interim guide for literature in english (sow)

8/14/2019 INTERIM GUIDE for Literature in English (SoW)

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INTERIM GUIDE

LITERATURE IN ENGLISHfor Secondary Years 3, 4 and 5

Ministry of EducationBrunei Darussalam2008


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Introduction

This document is intended to assist teachers of the O Level Literature in English course. It is applicable to both the 2 + 2 and 2 + 3streams.

Teachers and students following the 2 + 2 stream may wish to use ideas and texts from the Foundation Year section at the beginning of

Year Three. However, it may be that teachers will prefer to begin teaching the prescribed texts for the O level exam from the beginning

of the two-year course, in which case the Foundation Year section can be omitted.

In teaching Literature, it is understood that:

- Some of the learning outcomes are simpler and some more sophisticated than others, and yet the skills cannot necessarily beorganised sequentially.

- Different texts will, to some extent, dictate which skills/ learning outcomes can be covered.

- The order in which schools tackle texts will be decided by the teachers in those schools.

- `O Level Literature texts are changed every three years.

The learning objectives, skills and activities laid out in this document are not, therefore, text-specific nor is there a prescribed sequence for

them.

The initial section, based on the Assessment Objectives laid out in the Cambridge Syllabus, specifies component skills involved in

achieving the learning outcomes. Note, these are not intended to be definitive, but should assist teachers in determining what theirstudents may need to cover.

The next section consists of a range of suggested teaching activities, in sections according to the three genres prose, drama and poetry,

which are matched with appropriate learning outcomes.

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The Foundation Year section specifies a recommended textbook and a range of novels and plays and includes a sample of possible

activities for two of the texts.

The Glossary provides the literary terms that teachers and students may find helpful, but again this is not definitive. It is expected that

students will be able to use some basic literary terminology when discussing a text, but some of the terms included here are more

sophisticated than absolutely necessary at O Level.

The Ministry of Education would like to express its sincere appreciation to members of the following committee for their fine effort and

commitment in producing this Interim Guide.

SPN 21 Preparation of Scheme of Work for Literature in English Committee

Chairperson: Joy Hooi-Narimas (Sekolah Menengah Perdana Wazir)

Facilitators: Reena Lim Bee Yew (Curriculum Development Department)

Hjh Ardinah binti OKMB Hj Othman (Department of Schools Inspectorate)Regina Szetu (Department of Schools)

Members: Laury McPherson (Sekolah Menengah Sayyidina Hasan)

Hjh Seri Ainey binti Hj Shahri (Sekolah Tinggi Perempuan Raja Isteri)

Hjh Soriana Salwa binti Hj Mornie (Sekolah Menengah Pehin Datu Seri Maharaja)

Peter Boyce (Pusat Tingkatan Enam, Berakas)

Honorary

Member: Josephine Murphy (Sekolah Tinggi Perempuan Raja Isteri)

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GCE O LEVEL LITERATURE IN ENGLISH

AIMS

The aims of the syllabus are the same for all students. The aims are set out below and describe the educational purposes ofa course in Literature for the GCE O levelexamination.

The aims, which are not listed in order of priority, are to develop the ability of students to:

communicate accurately, appropriately and effectively in speech and writing;

understand and respond imaginatively to what they hear, read and experience;

enjoy the reading of literature and appreciate its contribution to aesthetic and imaginative growth;

explore areas of universal human concern, thus leading to a greater understanding of themselves and others.

ASSESSMENT OBJECTIVES

Candidates should be able to:

(i) demonstrate first-hand knowledge of the content of literary texts;

(ii) demonstrate an understanding of literary texts in ways which may range from a grasp of their surface meaning to adeeper awareness of their themes and attitudes;

(iii) recognise and appreciate ways in which writers use language;

(iv) recognise and appreciate other ways in which writers achieve their effects (e.g. structure, plot, characterisation,dramatic tension, imagery, rhythm, setting and mood);

(v) communicate a sensitive and informed personal response to what is read.

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(GCE Ordinary Level, 2010)

Prescribed Learning Outcomes for GCE O Level Literature in English

Content

Students will be able to:

i) demonstrate first-hand knowledge of the content of literary texts:

1 recognise and recall straightforward points in terms of narrative, characters, situation or statement;

2 sequence details and events;

3 summarise the plot or content (e.g. of a poem);

4 comment on plot and characterisation.

Understanding


ii) demonstrate an understanding of literary texts in ways which may range from a grasp of their surface meaning to a deeperawareness of their themes and attitudes:

1 locate, select and interpret relevant details in stories, novels, poetry or drama in response to a range of tasks;

2 discuss a text, share perceptions, and account for differences of view;

3 demonstrate an awareness of the influences of gender, ethnicity, and class on literature if appropriate;

4 assume the voice of a character, i.e. expressing the thoughts, feelings and attitudes of that character in a way that is appropriate for

the character;

5 distinguish and evaluate viewpoints within a text or between texts;

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6 identify and evaluate writers intentions.

Writers Craft


iii) recognise and appreciate ways in which writers use language:

1 identify the distinguishing characteristics of literary genres;

2 identify and evaluate the effect of literary techniques such as metaphor, simile and alliteration;

3 demonstrate an understanding of recurring images, motifs, and symbols by evaluating their purpose and effectiveness;

4 evaluate the purpose and effectiveness of literary devices, forms, and techniques in literary works.

Literary Analysis and Appreciation


iv) recognise and appreciate other ways in which writers achieve their effects (e.g. structure, plot, characterisation, dramatictension, imagery, rhythm, setting and mood):

1 identify genre;

2 identify elements in a text, e.g. plot, structure, setting, atmosphere and style;

3 identify patterns and relationships (e.g. with respect to characters, events, style and viewpoints) within a text;

4 identify and explore motivation;

5 identify examples of the use of stereotypical characters;

6 identify and explore themes;

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7 identify the tone of a text;

8 compare and contrast elements (e.g. characters, viewpoints, setting, style) within a text or between texts;

9 analyse the language, form and dramatic impact of texts;

10 use formal language for literary analysis.

Personal Response


v) communicate a sensitive and informed personal response to what is read:

1 demonstrate an appreciation of audio-visual performance of literary works;

2 build meaningful connections between new information and existingknowledge;

3 modify and extend existing ideas and perspectives in the light of new information;

4 demonstrate a willingness to make personal connections with characters and experiences in literary works;

5 articulate and discuss opinions, feelings and attitudes;

6 create personal responses to literature through writing, speech or visual representation;

7 respond sensitively and in detail to the way language works.

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Literary Study Skills and Examination Strategies:


link and organise information for systematic retrieval;

use efficient note-making and note-taking strategies;

define and clarify the literary task;

compose questions to guide their reading and understanding;

revise and edit their work to improve content, organisation, and effect to best suit their audience and purpose;

observe and / or note relevant details;

support an argument or opinion with appropriate examples and information;

integrate apposite quotation and comment.

Note: The above list is not exhaustive. Teachers are encouraged to employ these and other strategies where appropriate to the needs

of their students.

Suggested activity: Students could be asked to keep a book of quotations, divided into sections for characters and themes. They could

include stickers or other graphic material that seem appropriate.

A set of activities for teaching literature by genre, aimed at helping students explore the texts creatively, is included in this Interim Draft.

However, it is expected that in addition to these activities, teachers will also carry out some close analysis of the texts and practice in the

kind of questions the students will face in the examination.

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ACTIVITIES FOR TEACHING POETRY

ASSESSMENTAREA

PRESCRIBED LEARNINGOUTCOMES

Students should be able to:

SUGGESTED TEACHING AND CLASSROOM ACTIVITIES

CONTENT sequence details and events (narrative

poems);

(i: 2)

Sequencingactivities. (Teacher cuts up stanzas and students put them

in the right order.)

Comic strip.

UNDERSTANDING identify and evaluate writers

intentions;

(ii: 6)

Collage. (Students create a visual interpretation of a text using images.)

Compare drafts of the same poem.

WRITERS CRAFT identify and evaluate the effect of

literary techniques such as metaphor,

simile and alliteration;

(iii: 2)

Posters / collage.

Write own poems using figurative language.

LITERARYANALYSIS &

APPRECIATION

identify and explore themes;(iv: 6)

Title. Students give a poem a title.

Group or pair poems. (Students discover the thematic links for

themselves)

identify the tone of a text;

(iv: 7)Reading aloud.

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Collage.

ASSESSMENTAREA




LITERARY

ANALYSIS &

APPRECIATION

analyse the language, form and

dramatic impact of texts;

(iv: 9)

Dramatisation.

Choral reading. (Students read the poem aloud in groups, focusing on

the sound of the text.)

Gap-fill. (Omit key words from the text and get students to discuss

what the missing words could be.)

Translate. (Into another, shared language. Simple poems only!)

Lining. (Print the poem as prose. Students decide how to break it up

into lines and stanzas.)

Exploded diagram. (See appendix.)

Students write their own poems in the same form e.g. writing haikus,

sonnets, and ballads.

PERSONALRESPONSE

articulate and discuss opinions, feelingsand attitudes;

(v: 5)

Response sheets. (Like a web discussion: Students write a singlecomment on a piece of paper, they then move around to different

posters or pass round sheets or write on different computers,responding to each others comments.)

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ASSESSMENT

AREA

PRESCRIBED LEARNING

OUTCOMESStudents should be able to:


PERSONAL

RESPONSE

create personal responses to literature

through writing, speech or visualrepresentation;

(v: 6)

Perform a prepared reading.Posters.

Collages.

Exploded diagram.

Powerpoint presentations.

respond sensitively and in detail to theway language works.

(v: 7)

Dramatisation / prepared readings.

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ACTIVITIES FOR TEACHING PROSE:

NOVELS AND SHORT STORIES

ASSESSMENTAREA




CONTENT Recognise and recallstraightforward points in terms

of narrative, characters,situation or statement

(i: 1)

Sherlock Holmes investigation: Students imagine they have been asked toinvestigate a character in the manner of Sherlock Holmes.

sequence details and events;

(i: 2)

Sequencing activities: students arrange cut-out plot notes in order.

summarise the plot;

(i: 3)

Express the plot in pictures, childrens books, comic strip, Readers Theatre

format.

comment on plot and

characterization;

(i: 4)

Newscast commentaries / talk show format character interviews.

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ASSESSMENTAREA




UNDERSTANDINGlocate, select, and interpret

relevant details in stories,

novels, poetry or drama in

response to a range of tasks;

(ii: 1)

Literary essay writing, empathic task questions.

Write a school report on the characters in the text e.g. Sir Andrew Aguecheek

in Twelfth Night. Subjects: sword fighting, languages, dance, etc.

Whats he/she got in his/her pockets? Students discuss what a character might

have in his/her pocket/bag.

discuss a text, share perceptions,

and account for differences ofview.

(ii: 2)

Letters to friends: students choose an aspect of the story to respond to, and

write a letter to another student. The recipient then responds, sharingperceptions and differences in view.

demonstrate an awareness of

influences of gender, ethnicity,

and class on literature;

(ii: 3)

Research and present background information on the attitudes towards

women, various ethnic groups, or various classes during the time and place in

which the story is set.

assume the voice of a character:

i.e. expressing the thoughts,

feelings, and attitudes of thatcharacter in a way that is

appropriate for that character;

(ii: 4)

Character interviews.

Character impersonations: students choose a character to impersonate, andother students guess who is being portrayed.

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ASSESSMENTAREA




UNDERSTANDING distinguish and evaluate

viewpoints within a text or

between texts;

(ii: 5)

Respond verbally or in writing to themes in the story, from various

viewpoints.

Diary entries: from the point of view of different characters, sharing thoughts

and reactions to the same event.

identify and evaluate the

writers intentions;

(ii: 6)

Debate in pairs the intention of the writer, providing relevant details, and give

opinion as to how well this intention is carried out.

WRITERS CRAFTdemonstrate an understanding

of recurring images, motifs, and

symbols by evaluating their

purpose and effectiveness.

(iii: 3)

Literary Archaeology (Wayne Stagg): groups discuss and evaluate the

significance of concrete symbols and images from the text, and present ideas

to the class for discussion.

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ASSESSMENTAREA




PERSONAL

RESPONSE build meaningful connections

between new information and

existing knowledge;(v: 2)

Anticipation guides and pre-reading discussions: on issues and themes found

in story.

modify and extend existing

ideas and perspectives in the

light of new information;(v: 3)

Mini-debate activities of anticipation guide statements.

demonstrate a willingness to

make personal connections with

characters and experiences in

literary works;

(v: 4)

articulate and discuss opinions,

feelings and attitudes.(v: 5)

Personal response journal writing.

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ACTIVITIES FOR TEACHING DRAMA

ASSESSMENTAREA




CONTENTsequence details and events

(narrative poems);(i: 2)

Sequencingactivities: Teacher or students write down a number of key

events/quotations and (other) students put them in the right order.

Comic strip.

Timeline.

summarise the plot or content;

(i: 3)

Summary variation: Teacher gives a summary with some incorrect

information and/or writes a biased summary and students decide what is

accurate and what should be changed.

UNDERSTANDINGlocate, select and interpret

relevant details in stories, novels

poetry or drama in response to a

range of tasks;

(ii: 1)

Character collages: Students create collages on key characters using a

mixture of quotation and visual images.

Tableaux: Students create tableaux of key scenes for other students to

identify.

discuss a text, share perceptions,

and account for differences ofview.

(ii: 2)

Compare versions: Teacher shows class two (or more) film versions of the

same play. Students prepare two different performances of a scene.Students discuss which they find more powerful.

Response sheets: Like a web discussion: Students write a single comment on

a piece of paper, they then move around to different posters or pass round

sheets or write on different computers, responding to each others comments.

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ASSESSMENTAREA




UNDERSTANDING assume the voice of a character,

i.e. expressing the thoughts,

feelings and attitudes of that

character in a way that is

appropriate for the character;

(ii: 4)

Diary entries.

Hot-seating: when a character or a person in role sits in the hot-seat and

questions are fired at them. They must respond in role.

Role-playing.

Writing a soliloquy. E.g. for a character facing a dilemma.

Police interviews/ mock-trials:prepare questions and answers for characters

within an imagined criminal investigation.

Thought tunnel: when a character from the drama walks slowly between two

rows of students. Students link their hands together in the air to create an

arch. As the character passes each student, they call out what they think the

character is thinking.

identify and evaluate writers

intentions;

(ii: 6)

Storyboarding: Students create a series of drawings and captions (sometimes

resembling a comic strip) that show the planned shot divisions and camera

movements of a film. Students can add in sound effects, lighting, etc. as part

of an interpretation of a scene.

WRITERS CRAFTidentify and evaluate the effect ofliterary techniques such as

metaphor, simile and alliteration;

(iii: 2)

Expanding summaries: summarise a speech/section of dialogue in 40 words.Students are then allowed a further 50 words to expand on the summary.

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ASSESSMENTAREA




WRITERS CRAFTdemonstrate an understanding of

recurring images, motifs, and

symbols by evaluating their

purpose and effectiveness;

(iii: 3)

Prop recreation: students recreate the scenes by changing the props. e.g.

exchange Desdemonas handkerchief (in Othello) for an expensive ring.

PERSONAL

RESPONSE

demonstrate a willingness to

make personal connections with

characters and experiences in

literary works;

(iv: 4)

Diary writing.

Hot-seating.

Writing a soliloquy.

identify and explore themes;

(iv: 6)

Theme collages: Students create a collage to include quotations, visual

images, suggested music, stage effects etc to highlight specific themes.

identify the tone of a text;

(iv: 7)

Reading aloud / performing.

compare and contrast elements

(e.g. characters, viewpoints,

setting, style) within a text or

between texts;(iv: 8)

Dramatisation.

Storyboarding.

Casting: Students cast the characters, with rationale for choice of actors.

Cross-casting: Students take a character from one text and imagine them in a

different text. E.g. a scene between Lady Macbeth and Abigail.

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ASSESSMENTAREA




PERSONAL

RESPONSE

analyse the language, form anddramatic impact of texts;

(iv: 9)

Gap-fill: Omit key words from the text and get Ss to discuss what themissing words could be.

articulate and discuss opinions,

feelings and attitudes;

(v: 5)

Response sheets: Like a web discussion: Students write a single comment on

a piece of paper, they then move around to different posters or pass round

sheets or write on different computers, responding to each others comments.

create personal responses to

literature through writing, speechor visual representation;

(v: 6)

Performinga prepared reading.

Posters.

Collages.

Programmes: Students make theatre programmes, including a suitable

illustration on the front, a cast list and a few programme notes for the

audience.

Powerpoint presentations.

respond sensitively and in detail

to the way language works.

(v: 7)

Dramatisation/prepared readings: Where possible, record this on audio

and/or video form.

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LITERATURE IN ENGLISH: YEAR THREE (FOUNDATION)

This is not intended for Express Stream students; however some of the ideas and texts might be suitable for the beginning of Year Four for

the Express stream.

Prescribed Texts for Year Three

All students should cover a range of poetry and short stories from the book recommended below:

Ed. Lim, C and L. Tan, Federal Literature Companion for Secondary 2, Federal Publications (Second Ed. 1998)

[ISBN 981 01 9120 0]

In addition to using the prescribed textbook, students should read one novel and one play.

The recommended novels are:

Abdel-Fattah, Randa. (2006)Does my head look big in this? Scholastic Ltd. [ISBN 978 0439950589]

Bowler, Tim. (2006)River Boy. OUP. [ISBN 0192754440]

Dahl, Roald. (2000) The Wonderful Story of Henry Sugar. Puffin [ISBN 0141304707, ISBN 9780141304700]

Ihimaera, Witi. (1987) Whale Rider. Robson Books Ltd. [ISBN 10: 0152050167, ISBN 13: 978 0152050160]

Horowitz, Anthony. (2000) Stormbreaker. Walker Books. [ISBN 074455943X]

Lowry, Lois. (1993) The Giver. Laurel-Leaf. [ISBN 0440237688]

OBrien, Robert C. (1977)Z for Zachariah. Dell Publ. Co. [ISBN 0440999014 or ISBN 978 0440999010]

Park, Linda Sue. (2001)A Single Shard. Yearling. [ISBN 0440-41851-8]

Speare, Elizabeth George. (2003) The Witch of Blackbird Pond. Collins Modern Classic. [ISBN 0-00-714897-6]

Townsend, Sue. (1992) The Secret Diary of Adrian Mole aged 13 . Heinemann New Windmills. [ISBN 0-435-12390-4]

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The plays can be chosen from the following or other sources:

Ed. Broekman, Fabian. (1979) One Act Plays Series. Heinemann Educational Australia [ISBN 978-0858591936]

Davis, Colin. (1990)Exploring Drama 1. Federal Publications. [ISBN 981-01-9042-5]

Davis, Colin. (1990)Exploring Drama 2. Federal Publications. [ISBN 981-01-9043-3]

Other Useful Resources

Cheah, H. (2000)Baby Steps in Understanding Literature Component. Setia Emas [ISBN 983-143-201-0]

Gibson. R. (2001)Language of Shakespeare. CUP. [ISBN 0-521-80564-3]

Gunderson, Lee. (1995) The Monday Morning Guide to Comprehension. Pippin Publishing Ltd. [ISBN 0-88751-052-3]

Jay, R. (2000). Shakespeare: A beginners Guide. Hodder & Stoughton. [ISBN 0-340-78010-X]

Kooy, M & J. Wells. (1996) Reading Response Logs: Inviting students to explore novels, short stories, plays, poetry and more. Pembroke

Publishers Ltd. [ISBN 0 -435-07208-0]

Ed: Lim, Catherine & Lisa Tan. (1990)Federal Literature Companion for Secondary 1. Federal Publications [ISBN 981 01 9 11 9 7]

Ed: Lim, Catherine & Lisa Tan. (1990)Federal Literature Companion for Secondary 1. Federal Publications [ISBN 981 01 9120 0]

Marsh, C. (1993)Acting Games. Meriwether Publishing Ltd.

McTeague, Frank. (1992) Shared Reading in the middle and high school years, Pembroke Publishers Ltd. [ISBN 0-921217-78-1]

Murphy, Sandra & Mary Ann Smith. (1992) Writing Portfolios: A Bridge from Teaching to Assessment. Pippin Publishing Corporation.

[ISBN 0-88751-044-2]

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Reynolds. P. (1991) Teaching Shakespeare. OUP. [ISBN 0-19-831954-1]

Richardson, Judy S. (1996)An English Teachers Survival Guide: Reaching and Teaching Adolescents. Pippin Publishing Corporation.

[ISBN 088751-070-1]

Schotz. A. Theatre Games and Beyond. Meriwether Publishing Ltd. [ISBN 1-56608-039-8]

Stephen, M. & Franks. P. (1984) Studying Shakespeare. LYP. [ISBN 0-582-03572-4]

On-Line Resources

http://www.sparknotes.com

http://gradesaver/classicnotes.com

http://enotes.com/drama-criticism/...

http://www.bookrags.com/criticism/ [names of authors/playwrights]

http://www.dmoz.org/Arts/Literature/Drama

http://www.educyberstor.com

http://www.exploratorium.edu/learning_studio/cool/literature.html

http://www.funtrivia.com/quizzes/literature/shakespeare.html

http://www.funtrivia.com/quizzes/literature/ [name of playwright].html

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http://www.sparknotes.com/http://gradesaver/classicnotes.comhttp://enotes.com/drama-criticism/http://www.bookrags.com/criticism/http://www.dmoz.org/Arts/Literature/Dramahttp://www.educyberstor.com/http://www.exploratorium.edu/learning_studio/cool/literature.htmlhttp://www.funtrivia.com/quizzes/literature/shakespeare.htmlhttp://www.funtrivia.com/quizzes/literature/http://www.sparknotes.com/http://gradesaver/classicnotes.comhttp://enotes.com/drama-criticism/http://www.bookrags.com/criticism/http://www.dmoz.org/Arts/Literature/Dramahttp://www.educyberstor.com/http://www.exploratorium.edu/learning_studio/cool/literature.htmlhttp://www.funtrivia.com/quizzes/literature/shakespeare.htmlhttp://www.funtrivia.com/quizzes/literature/


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GLOSSARY OF TERMS

Act and Scene

Allegory

Alliteration

Ambiguity

Analogy

Aside

Assonance

Atmosphere

Ballad

Blank Verse

Character

Chorus

The major structural divisions of a play are called acts, and their subdivisions scenes. An act or scenechanges to indicate the passage of time, a new action or a change of place.

A type of narrative which makes literal sense in its own right but also has a double meaning.

The repetition of a consonant in words and phrases.E.g. Peter Piper picked a peck of pickled peppers.

The capacity of words or a word to mean two or more different things. In poetry this capacity is valued,

because the meanings of poems are thereby enriched.

If you make or draw an analogy between two things, you show that they are alike in some way.

When an actor speaks in character directly to the audience apparently without the other characters hearing.

The repetition of vowel sounds in words and phrases.E.g. and howls and hollos long and loud

The feeling or mood created in the mind by a place or setting.

A poem, of simple construction, that tells a story.

Unrhymed poetry written in iambic pentameter.

A person you come across in a book, film, play.

An individual or group of actors who comment on the action in a play and help guide the audiences thinking

on the characters and action.

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Climax

Comedy

Conflict

Connotation

Couplet

Denotation

Dialogue

Diction

Dramatic Irony

Elegy

Figurative Language

First Person

The part of the story or play at which a crisis is reached and resolution is achieved in the next act.

A play in which the confusions of characters, often prompted by love and furthered by deception ormisunderstanding, eventually work out so that the play closes happily. The action of comedy is usually

amusing, and the plot intricate.

The tension in a situation between characters, or the actual opposition of characters (usually in drama and

fiction but also in narrative poetry).

The suggestion or implication evoked by a word, phrase or statement.

Two lines of poetry together. A rhyming couplet is two lines of poetry together which rhyme.

The denotation of a word is the dictionary meaning of the words.

Two or more characters speaking to each other.

The vocabulary chosen by a writer.

The audience of a play is aware of facts that the character(s) are not.

Serious, meditative poem usually concerned with the theme of death.

Language that departs from the literal, dictionary meaning of the words used. Creative language used in

writing such as a metaphor and simile.

The use of I in speech or writing.

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Foot

Foreshadowing

Form

Free Verse

Genre

Hyperbole

Iambic Pentameter

Imagery

Internal Rhyme

Irony

Juxtaposition

Lyric

Metaphor

Basic unit of Metre.

The technique of arranging events and information in a narrative in such a way that later events are prepared

for or clues that hint at future events (contributing to narrative suspense).

The shape or pattern in which a literary work is written.

Poetry which seems to have no set pattern, stanzas or rhyme scheme.

A literary type or kind.

A phrase or word which contains an exaggeration for emphasis or effect.

A line of poetry made up of ten syllables with pairs of stressed or unstressed beats.

Writing that creates a picture in the mind, usually through the use of comparisons like similes.

It occurs when two or more words rhyme within a single line of verse.E.g. Then a sentimental passion of a vegetable passion must excite your languid spleen

Saying one thing but meaning the opposite.

A strange, funny or sad situation in which things happen in the opposite way to what you expect.

Putting two things side by side in order to show a relationship between them.

A short poem, which expresses the thoughts and feelings of the poet or of an imagined speaker.

A comparison that says one thing is another.E.g. The moon was a ghostly galleon tossed upon cloudy seas.

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Metre

Mood

Monologue

Motif

Motivation

Narrative

Narrator

Onomatopoeia

Oxymoron

Paradox

Persona

Personification

Plot

The regular rhythm in verse; the measurement of poetry.

The overall feeling generated by a written or spoken piece.

Where a character in a play speaks directly to the audience.

One of the dominant ideas in a work of literature; a part of the main theme. It may consist of a character, arecurrent image or a verbal pattern.

Reasons that characters do or say something.

A story: it can be a novel, a short story, a poem or a speech.

The one who tells a story.

Words which sound like what they describe.E.g. splash, screech, howl.

The linking together of contradictory or opposite words.E.g. bittersweet

The joining together of ideas or concepts which appear to be contradictory but actually make sense in another

way.

A specially created voice or self in a poem, novel or short story.

Objects are given human characteristics. E.g. Old father Time, The wind moaned

The sequence of events in a narrative poem, novel or play that are held together by the motives of characters,

or other causes.

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Point of View

Prose

Protagonist

Pun

Quatrain

Refrain

Rhyme Scheme

Rhythm

Role

Satire

Setting

Simile

Soliloquy

Looking at a situation or characters from the perspective of another character. The eyes through which a story

is told e.g. through the first person narration or the omniscient narrator.

Writing that is not restricted in rhythm, measure or rhyme.

The leading character in a play or novel. The speaker in a narrative poem or dramatic monologue.

Play on words which sound the same or similar which is usually used for comic effect.

Four lines of poetry.

Repetition throughout a poem of a phrase, or line, or series of lines, rather like the chorus of a song.

The distinctive pattern of rhyme in a poem.

The movement of language in speech, verse or prose. It is can also be described as the pattern of stresses

(beats).

A part or character, played by an actor in a play.

A work that attacks or criticizes something by holding it up to ridicule.

The where and when of a story or play; the locale. In drama the term may refer to the scenery or props.

A comparison which uses the words like or as. E.g. He ran like the wind.

A speech delivered when a character is either alone or isolated on the stage.

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Sonnet

Stanza

Style

Sub-plot

Symbolism

Syntax

Theme

Tone

Tragedy

Tragic hero

Voice

A poem of fourteen lines, commonly written in iambic pentameter.

Sections of poetry comprising a group of verse lines.

The basic manner in which an author presents his or her theme.

A minor plot which often echoes the concerns of the major plot.

Objects which are used to represent something else. E.g. A flag symbolizes its country; in his poem Time,

Shelley uses the sea to represent time.

The construction of sentences; that is, the order of words and their relation with each other.

The subject, concerns, issues and preoccupations of a poem, novel or play.

The emotional and intellectual attitude, manner, or poise of a piece of writing.

A work with an unhappy ending. It must be serious and often shows the downfall of a great character.

A protagonist who begins as a great character and is destroyed by a combination of a fatal flaw in his

character and the workings of fate.

The position of the narrator in relation to his story; thus the outlook from which the events are related.

NB. The term is used in a slightly different way in the O level syllabus and Learning Outcomes, (ii 4)

where to assume the voice of a character, is explained as expressing the thoughts, feelings and

attitudes of that character in a way that is appropriate for the character.

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BIBLIOGRAPHY

1. ONeill, Matthew and ONeill, Jo(2003)Framework Focus Drama. Letts Educational, London

2. Lockwood, Adrian(2003)Framework Focus Shakespeare. Letts Educational, London3. Martin, Christopher(2003)Framework Focus Poetry. Letts Educational, London

4. Gill, Richard(1985) Mastering English Literature. Macmillan Press Limited, London

5. Cadden, John (1994)Poetry Appreciation for A Level. Hodder and Stoughton, Singapore

6. Wainwright, Jeffrey(2004) The Basics-Poetry. Routledge, London and New York

7. Cuddon, J.A. (1998) The Penguin Dictionary of Literary Terms and Literary Theory. Penguin, London

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APPENDIX 1

Lois Lowry, The Giver

N B: The following are suggestions of some activities you could do with the students.

The idea would be that teachers are free to choose one or two activities from the Before Reading, two or three from the While Reading and

maybe give students options to choose from the After Writing sections.

Before Reading

You should only choose one or two activities from the Before Reading section. You will see that a number of these activities assume

that you will return to the same ideas/activities as you read, and after you complete, the novel.

Activity One

To explore the theme of utopias:

1) Ask groups of students to imagine a perfect world. What would there be (e.g. enough food for everyone?) and what would there notbe (e.g. pollution, war?) Groups come up with two lists.

2) Display the lists and have students circulate to look at what other groups have said. Do students agree with other groups ideas

about perfection?

3) Keep the lists to refer to as you begin to read the book. Compare the lists with the life experienced in Jonas community.

Activity Two

To explore the theme of community rules:

1) Ask pairs/groups of students to decide on rules for their own class. Groups/pairs write the rules. (E.g. Students must show respectto each other.)

They should also decide on the consequences for students who break the rules.

2) As you read, compare the rules with what you can find out about the school rules/sanctions in the community.

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Activity Three

To explore the theme of decision-making:

1) Ask individuals to think of a decision they made which they now regret. (e.g. choosing or dropping an option subject; buying a

particular make of mobile phone; starting/ending a relationship with a boy/girl.) What factors contributed to them making theoriginal decision? Ask one or two students to share their decisions and what motivated them.

2) Do students believe there was anything or anyone which/who could have helped them to make a better decision? Discuss what

people can and cannot do to help another person make good choices.

Activity Four

To explore the theme of free choice/Government intervention:

Hold a Peoples Forum to debate a topic which focuses on freedom of choice e.g. Children should be forced to study 3 hours a

day in Form Five. Or, People who are overweight should be banned from eating fast food. (Or any other controversial topicrelated to lifestyle choices.)

A Peoples Forum (Joy-Hooi Narimas) is different from a normal debate. These are the rules:

i) Anyone can speak.ii) Anyone who wants to speak must either stand at the Speakers Stand (you can make this the teachers desk at the front of the

class) or hold onto a symbolic object (cf. the conch in Lord of the Flies, Joy has used a bunch of keys but if you can get one, a

koosh, is good as it is safer to throw!)

iii) Nobody may speak for longer than three minutes at a time.

iv) Each speaker MUST respond to what the previous speaker said before she/he may introduce a new point.

You need to appoint a strict time-keeper and chair person to ensure everyone obeys the rules!

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While Reading

1) Students keep a log in which they record their responses to the community. E.g. things they like, dislike, dont understand about

the community.

(Learning Outcomes: v2 5)

2) Students write diary entries for any of the following characters: Asher, Father, Mother, Lily, the Giver for any of the significant

days. (e.g. the Ceremony days)

(Learning Outcomes: i2, i3, ii1, ii 4, v 4, v 6)

3) Pairs or groups build up a character collage for Jonas. (Start with a fairly large, e.g. A3 sheet, and add quotes or pictures to the

poster as you read. E.g. Careful about language as a quote about his character, and a picture of an apple as a reference to his

having taken one home after it changed in mid-air.

(Learning Outcomes: i1, ii1, iii3 [this is possibly the step before!], v 6)

After Reading

1) You may want to repeat some of the BEFORE reading activities to see if students have changed their minds about any of these.

(Learning Outcomes: ii1, ii2, v2, v3)

2) Write the next chapter, focusing either on what happens to Jonas or the community.

(Learning Outcomes: ii1, ii2, ii6, iv3, iv4, iv7, v3, v6, v7)

3) Write to Lois Lowry (c/o her publishers).

(Learning Outcome: v5)

4) Role-play the meeting of the Elders immediately Jonas escape is discovered.

(Learning Outcomes: ii1, ii2, ii4, v8)

5) Make a class list of Memories that you would want preserved for the future if the Earth as we know it were one day to end, but

human beings were able to survive. (Learning Outcomes: v3, v5)

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6) Make a collage to represent the contrasting worlds of community and the real world. (Images, colours (lack of), things to indicate

the sounds such as music.)

(Learning Outcomes: i1, ii1, iv6, v6)

7) For advanced readers, it might be worth pointing them to Aldous Huxleys Brave New World as further reading.

On-Line Resources

http://www.sdcoe.k12.ca.us/score/giver/givertg.htm(Assumes access to the internet for the activities for the students.)

The following sites include some really good, useable ideas most of which are not internet-dependent.

http://www.classzone.com/novelguides/litcons/giver/guide.cfm

http://www.randomhouse.com/teachers/catalog/display.pperl?isbn=9780440237686&view=tg

http://www.sparknotes.com/lit/giver/

http://home.earthlink.net/~eduscapes/units/giver/

http://www.ksu.edu/smartbooks/Lesson003.html(This is a lesson based on Probability, for the keen Maths students!)

http://www.csun.edu/~pjs44945/giver.html

http://eolit.hrw.com/hlla/novelguides/ms/Mini-Guide.Lowry.pdf

http://www.bookrags.com/notes/giv/

http://www.tallmania.com/Giver.html(This has links to lots of other activities and information, too.)

There are also numerous websites with information about Lowry and the book, this is just one:

http://www.scils.rutgers.edu/~kvander/lowry.html

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http://www.sdcoe.k12.ca.us/score/giver/givertg.htmhttp://www.classzone.com/novelguides/litcons/giver/guide.cfmhttp://www.randomhouse.com/teachers/catalog/display.pperl?isbn=9780440237686&view=tghttp://www.sparknotes.com/lit/giver/http://home.earthlink.net/~eduscapes/units/giver/http://www.ksu.edu/smartbooks/Lesson003.htmlhttp://www.csun.edu/~pjs44945/giver.htmlhttp://eolit.hrw.com/hlla/novelguides/ms/Mini-Guide.Lowry.pdfhttp://www.bookrags.com/notes/giv/http://www.tallmania.com/Giver.htmlhttp://www.scils.rutgers.edu/~kvander/lowry.htmlhttp://www.sdcoe.k12.ca.us/score/giver/givertg.htmhttp://www.classzone.com/novelguides/litcons/giver/guide.cfmhttp://www.randomhouse.com/teachers/catalog/display.pperl?isbn=9780440237686&view=tghttp://www.sparknotes.com/lit/giver/http://home.earthlink.net/~eduscapes/units/giver/http://www.ksu.edu/smartbooks/Lesson003.htmlhttp://www.csun.edu/~pjs44945/giver.htmlhttp://eolit.hrw.com/hlla/novelguides/ms/Mini-Guide.Lowry.pdfhttp://www.bookrags.com/notes/giv/http://www.tallmania.com/Giver.htmlhttp://www.scils.rutgers.edu/~kvander/lowry.html


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APPENDIX 2

Roald Dahl, The Wonderful Story of Henry Sugar

N B: The following are only suggestions.

The Wonderful Story of Henry Sugar:

Write Maxs story.

(Learning Outcomes: i1, i2, i3, i4, i5, ii1, ii4, iv4, v4, v6)

Either with Henry Sugar or The Boy Who Could Talk to Animals:

Discuss how Dahl uses realistic detail to make clearly fictitious events seem believable.

(Learning Outcomes: iv2, iv9, iv10, v5, v7)

The Hitch-hiker - Comic strip. There used to be an example on the net, but all I can find of it now is this one square at:

http://www.howardsmusings.com/2003/01/20/maddog_roald_dahls_the_hitchhiker.html

(Learning Outcomes: i1, i2, ii1, v6)

Other ideas at:

http://www.roalddahlfans.com/teachers/hitc2.php

The Mildenhall Treasure

Write the diary entries of either Gordon Butcher and/or Ford for the day the

treasure was found and the day of the trial.

(Learning Outcomes: i1, i2, i3, ii1, ii2, ii4, ii5, ii6, iv4, iv8, v6)

A piece of cake

Look at http://www.roalddahlfans.com/shortstories/piec.php for some

background information on this story it might disillusion the students, but it could be good to discuss the issue of reliable narrators!

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http://www.howardsmusings.com/2003/01/20/maddog_roald_dahls_the_hitchhiker.htmlhttp://www.roalddahlfans.com/teachers/hitc2.phphttp://www.roalddahlfans.com/shortstories/piec.phphttp://www.howardsmusings.com/2003/01/20/maddog_roald_dahls_the_hitchhiker.htmlhttp://www.roalddahlfans.com/teachers/hitc2.phphttp://www.roalddahlfans.com/shortstories/piec.php


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A lucky break

Make a board game based on Roald Dahls experiences: Create a simple board with a start and end, using counters and dice to move

around the squares. Devise penalties (moving back x places; missing a throw) for things like talking in prep or having dirty shoes, and

rewards (moving forward x places; throwing again) for landing on squares such as English Literature sessions with Mrs OConnor or

surviving being shot down.

There are lots of sites on Dahl and his books generally, but not all that many with specific teaching ideas.

There are teaching ideas at:

http://www.roalddahlfans.com/books/wond.php

Very brief intro to Dahl: http://www.bbc.co.uk/bbc7/kids/authors/dahl/

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http://www.roalddahlfans.com/books/wond.phphttp://www.bbc.co.uk/bbc7/kids/authors/dahl/http://www.roalddahlfans.com/books/wond.phphttp://www.bbc.co.uk/bbc7/kids/authors/dahl/


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(Example of Exploded Diagram) APPENDIX 3

The price seemed reasonable,

locationIndifferent.

The landlady swore she lived

off premises.

Nothing remained but self-confession. Madam, I warned.

I hate a wasted journey I am African.

Silence. Silenced transmission of

pressurized good-breeding.

good breeding means that the woman was brought upto be polite and well-mannered. The implication is notthat she is necessarily a good person.

We ask ourselves in what sense the landladys good-breeding might be said to be pressurized at this point.

The poem begins with a very mundane focus, this is what most people have to consider first when

looking for accommodation: can they afford it?

Soyinkas comment implies he can afford to pay this rent, which might be the main consideration as far

as the landlady is concerned. However, it turns out that Soyinkas ability to pay the rent is not relevant.The location of the flat or room is not good (although itis not very bad, either). From the tenants point of

view, this means he or she ought to be in a strong

position, as the location of a place is very important

when renting or buying property.Within the poem, the word indifferent carries an additional weigh, however.It can mean not caring or interested which, at first, the landlady appears tobe. But her indifference (lack of interest) changes when Soyinka reveals he

swore implies that at thispoint the landlady wantsSoyinka as a tenant.Therefore it is up to her to

Her living off premises means that

she is unlikely to have to see

much of her tenant. This might beimportant later

Up to this point, everything has perhaps largely

gone Soyinkas way, the negotiations have

seemingly gone smoothly and the two parties are

ready to come to an agreement.

We wonder ifSoyinka isaggressive,apologetic or

Why warned? What does thisimply about:

a) Soyinkasview of the landladyspossible prejudices?

b) Soyinkas pastexperience of similar

If Soyinka was

writing this poemtoday, I think he

would have written

black instead of

African.

The fact thatSoyinka had tostate this mustimply somethingabout his voiceand telephonemanner up to thispoint.

Clearly he has

created a goodimpression so far,but he realizes hisvoice may havedeceived thelandlady.

pressurize, UK USUALLY pressurise verb

[T] (MAINLY US pressure)1: to confine the contents of s/t under a

pressure greater than that of the outside

atmosphere; especially: to maintain near-normal atmospheric pressure in during high-altitude or spaceflight (as by means of asupercharger)2: to apply pressureto

3: to design to withstand pressure

Wole Soyinka,

Telephone Conversation

Confession means to admitthat you have done something

wrong or something that youfeel guilty or bad about.

We wonder if Soyinka reallymeans that he feels bad oruilt about bein an African.
http://www.m-w.com/cgi-bin/dictionary?book=Dictionary&va=pressurehttp://www.m-w.com/cgi-bin/dictionary?book=Dictionary&va=pressurehttp://www.m-w.com/cgi-bin/dictionary?book=Dictionary&va=pressurehttp://www.m-w.com/cgi-bin/dictionary?book=Dictionary&va=pressurehttp://www.m-w.com/cgi-bin/dictionary?book=Dictionary&va=pressurehttp://www.m-w.com/cgi-bin/dictionary?book=Dictionary&va=pressurehttp://www.m-w.com/cgi-bin/dictionary?book=Dictionary&va=pressurehttp://www.m-w.com/cgi-bin/dictionary?book=Dictionary&va=pressurehttp://www.m-w.com/cgi-bin/dictionary?book=Dictionary&va=pressure


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interim guide for literature in english (sow)

Documents