.
Disadvantages: Literature may become little more than a vehicle for archetypes, and
this approach may ignore the art of literature.
Checklist of Mythological Critical Questions
What incidents in the work seem common or familiar enough as actions that they
might be considered symbolic or archetypal? Are there any journeys, battles,
falls, reversals of fortune, etc.?
What kinds of character types appear in the work? How might they be classified?
What creatures, elements of nature, or man-made objects playing a role in the
work might be considered symbolic?
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schools. Since it is short, and aims at giving a single effect, there is usually one plot,
a few characters; there is no detailed description of setting. So, it is easy for the
students to follow the story line of the work.
This reason, that short stories are the most suitable literary genre to use in English
teaching due to its shortness, is supported by Collie and Slater (1991: 196) when they
list four advantages of using short stories for language teachers. First, short stories are
practical as their length is long enough to cover entirely in one or two class sessions.
Second, short stories are not complicated for students to work with on their own.
Third, short stories have a variety of choice for different interests and tastes. Finally,
short stories can be used with all levels (beginner to advance), all ages (young
learners to adults) and all classes. Pardedes (2011) study at Christian University of
Indonesia revealed that the majority of English teachers training students basically
found short stories interesting to use both as materials for self-enjoyment and of as
components language skill classes. The findings denoted that only 0.37% of the
responses went into Disagree criterion; and 18.4%, Neutral. The other 81.5%
went into the criteria of Agree and Strongly Agree.
Subject
: English
Grade/Semester
: XI/I
Time Allocation
: 90 minutes
Skills
: Reading
A. Standard Competence
Reading
5. Understanding the meaning of the short functional text and simple essay in form of
a recount, narrative and procedure in the context of everyday life and to access
knowledge.
B. Basic Competence
Reading
5.2 Responding to the meaning and rhetorical stages of essays written text accurately,
fluently and accepting in the context of everyday life and to use science in text
form: recount, narrative, and the procedure.
C. Indicators
1. The students are able to find out the main idea of the short story.
2. The students are able to describe the characters in the short story.
3. The students are able to identify the specific details or information from the short
story.
4. The students are able to find out the reference of words stated in the short story.
5. The students are able to find out moral value from short story.
D. Learning Goals
After finishing the teaching and learning process, the students are hoped to be able:
1. To find out the main idea of the short story.
2. To describe the characters in the short story.
3. To identify the specific details or information from the short story.
4. To find out the reference of words stated in the short story.
5. To find out moral value from short story.
E. Material
Short Story: Bill by Zona Gale
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F. Method/Technique
Communicative learning
G. Learning Procedure
Pre activities:
Time Allocation
20 minutes
Activities
1. Teacher checks the students attendance.
2. Teacher shows the picture about the short story and warms up
the story (See appendix 1).
3. Teacher asks about the story of Bill that has been been
assigned as a homework in tha last meeting and Teacher also
gave questions to guide their reading at home such as:
a. Who is the main character of Bill?
b. Where/when does the story take place?
c. What is the problem (conflict) in the story?
d. How is the conflict resolved?
While activities:
Time Allocation
60 minutes
Activities
Exploration
1. Teacher asks students to make some groups consists of 5-6
students in order to to make student easier to explore the story.
2. Teacher asks students to discuss and find out main idea of the
short story.
3. Teacher asks them to discuss and identify the characters of the
short story.
4. Teacher gives some questions about supporting detailes of the
story and moral values to comprehend the text in group
discussion (See appendix 2).
5. Teacher gives matching words (reference )
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Activities
1. Teacher asks students What have you learnt from the short
story?
2. Teacher gives conclusion about todays material
H. Source/Material/Tool
Short Story: : Bill by Zona Gale
I. Evaluation
Reading comprehension: comprehension questions and matching reference words.
REFERENCES
Collie, J., and Slater, S. 1991. Literature in the Language Classroom. (5th ed.).
Glasgow: Cambridge University Press.
Pardede, P. (2011). Short Stories Use in Language Skills Classes: Students Interest
and Perception. [Online]. Available
at:http://www.researchgate.net/publication/256453850_SHORT_STORIES_USE_I
N_LANGUAGE_SKILLS_CLASSES_STUDENTS
%27_INTEREST_AND_PERCEPTION. Published in Zacharias, N.T. & Manara,
C. (2011). Bringing Literature and Linguistics into EFL Classrooms: Insights from
Research and Classroom Practice. Newcastle: Cambridge Scholars Publishing,
101-108.
Povey, J.F. (1967). Literature in TESOL Programs: The Language and the Culture.
TESOLQuarterly, 1,40-46.
R. P. Boas, The Study and Interpretation of Literature, Harcourt: Brace and Company
Inc., 1931.
Savvidou, C. (2004). An Integrated Approach to the Teaching of Literature in the
EFL Classroom. The Internet TESL Journal, 10 (12) Retrieved July, 2010,
from http://iteslj.org/Techniques/Savvidou_Literature.html
Appendix 1.
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Appendix 2.
14
B (synonym/definition)
provide an apology
require
a tiresome person
lonely
bow
oblige
item of clothing
kneel
garment
tuck
push
without friends or companions
recover, healed
Appendix 3
BILL
15
(ZONA GALE)
Bill was thirty when his wife died, and little Minna was four. Bills carpenter shop
was in the yard of his house, so he thought that he could keep his home for Minna
and himself. All day while he worked at his bench, she played in the yard, and when
he was obliged to be absent for a few hours, the woman next door looked after her.
Bill could cook a little, coffee and bacon and fried potatoes and flapjacks, and he
found bananas and sardines and crackers useful. When the woman next door said it
was not the diet for four-year-olds, he asked her to teach him to cook oatmeal and
vegetables, and though he was always burned the dishes in which he cooked these
things, he cooked them everyday. He swept, all but corners, and he dusted, dabbing at
every object; and he complained that after he had cleaned the windows he could not
see as well as he could before. He washed and patched Minnas little garments and
mended her doll. He found a kitten for her so that she wouldnt be lonely. At night he
heard her say her prayer, kneeling in the middle of the floor with her hands folded,
and speaking like lightning. If she forgot the prayer, he either woke her up, or else he
made her say it the first thing in the morning. He himself used to pray: Lord, make
me do right by her if you see me doing wrong. On Sundays, he took her to church
and listening with his head on one side, trying to understand, and giving Minna
peppermints when she rustled. He stopped work for a day and took her to the Sundayschool picnic. Her mother would of, he explained. When Minna was old enough to
go to kindergarten, Bill used to take her morning or afternoon, and he would call for
her. Once he dressed himself in his best clothes and went to visit the school. I think
her mother would of, he told the teacher, diffidently. But he could make little of the
colored paper and the designs and the games, and he did not go again. Theres
something I cant be any help to her with, he thought.
Minna was six when Bill fell ill. On a May afternoon, he went to a doctor. When he
came home, he sat in his shop for a long time and did nothing. The sun was beaming
through the window in bright squares. He was not going to get well. It might be that
he had six months. He could hear Minna singing to her doll.
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When she came to kiss him that night, he made an excuse, for he must never kiss her
now. He held her arms length, looked in her eyes, said: Minnas a big girl now. She
doesnt want Papa to kiss her. But her lip curled and she turned away sorrowful, so
the next day Bill went to another doctor to make sure. The other doctor made him
sure.
He tried to think what to do. He had a sister in Nebraska, but she was a tired woman.
His wife had a brother in the city, but he was a man of many words. And little Minna
there were things known to her which he himself did not knowmatters of fairies
and the words of songs. He wished that he could hear of somebody who would
understand her. And he had only six month.
Then the woman next door told him bluntly that he ought not to have the child there,
and him coughing as he was; and he knew that his decision was already upon him.
One whole night he thought. Then he advertised in a city paper:
A man with a few months more to live would like nice people to adopt his little girl,
six, blue eyes, curls. References required.
They came in limousine, as he had hoped that they would come. Their clothes were as
he had hoped. They had with them a little girl who cried: Is this my little sister? On
which the woman in the smart frock said sharply: Now then, you do as Mama tells
you and keep out of this or well leave you here and take this darling little girl with
us.
So Bill looked at this woman and said steadily that he had now other plans for his
little girl. He watched the great blue car roll away. For the land sake! said the
woman next door when she heard. You done her out of fortune. You hadnt the right
a man in your health. And then the other cars came, and he let them go, this
woman told her husband that Bill ought to be reported to the authorities.
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The man and woman who walked into Bills shop one morning were still mourning
their own little girl. The woman was not sadonly sorrowful, and the man, who was
tender of her, was a carpenter. In blooming of his hope and his dread, Bill said to
them: Youre the ones. When they asked: How long before we can have her? Bill
said: One day more.
That day he spent in the shop. It was summer and Minna was playing in the yard. He
could hear the words of her songs. He cooked their supper and while she ate, he
watched. When he had tucked her in her bed, he stood in the dark hearing her
breathing. Im a little girl tonightkiss me, she had said, but he shook his head. A
big girl, a big girl, he told her.
When they came for the next morning, he had her ready, washed and mended, and he
had mended her doll. Minnas never been for a visit! he told her buoyantly. And
when she ran toward him, A big girl, a big girl, he reminded her.
He stood and watched the man and woman walking down the street with Minna
between them. They had brought her a little blue parasol in case the parting should be
hard. This parasol Minna held bobbing above her head, and she was so absorbed in
looking up at the blue silk that she did not remember to turn and wave her hand.
CONCLUSION
EFL teaching has aim to help students to communicate fluently in the target language,
teachers should provide an authentic model of language use. To do it, she/he should
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focus not only on linguistic but also on literary and cultural elements. Since short
stories offer these elements, they are highly beneficial to use in ESL/EFL teaching
programs. However, the selection of short stories should be done in reference to the
course objective, the learners profile, and the story content in order to make the best
of it. Since every teaching situation is unique, the use of one single piece of literature
varies from classroom to classroom and from teacher to teacher. Short stories can be
used to provide different activities for reading class. Short story creates a meaningful
context to teach different language focuses and to improve the students interpretative
strategies. Last but not least, the same story may also serve for some other language
focuses or skills such as vocabulary development.
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The night was dark. And the house was dark. Darkand silent. The two men ran
toward it quietly. They slipped quickly through the dark bushes which surrounded the
house. They reached the porch, ran quickly up the steps, kneeled down, breathing
heavily, in the dark shadows. They waitedlistening.
Silence. Perfect silence. Thenout of the blacknessa whisper: We cant stay
out here . . . . Take this suitcase . . . . Let me try those keys. Weve got to get in!
Tentwentythirty seconds. With one of the keys the one man opened the door.
Silently, the two men have entered the house, closed the door behind them, locked it.
Whispering, they discussed the situation. They wondered if they had awakened
anyone in the house.
Lets have a look at this place. Careful, Hasty! Oh, there isnt anybody
awake! And the soft rays of a flashlight swept the room.
It was a large room. A living room. Rugs, carefully rolled, lay piled on one side.
The furniture-chairs, tables, coucheswas covered by sheets. Dust lay like a light
snow over everything.
The man who held the flashlight spoke first. Well, Blackie, he said, were in
luck. Looks as if the familys away.
Yeah, gone for the summer, I guess. We better make sure, though. Huh.
Together they searched the house. They went on tiptoe through every room.
There could be no doubt about it. The family was away. Had been away for weeks.
Yes, Hasty Hogan and Blackie Burns were in luck. Only once in the past ten days
had their luck failed them. It had been with them when they made their big robbery
their truly magnificent robberyon the Coast. It had been with them during their
thousand-mile trip eastward, by automobile. It had been with them every moment
but one.
That moment had come just one hour before. It came when Blackie, driving the
car, ran over a policeman. And Blackie, thinking of the suitcase at Hastys feet, had
driven away. Swiftly.
There had been a chase, of course. A wild, crazy chase. And when a bullet had
punctured the gasoline tank they had to abandon the car. But luck or no luck, here
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they were. Alone, and without a car, in a completely strange town. But safe and sound
with the suitcase.
The suitcase lay in the centre of the table, in the center of the room. In the
suitcase, neat little package on neat little package, lay nearly three hundred thousand
dolars1
Listen, said Mr. Hogan. We have to get a car. Quick, too. And we cant steal
oneand use it. Its too dangerous. We have to buy one. That means that we have to
wait until the stores open. That will be about eight oclock in this town.
But what are we going to do with that? And Mr. Burns pointed to the suitcase.
Hide it right here. Sure! Why not? Its much safer here than with usuntil we
get a car.
And so they hid the suitcase. They carried it down to the cellar. Buried it deep in
some coal which lay in a corner of the cellar. After this, just before dawn, they slipped
out.
Say, Blackie, Mr. Hogan remarked as they walked down the street, the name
of the gentleman were visiting is Mr. Samuel W. Rogers.
How do you know?
Saw it on some of them books. Hes surely got a wonderful library, hasnt he?
The automobile salesrooms opened at eight oclock, as Mr. Hogan had supposed.
Shortly, before nine, Mr. Hogan and Mr. Burns had a car. A very nice little car. Very
quiet. Very inconspicuous. And very speedy. The dealer lent them his license plates
and away they rode.
Three blocks from the house, the stopped. Mr. Hogan got out. Walked toward the
house. Hed just go around to the rear, he thought, and slip in.
Fifty yards from the house he stopped. Stared, swore softly. The font door was
open. The window shades were up. The family had returned!
Well, what a bad luck. And what could they do? Break into the cellar that night,
and pick up the suitcase? Notoo dangerous. Mr. Hogan would have to think of
something.
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Leave it to me, kid, he told Mr. Burns, You drive the car. Ill do the special
brain work. Lets find a telephone. Quick!
Ten minutes later, Mr. Hogan was consulting a telephone directory. Yes, there it
wasSamuel W. Rogers, Plainview 6329. A moment later he was talking to surprise
Mr. Rogers.
Hello, he began, is this Mr. Rogers, he saidand his tone was sharp, official,
impressivethis is Headquarter, Police Headquarters, talking. I am Simpson.
Sergeant Simpson, of the detective division,
Yes, yes! came over the wire.
The Chiefthe Chief of Police, you know,here Mr. Hogan lowered his
voice a littlehas ordered me to get in touch with you. Hes sending me out with
one of our men to see you.
Am I in trouble of some kind? asked Mr. Rogers.
No, no, no. nothing like that. But I have something of great importance to talk
to you about.
Very well, came the voice of Mr. Rogers. Ill wait for you.
And, Mr. Rogers, Mr. Hogan continued, please keep quite about this. Dont
say anything to anybody. Youll understand why I see you.
On the way back to the house Mr. Hogan explained his idea to Mr. Burns.
Within ten minutes Sergeant Simpson and Detective Johnson were
conversing with the surprised Mr. Rogers. Mr. Rogers was a small man. Rather
insignificant. He had pale blue eyes. Not much of a chin. A funny little face. He was
nervousa badly frightened man.
Mr. Hogan told the whole story. Somewhat changed. Very much changed. And
Mr. Rogers was surprised, but delighted.
He accompanied Mr. Hogan to the cellar. And together they dug up the suitcase.
Took it to the living room, opened it saw that it had not been touchedthat it really
did hold a small fortune. Bills, bills, bills!
Mr. Hogan closed the suitcase.
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And now, Mr. Rogers, he announced, in his best official manner, Johnson and
I must run along. The chief wants a reportquick. We have to catch the rest of the
robbers. Ill keep in touch with you.
He picked up the suitcase and rose. Mr. Burns also rose. Mr. Rogers also rose.
The trio walked to the door. Mr. Rogers opened it. Come on in, boys, he said
pleasantlyand in walked three men. Large men. Strong men. Men in police uniform
who, without fear, stared at Mr. Hasty Hogan and Mr. Blackie Burns.
What does this mean, Mr. Rogers? asked Mr. Hogan.
Its quite simple, said Mr. Rogers. It just happens that I am the Chief of
Police!
A. Match the word in the left-hand column with the word in the right-hand column
which has the SAME meaning:
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1. Yellow-haired
__________charming
2. Whisper
__________brunette
3. Silently
__________frankfurters
4. Speedy
__________hamburgers
5. Hot dog
__________frightened
6. Brown-haired
__________foolish
7. Terrified
__________speak softly
8. Grown-up
__________blonde
9. Enchanting
__________fast
10. Silly
__________quietly
__________adults
C. Some of the nouns ending both in tion and ment from adjectives with al.
He had some very educational experiences while he was travelling aboard.
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Change the following nouns to adjectives by adding -al. Then use each of resulting
words in a sentence of your own:
1. Environment
2. Government
3. Vocation
4. Division
5. Recreation
6. Tradition
7. Ornament
8. Occupation
9. Conversation
10. Addition
D. Rewrite the short story by your own words and write the moral value you can get
from the short story.
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Definition of Literature
Eagleton (1996) defines literature as imaginative writing in the sense of fiction.
Literature is a term used to describe written or spoken material. Broadly speaking,
"literature" is used to describe anything from creative writing to more technical or
scientific works, but the term is most commonly used to refer to works of the creative
imagination, including works of poetry, drama, fiction, and nonfiction.
Literature represents a language or a people: culture and tradition. But, literature is
more important than just a historical or cultural artifact. Literature introduces us to
new worlds of experience. We learn about books and literature; we enjoy the
comedies and the tragedies of poems, stories, and plays; and we may even grow and
evolve through our literary journey with books.
Ultimately, we may discover meaning in literature by looking at what the author says
and how he/she says it. We may interpret the author's message. In academic circles,
this decoding of the text is often carried out through the use of literary theory, using a
mythological, sociological, psychological, historical, or other approach.
According to Scott (1962), there are five approaches to literary criticism, they are
Moral, Psychological, Sociological, Formalistic, and Archetypal.
The Moral Approach
Moral / philosophical critics believe that the larger purpose of literature is to teach
morality and to probe philosophical issues. Practitioners include Matthew Arnold
(works must have high seriousness), Plato (literature must exhibit moralism and
utilitarianism), and Horace (literature should be delightful and instructive).
Advantages:
This approach is useful for such works as Alexander Popes An Essay on Man,
which presents an obvious moral philosophy. It is also useful when considering the
themes of works (for example, mans inhumanity to man in Mark Twains
26
Huckleberry Finn). Finally, it does not view literature merely as art isolated from
all moral implications; it recognizes that literature can affect readers, whether subtly
or directly, and that the message of a work--and not just the decorous vehicle for that
message--is important.
Disadvantages:
Detractors argue that such an approach can be too judgmental. Some believe
literature should be judged primarily (if not solely) on its artistic merits, not its moral
or philosophical content.
It says that art is not created in a vacuum; it is the work not simply of a person, but of
an author fixed in the time and space, answering to a community of which he is
important, because articulate apart.
The sociological critic is interested in understanding the social milieu and the extent
to which and manner in which the artist responds to it.
The Archetypal Approach
Mythological / Archetypal:
assumes that there is a collection of symbols, images, characters, and motifs (i.e.,
archetypes) that evokes a similar response in all people. According to the
psychologist Carl Jung, mankind possesses a collective unconscious (a cosmic
reservoir of human experience) that contains these archetypes and that is common to
all of humanity. Myth critics identify these archetypal patterns and discuss how they
function in the works. They believe that these archetypes are the source of much of
literature's power.
Advantages:
Provides a universalistic approach to literature and identifies a reason why
certain literature may survive the test of time. It works well with works that are
highly symbolic.
Disadvantages:
Literature may become little more than a vehicle for archetypes, and this approach
may ignore the art of literature.
The Formalistic Approach
A formalistic approach to literature, once called New Criticism, involves a close
reading of the text. Formalistic critics believe that all information essential to the
interpretation of a work must be found within the work itself; there is no need to
bring in outside information about the history, politics, or society of the time, or about
the author's life. Formalistic critics spend much time analyzing irony, paradox,
28
imagery, and metaphor. They are also interested in the work's setting, characters,
symbols, and point of view.
Advantages:
This approach can be performed without much research, and it emphasizes the value
of literature apart from its context (in effect makes literature timeless).
Virtually all critical approaches must begin here.
Disadvantages:
The text is seen in isolation. Formalism ignores the context of the work. It cannot
account for allusions. It tends to reduce literature to little more than a collection of
rhetorical devices.
Why
use
literature?
There are many good reasons for using literature in the classroom. Here are a few:
Literature encourages interaction. Literary texts are often rich is multiple layers of
meaning, and can be effectively mined for discussions and sharing feelings or
opinions.
29
Collie and Slater (1995) explain some benefits of using literature in language learning
process. First, literature is authentic material. Learners are thus exposed to language
that is as genuine and undistorted as can be managed in the classroom context. In
reading literary texts, students have also to cope with language intended for native
speakers and thus they gain additional familiarity with many different linguistic uses,
forms and conventions of the written mode: with irony, exposition, argument,
narration, and so on.
Second, students can have cultural enrichment. Reading the literature of a historical
period is, after all, one of the ways we have to help us imagine what life was like in
that other foreign territory: our own countrys past. Literature is perhaps best seen as
a complement to other materials used to increase the foreign learners insight into the
country whose language is being learnt.
Third, students can have language enrichment. Language enrichment is one of benefit
often sought through literature. On the positive side, literature provides a rich context
in which individual lexical or syntactical items are made more memorable. Reading a
substantial and contextualized body of text, students gain familiarity with many
features of written languagethe formation and function of sentences, the variety of
possible structures, the different ways of connecting ideaswhich broaden and
enrich their own writing skills.
And the last is personal involvement. Above all, literature can be helpful in the
language learning process because of the personal involvement it fosters in readers.
Engaging imaginatively with literature enables learners to shift the focus of their
attention beyond the more mechanical aspects of the foreign language system.
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References
Collie, Joanne. and Stephen Slater. 1995. Literature in the Language Classroom.
Cambridge: Cambridge University Press.
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