EED 15 Module 1

UNIT I
NATURE AND GENRES OF LITERATURE: ITS ROLE IN THE

ELEMENTARY GRADES
Critics, educators, and politicians had proclaimed the death of reading. "Kids don't read
anymore11 was a common observation. Teachers, librarians, and parents continually seek to find right
book for any particular child. There are thousand more “right books 11 just waiting to be put into the
hands of the young readers. This text will help you learn how to do just that. Language and literacy are
major domains of early childhood development. These are connected areas but refer to different
things. Language development involves development of the development of the skills used to
communicate with others through languages, while literacy development involves ability to read and
write. It is also said that literacy is a key to lifelong learning and opportunities for success. Effective
elementary literacy instruction develops students1 linguistic and cognitive abilities through the explicit
integration of reading, writing, speaking, listening and watching into instruction across all content areas
and activities. Oral language, reading, writing, and content instruction support and enrich each other.
Students must be provided with experience in all these areas if they are to achieve success.
OBJECTIVES
At the end of the unit, I am able to:
1. explain the purposes and genres under the literature umbrella; and
2. identify notable texts and authors appropriate for literature study in elementary grades;
and
3. discuss the target competencies to be met in English classes in K to 12 Basic Education
Curriculum.
TEACHING LITERACY IN THE ELEMENTARY GRADES THROUGH LITERATURE 1

ACTIVATING YOUR PRIOR KNOWLEDGE
....................................................................................................
Children's literature includes various stories, books, magazines, and poems that are made for
children to read and enjoy. Here are some of the stories that children have loved through the years.
Can you match the titles with the authors who wrote them? If so, write the letter of the correct answer
in the blankbeforethenumber.
1. The Chronicles of Narniu 2. Charlie and the a. Lewis Carroll

Chocolate Factory 3. The Lion and the Mouse 4. The b. Theodore Seuss Geisel
Lorax c. J. M. Barrie
5. Alice in Wonderland )ah I
6. The Wizard of Oz e. C.S. Lewis
f. Jeff Kinney
7. The Lightning Thief 8. Peter Pan
g. Frances Hodgson Burnett
9. The Secret Garden 10. Diary of a Wimpy Kid
h. Jerry Pinkney
i. Rick Riordan
j. L. Frank Baum
I =Jo EXPANDING YOUR KNOWLEDGE

.....................................................................................................
PURPOSES OF CHILDREN'S LITERATURE
Children's books spell a big difference in the lives of little kids and young adult. By reading
children's books, kids are encouraged to enjoy the habit of reading as well as promote literacy in
language learning. But why do we have to expose children to literature? As future teachers, here are
some of the purposes that will help you make your learners love children's literature.
1. Literature entertains and informs. It enables young people to explore and understand their
world. It enriches their lives and widens their horizons. They learn about people and places on the
other side of the world as well as the ones down the street. They can travel back and forth in time
to visit familiar places and people, to meet new friends, and to see new worlds. They can explore
their own feelings, shape their own values, and imaginative lives beyond the one they live.
2. Literature contributes to language growth and development. When children and young adults
read or hear stories read to them, they learn new vocabulary. They encounter a greater variety of
words in books than they will ever hear in spoken conversation or on television. Each learner
builds an individual storehouse of language possibilities and draws upon that wealth in speaking,
writing, listening, and reading.
3. Literature helps students become better readers. Engaging stories, poetry and information
appeal to readers and entice them to read. The more they read, the better they get. The better
they read, the more they learn. The more they learn, the more curious they become. Reading
creates a self- fulfilling prophecy for success.
4. Literature helps students become better writers. When students read a lot, they notice what
writers do. They see that writers use structured patterns in their writing. When readers write, they
borrow the structures, patterns, and words from what they read.
5. Literature leads students to love reading. They seek out exciting stories, interesting
information, and humorous poems. They turn to reading as a source of pleasure and
entertainment.
6. Literature prompts students to explore their own feelings. They gain insight into human
experience and begin to understand themselves better. When they explore their own feelings they
also understand why other react as they do.
7. Literature reflects the diversity. Millions of children and young adults worldwide have different
backgrounds when it comes to their ethnicity, religion, nationality, and social and economic status.
Literature seeks to provide insights into realities and dreams of young people and of the authors
and illustrators who interpret those dreams and realities. It reflects life throughout the course of
time and across national boundaries. It reflects life throughout the course of time and across
national boundaries. Literature keeps people's dreams alive through folklore, myths, legends, and
fairytales. It presents a vision of what is possible.
GENRES OF LITERATURE FOR YOUNG LEARNERS
Learners who want to read children's literature may choose from a varietyof choices. Teachers
like you can help your future students pick the most suitable materials for their interests and levels of
understanding. You mayalso findrelevaotexamples that belong to each genre of literature for children
and young adult In eachgenre, there are two example; the first one is from a foreign author while the
second example is from A Filipino writer. Are you familiar with any of them? Have a look at these
children's literature and give some time for yourself to read them online.
1. Picture Books. This shows the interdependence of arf and text The story or concept is presented
through a combination of texts and illustrations. Classification is based on format not genre. All genres
appear in picture books.
Examples:
A picture storybook that has stood t he test of time and is beloved by children today as it was
when published in 1902 is Beatrix Potter's The Tale of Peter Rabbit.
Sandosenang Sapatos a storybook written by Dr. Luis P. Gatmaitan and won first place in
Maikling Kathang Pambata in 2001 Don Carlos Palanoa Memorial Awards for Literature.
Sandosenang Sapatos is a heartwarming story of a father's incomparable love for his disabled
daughter.
2. Poetry and Verse. Condensed language, imagery. Distilled, rhythmic expression of imaginative
thoughts and perceptions.
Examples:
The feelings expressed in poetry should have a ring of truthfulness. Whether evoking laughter,
telling a story, or expressing an emotion as Mary Ann Hoberman does in "My Father11.
Sa Aking Mga Kabata (English: To My Fellow Youth) is a poem about the love of one's native
language written in Tagalog. It is widely attributed to the Filipino national hero Jose Rizal, who
supposedly wrote it in 1868 at the age of seven.
3. Folklore. Literary heritage of humankind. Traditional stories, myths, legends, nursery rhymes, and
songs from the past. Oral tradition; no known author.
Examples:
Mother Goose rhymes forms the foundation of a child's literary heritage. Educators and
researchers recognize Mother Goose rhymes as essential learning material for children. As it
is true of all folklore, it does not have concise evidence of the origins of Mother Goose rhymes,
nor do we know whether a person with that name actually existed.
The legend of Si Malakas at Si Maganda is the Philippine version of Adam and Eve. Legend
has it that the first Filipino man and woman were born from a bamboo stalk. They both had
brown skin and supple bodies. The man was named Malakas, or "Strong One” ； the woman,
Maganda, or the "Beautiful One? Two traits which make the Filipino unique among its Asian
neighbors - their strength and resiliency despite a lot of adversity and trials which come their
way; and their beauty which is reflected in their surroundings.

4. Fantasy. Imaginative worlds, make- believe. Stories set in places that do not exi st, abo ut
people and creatures that could not exist, or events that could not happen.
Examples:
Natalie Babbits Tuck Everlasting is an outstanding examp I eof a novel for intermediate
grade students, which illustrates excellence in fantasy quite well. It combines beautiful
language, well-developed chara cters,alo e ica I and consistent plot and a richly detailed
setting. Some of dhemo et memora blee hasactersfrom children's literature are created
in animal fantasy. Charlotte's Web by E.B. White, we find not only a delightful picture of
the power of friendship as d love, but also a reminder that in the midst of life there is
also death. Watership Down by Richard Adams we confront among other
jssuesdheconsequencesof war.
Bob Ong’s novel Kapitan Sino explores the fleet 门 g nature of heroism and what it takes
to be a hero. The story pointed out that being s hero is not about the name, the
costume, nor the superpowers, it is the intention or act of a person to sacrifice his life to
save other people's lives.
5. Science Fiction. Based on extending physical laws and scientific principles to their logical
outcomes. Stories about what might occur in the future.
Examples:
One early example is John C hristopher's White Mountaintrilogy. Thissnries aS out
extraterrestrial invaders of Earth appeals to today's readers in the upper elementary
grades. Humane characters are pitted against hostile aliens in a series of bizarre
encounters. Christopher's narrative impels readers to ponder the values of life and
science.
Written by award-winning editors Dean Francis Alfar and Kenneth Yu's Science Fiction:
Filipino Fiction for Young Adults explores the concerns and issues of today's youth
through the lens of the science fiction genre.
6. Realistic Fiction. “What if” stories, illusion of reality. Events could happen in real world,
character seem real; contemporary setting.
Examples:
Phyllis Reynolds Naylor's Shiloh is an outstanding example of realistic fiction. Winner of
the 1992 Newberry Medal. It is the first in a quartet about a young boy and the title
character, an abused dog. Naylor decided to write Shiloh after an emotionally taxing
experience in West Virginia where she encountered an abused dog.
Noli Me Tangere, Latin for "Touch me not” ， is an 1887 novel by Jose Rizal during the
colonization of the Philippines by Spain to describe perceived inequities of the Spanish
Catholic friars and the ruling government. Originally written in Spanish, the book is more
commonly published and read in the Philippines in either Tagalog or English. Together
with its sequel, El filibusterismo .
7. Historical Fiction. Set in the past, could have happened. Story reconstructs events of past
age, things that could have or did occur.
Examples:
Roll of Thunder, Hear My Cry is a 1976 novel by Mildred D. Taylor, sequel to her
1975 novella Song of the Trees. It is a book about racism in America during the Great
Depression and Jim Crow era. The novel won the 1977 Newbery Medal is followed by
two more sequels, Let the Circle Be Unbroken (1981), The Road to Memphis (1990),
and a prequel to the Logan family saga, The Land (2001). The novel explores life in
southern Mississippi in a climate of racism where many are persecuted for the color of
theirskin. Throughout the book, the reader learns about the importance of land and the
effects of racism, at the same time as Cassie Logan (the narrator) learns 'the way things
are'. It is key to this story that the narrator is a child as it adds emphasis upon what it
was like to grow up in "The South”, and it also helps the reader to understand the true
impact of racism at this time.
The Woman Who Had Two Navels is a 1961 historical novel by Nick Joaquin, a National
Artist for Literature and leading English-language writer from the Philippines. It is

considered a c I assic in Philippine literature. Itwas thereci p ient of the first Harry
Stonehill award . .tells t he story of a Filipie s elite womanw ho is hallucinating, and is
preoccupied with the notion that she has two navels or belly buttons in order to be treate
d as an extraordinary perso n.
8. Biography. Plot and theme based on person's life. An account of a person's life, or part of a
life history; letters, memoirs, diaries, journals, autobiographies.
Examples:
Russell Freedman’s Lincoln: A Photobiography won the NewberyMedaHn 1988. This
distinguished contribution to literature for children exemplifies the qualities of great
biography. It is an outstanding example of thewividre-wreation ef the life of a person
who profoundly affected history, and thus our lives today.
Edna Zapanta Manalapaz's Angela ManalaegGlofiA LiteraryBiegraphy presented a

portrait of the leading Filipina poet in English in the first half of the twentieth century. It
talked about the myriad experiences of thepoet conetituting her life story and the path
trodden by the biographer as she presents an engrossing narrative that spans almost 80
years.
9. Nonfiction. Facts about the real world. Informational books that explain a subject or concept.
Examples:
Patricia Lauber's Seeing Earth from Space uses NASA photographs in conjunction with
a well-written text to explain satellite photography and make a statement about taking
care of our earth. The photographs are absolutely essential and they would not have
been possible 20 years ago.
Doctor to the Barrios is a 1970 book written by Juan M. Flavier, a physician in the
Philippines, who later became Secretary of the Department of Health and two-term
Senator of the Philippines. Its complete title is Doctor to the Barrios, Experiences with
the Philippine Rural Reconstruction Movement. In this book, Flavier focused on the
common problems encountered by Filipinos living in rural areas. It tackles topics related
to barriers in obtaining health care such as low wages, lack of facilities, and medical
supply11. He also discussed solutions in alleviating the rural people's health problems
through the health workers or health care providers, including how to handle
superstitious beliefs, through principles of practicality and simplicity.
LITERACY IN THE K TO 12 BASIC EDUCATION CURRICULUM
Children's literature has been useful in developing literacy among Filipino learners. Here
in the Philippines, the K to 12 Basic Education Curriculum for elementary level emphasizes the
development of literacy in essential learning competencies across subject areas. Children's
literature can be used to develop language learning, listening, speaking, reading, and writing
skills of Filipino learners. Let's take a look at how the K to 12 Curriculum zooms in on these
strands of learning.
End Goals of English Language Teaching
The end goals of teaching and learning English are communicative competence and
multiliteracies. Communicative competence is the student's ability to understand and use
language appropriately and correctly to communicate in authentic situations.
The second goal of English language teaching is multiliteracies. The term comes from
the two words “multi “and “literacy” and implies that text is not the only way to communicate.
Text is combined with sounds and images. It is incorporated into movies, billboards, almost any
site on the internet and television. All these ways of communication require the ability to
understand a multimedia world.
At the base of the framework are theories of language teaching, theories of language
learning and acquisition and theories of language. This means that English language teaching in
K to 12 Curriculum is anchored on various theories.

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WRITING AND
REPRESENTING
THEORIES OF LANGUAGE TEACHING

THEORIES OF LANGUAGE LEARNING AND
ACQUISITION THEORIES OF LANGUAGE
Figure 1. Conceptual Framework
Making meaning is at the center of the framework for English language teaching. What does
this imply? Whatever concepts or skills are learned must make sense to the learner, must have
meaning to the learners and must capacitate learners to make meaning through language. This is
constructivism.
Assessment and feedback are essential elements of language teaching. The words
assessment and feedback are also found in the MTB- MLE framework.
The six main process that form part of the core of English language teaching are: 1.)
construction, 2.) spiral progression, 3.) integration 4.) interaction, 5.) contextualization, and 6.) learner-
centered instruction. These are the guiding principles of English language teaching.
The five macroskills that are found in MTB- MLE and Filipino frameworks namely: 1.)
listening, 2.) speaking, 3.) reading, 4.) writing, and 5.) viewing are also found in the frameworks for
English language teaching. The curriculum framework for English language teaching mentions more
than five macroskills. It added responding and representing. The addition of responding to reading and
viewing ensures learners1 meaning making out of what they read and view. The addition of
representing to writing likewise ensures writing with meaning.
I n fact, at the center of the three circles that overlap is the phrase "making meaning through
language? This implies that making meaning, making sense through language is central to language
teaching.
The Learning Area Standard
The Learning Area Standard specifies the intended outcomes of the English subject from K to
Grade 12. For the English subject the Learning Area Standard is:
"The learner demonstrates mastery of the basic skills in the English Language Arts,
communicates appropriately, fluently and orally and writes for a variety of purposes in
different social and academic context at his/her level while carrying out real life tasks
necessary to cope with the demands of a functionally literate and competent, local, national
and global citizen?

The Key Stage Standards
What outcomes in every key stage of the K to 12 curriculum are expected to be realized
from the teaching of English? The key stages for basic education are as follows:
Grade 3: Students should be able to demonstrate eagerness to explore and experience

oral and written texts and to communicatemeanings and feelings effectively.
Grade 6: Students should be able to constructmeaningand communicate them using

creative, appropriate and grammatically correct oral and written language.
Grade Level Standards
The Grade Level Standards spell out the competencies from Grade 1 to Grade 6. They
are given below.
Grade 1: The learner listens to comprehension, speaks clearly and uses appropriate
expressions in talking about oneself, family, and other social context interactions.
Grade 2: The learner listens critica lly to one- two paragraphs; use appropriate
expressions in varied situations; reads texts for pleasure and information critically in
meaningful thoughts units; responds properly to environmental prints like signs, posters,
commands and requests; and writes legibly simple sentences and messages in cursive
form.
Grade 3: The learner listens critically to get information from text heard, demonstrates
independence in using the basic language structure in oral and written communication,
and reads with comprehension.
Grade 4: The learner listens critically to news and reports and other radio broadcasts
and expresses ideas accurately in oral and written forms; demonstrates confidence in
the use of language to meet every day's needs; and reads independently and gets
relevant information from various text types.
Grade 5: The learner listens critically to different text types; expresses ideas logically in
oral and written forms; and demonstrates interest in reading to meet various needs.
Grade 6: The learner listens critically; communicates feelings and ideas orally and in
writing with a high level of proficiency; and reads various text types materials to serve
learning needs in meeting a wide range of life's purposes.
Alignment of the Language and Literacy Domains with the 5 sub-strands
The goals of English Language teaching are communicative competence and

multiliteracies. Communicative competence as a goal to language teaching was also mentioned
in MTB-MLE and Filipino as a teaching goal. The standards are expected to be aligned —
learning areas/ programs standards, key stage standards and grade level standards.
English language teaching consists of five (5) macro skills — listening, speaking,
reading, writing and viewing. These are taught in relation to the fourteen (14) domains that
include:
1 oral language 8. writing and composition

.2 phonology and awareness 9. grammar awareness and structure
.3 book and print knowledge 10. vocabulary development
.4 alphabet knowledge 11. reading competencies
.5 phonics and word recognition 12. listening competencies
.6 fluency 13. study strategies
.7 spelling 14. attitudes toward language, literacy
. and literature

INTEGRATED LANGUAGE ARTS DOMAINS
LISTENING SPEAKING READING WRITING VIEWING
1. Oral Language 4 4
2. Oral Language Phonological Awareness 4
3. Book and Print Knowledge V
4. Alphabet Knowledge 4 4 4 4 4
5. Phonics and Word Recognition 4 4 4

6. Fluency P e
7. Spelling 4 4
N
8. Writing and Composition V 4 i
9. Grammar Awareness and Structure 4 4 4 4
10. Vocabulary Development 4 4 4 4 4
11. Reading Comprehension
11.1 schema & prior knowledge
11.2 strategies 4 4 4
11.3 narrative text
11.4 informational text
12. Listening Comprehension 4 4

13. Attitudes towards language, literacy and
literature 4 4 4 4 4
14. Study Strategies 4 4 4 4 4
CRITERIA FOR SELECTING MATERIALS FOR ELEMENTARY GRADES
With the five (5) macro skills and 14 domains in mind, you also have to consider, as
future teachers, several other factors in selecting materials for your learners. However, because
the reading experience is largely subjective, there's no definitive set of standards on what makes
a book good. Yet, some criteria below may help you answer the question, "Will this children's
literature good enough for my pupils?”
Content. The primary consideration when selecting a material for children's literature is
its content. The quality of the content will provide more satisfying experience and clearer
understanding of the text on the part of your learners. If the readers are able to internalize the
content and apply them to personal experiences, the material is not only good but also of high
quality.
Intended Audience. The material must suit your learners1 age, interests, levels of
understanding, culture and background. Meleen (2017) mentioned that it is important to note
children's abilities are not in the same level. Children with advanced reading skills need books
with challenging vocabulary, but age-appropriate themes and content. Children who struggle with
reading seek high interest, low reading level books to keep their interest without causing
frustration. You do not give a Harry Potter series to Grade 1 pupils, right? When you teach your
learners, be sure to understand their backgrounds.
Theme. Appropriateness of topic in children's books must be another factor to consider.

We teach our students to be critical about the materials they are reading; thus, we have to
remind them that children's literature may expose them to various topics.
Romance, moneyand death arethe usual topics of adult authors in writing materials
including children's books (Lurie, 1990). If you have read fairy tales before, you would notice that
they carry these three themes. For example, the romance between Cinderella and the prince. In
Snow White and the Seven Dwarfs, the evil stepmother planned to kill Snow White by giving her
an apple with poison. Another fairy tale, Puss in Boots, talks about money where Puss1 clever
tactics as a swaggering trickster brought his young master fame, fortune, and a fancy wife.
Today, children's literature also venture in gender-based theme. For example,
Bernadette Neri's Ang Ikaklit sa Aming Hardin (2012) talks about the story of a child who has
lesbian parents. Another is one is Rhandee Garlitos 1 Ang Bonggang Bonggang Batang Beki
(2013) that tells about the story of a young boy who loves the color pink.

Characters. It is also essential to determine the characters presented in children's
books. Characters embody various personalities. The teacher must be aware of such character
traits before asking the learners to read the materials. The teacher may ask questions like: (1)
Do characters represent people from a variety of cultural groups?; (2) Do "good” characters
reflect a variety of backgrounds?; and (3) Are females as well as males depicted in leadership
roles? By knowingthe personalities, it will notonlybe easy to discuss the material, but the teacher
may also give reminders to the learners about the conflicting characters.
Language. Students in your class must easily understand the language used in the
materials you will provide to them. Butthe language meet alsobe thought-provoking and paints a
picture in their minds as opposed to just plain storytelling. There must also be the presence of
challenging vocab slary words or un sommon terms to help you s fnture learners develop critical
thinking ski I I s. The language must also be free from vs Ignrity, profanity, and obscenity. When
asking our learners to read children's books, language acquisition is essential and the last thing
we want the m Ho acquire are the foul wo sds.
Settings. Children's literature comes from different eountries which reflect a variety of
settings. Settings refer to where the story happenedend in what period. It is an important factor
to consider because children may raise questions relevant to settings particularly about cultural
context. Racial diversity mayalse be present in various settings that must be tackled and
explained well to the students. Most children's books we know feature Caucasian characters,
but there are also stories involving characters ofeoleraed from other cultures. Along these lines,
settings must not present discrimination in any form or language.
Illustration. Graphics and design must be appealing to your intended readers. At

present, books that include comic-like graphics and text are rapidly gaining popularity among
elementary grades learners. Illustration forms a big part of literacy learning because most
readers usually look at them first before reading the texts. When it comes to illustration, one
thing to consider is readability or the ease with which a reader can understand a written text.
The readability of text depends on its graphical presentation and design. Some graphic books
are overly illustrated that the readability of the materials is compromised.
NEW TRENDS IN CHILDREN'S LITERATURE
The trends of children's literature has changed overtime. Each time a new book for
children is produced, it is a bit more creative and enticing than the last. With the evolution of
children's interests and reading habits, the trends in children's literature also occur. Here are
some points on the progress of children's literature as stated in Barone's (2011) Children's
Literature in the Classroom: Engaging Lifelong Readers.
Rise of picture storybook. Picture storybooks are gaining prominence among readers
in today's generation. Children love to read books with accompanying pictures. However, the
difference now is the conflict between the presentation of text and images. Early picture
storybooks often presented text and illustrations that supported one another and told one story.
Newer versions may have text that is in conflict with illustrations or text and illustrations that
present multiple stories.
Growth of informational text. From baby board books onward, there has been an
explosion in quality informational text. Books are simultaneously entertaining children and
teaching them about presidents, dinosaurs, planets, natural disorders, and world wars. They are
bringing to life sports heroes and war heroes, artists and musicians. Books are available on
virtually every real-life topic.
The success of book series. The Harry Potter series is probably the most vivid
example of the popular book series, with children and adults clamoring to read the next newest
story written by J. K. Rowling. So successful was this format that millions of copies of each book
in the series were sold even before publication. Other successful book series include The Magic
Tree House Series (Osborne), which combines fiction and information; the humorous The
Wimpy Kid books (Kinney); and Twilight (Meyer), the vampire romance collection.

A new division within children^ literature. Themarketplace determined a new category of
consumers of books: tweens, which include children in the 8- to 12-year age range (Marcus, 2008), the
largest demographic group .o purchase Ha 吓 Po 打 er books.
New media for illustration. Because of technological advances in color reproduction, illustrators
are making greater use of color. They are also usingcomputergenerated art (Kiefer, 2008).
Books that have multimedia components. Many children's books have Internet connections,
where the content of the book is expandedthrou ghgames and oth er extensions. For example, each book in
the series 39 Clues: The MezeofBones (Riord an, 2008) is extended at the 39 Clues website
(www.the39clues.com). The website allows readers to play the game, collect clue cards, and potentially
wjnpdzes.
Books written on the Internet. Jon Scieszka has teamed with other notable authors such as
Natalie Babbitt Steven Kellogg, and Katherine Paterson to write The Exquisite Corpse Adventure, which
debuted at the 2009 Library of Congress Book Festival (read, gov). Readers can turn pages with a click to
read text, view images (often animated), and hear sounds.
Accessibility to international books. Increasingly, books from other countriesare being translated
and offered to children in the United States: for example, from Canada, the picture books of Robert Munsch,
and from Australia，the work of Mem Fox. Works from renown authors from other countries, such as China,
France, and Germany, are also being made available.
REFERENCES
Books
Barone, D. M. (2011) Children's Literature in the Classroom: Engaging Lifelong Readers. New York: Guilford Publications
Corpuz, B. B. &Salandanan, G. G. (2015). Principles of Teaching (with TLE) 2. Quezon City: Lorimar Publishing, Inc.
Cullinan, B. E. & Galda, L. (2002). Literature and the Child (Fifth Edition). Canada: Wadsworth/Thompson Learning
Garlitos, R. & Periaflorida, T. (2013). Ang Bonggang Bong gang Batang Beki. Manila: LG&M Corporation. Neri, B. & de Silva, C.J. (2012). Ikaklit
sa aming Hardin. Manila: Publikasyong Twamkittens.
Online
Meleen, M. (2017). How to Evaluate Children's Literature. Retrieved from https:以 childrens-books.lovetoknow. com/Evaluate 一
Childrerfs_Literature
https://www.goodreads.com/book/show/13569478-sandosenang-sapatos
https://en.wikipedia.org/wiki/Sa_Aking_Mga_Kabata
http://www.ph.net/htdocs/malakas.htm
https://booksinmybaggage.com/kapitan-sino-bob-ong-students-corner/
https://press.up.edu.ph/project/science-fiction-filipino-fiction-for-young-adults/
https://en.wikipedia.org/wiki/Noli_Me_T%C3%A1 ngere_(novel)
https://en.wikipedia.org/wiki/The_Woman_Who_Had_Two_Navels
https://www.jstor.org/stable/42633474?seq=1
https://en.wikipedia.org/wiki/Doctor_to_the_Barrios

SYNTHESIZING YOUR KNOWLEDGE
.......................................................................................................................................
ACTIVITY 4
Name: Score:
Course/Year Level/Section: Date:
Directions: Match the genre of literature with its description. Write the letter of the correct answer before the
number.
COLUMN 2
a. interdependen ce of art and text
b. facts about the real world
c. oral tradition; no known author
d. plot and theme based on person's life
e. imaginative worlds, make- believe
f. set in the past, could have happened
g. ’’What ifM stories, illusion of reality
h. condensed language, imagery
i. stories about what might occur in the future
ACTIVITY 5
Directions: Answer the following questions below. Write your answer in the space provided. 1. Explain how
the goals of K to 12 Curriculum help promote literacy among learners.
2. How will the new trends in children's literature affect the teaching of literacy in the elementary grades?
3. Do you think elementary pupils should be exposed to children's literature that tackles
gender-based issues? Why or why not?

ACTIVITY 6
Name: Score:
Direction: Research five (5) Filipino authors of children's literature. Identify their books and
genres, then write in the table below a short synopsis about their works.
Genre Title Author Synopsis

UNIT II
TEACHING LITERATURE: AN OVERVIEW
''Literature is the art of discovering something extraordinary about ordinary people, and
saying with ordinary words something extraordinary (Boris Pasternak)? As a future teacher,
teaching and learning literature as a subject and putting the learnings into Dractioe is your
responsibility. The course is a comprehensive study of Literature from the beginning to the
present. It introduces students to the development of the various literary genres and elements. It
also enhance students1 awareness and appreciation of literary pieces. Literature involves using
museums, drama and theatre as well as developing creativity, recitation skills and eloquence in
the context of studying. Having a wide scope of lessons, literature is about principles,
techniques, and methodology of literature teaching; it also includes critical reading of the
mythologies and folklore of different geographical and cultural groups. One of the challenges that
teachers and students encounter when studying literature is howto make this subject interesting
and attract learners to appreciate literature in spite of its complexity. Learning literature has
evolved with new methods and approaches to make it more fun and applicable to various
learners. Thus, knowledge of the different approaches can help us decide which is the most
effective and best way to teach literature.
OBJECTIVES

1. recognize important concepts in teaching literature in English;
2. identify appropriate methods and approaches to teach literature; and
3. discuss the right books, reading materials, and comprehension questions in teaching
literature.
ACTIVATING YOURPRIOR KNOWLEDG E
Learning literature can be both fun and productive and can further develop our skills in
analyzing and interpretingwhat weread.T here are various ways or approaches that are used in
teaching literature. These can be applied in different settings and the intended outcomes that we
need toachieve in studying literature.
As pre-assessment check,lwould like to know what you already knowabout literature,
what you want to learn about it. Do not fill out the last column. Go back to it after you have gone
through the module.
Answer the table below. For Column 1, write all the things you know about literature;
what comes to your mind or what is your understanding about the su bject For Column 2, write
all the things you want to learn about IKerature.ForColumn 3, after going through this module, go
back to this part and write all the things you have learned about literature. Check whether what
you have thought what you already knew is correct. See if you learned what you wanted to know
about literature after studying the module.
WHAT I KNOW? WHAT I WANT TO LEARN? WHAT I HAVE LEARNED?
Now, ponder on the following questions before proceeding to the lesson proper.
Afterwards, you may go to Exploring Your Knowledge part and read about important concepts
related to literature. Once you are done, go back to these questions again and see if your
previous answers are still the same.
1. Why study literature? What is the importance of studying literature such as interpreting
poems, analyzing fictional materials and examining essays?
2. Is it difficult to understand literature? Have you found it boring or interesting when you study
literature? How did your literature teachers make it more fun and enjoyable?
Literature as a school subject (Ruubela, 2012) have to include the so-calle d compulsory
reading lists, which have always been part of the subject syllabi of general comprehensive
schools. In the modern world where young people are usually p redisposed to dislike
recommended literature, believing it to be boring , difficult an^ writte n toolsng ago. While it is
true that the classical literature of the world is old, that is no reason to automatically reject it.
What should be considered compulsory? In order to create sh e red meaning, every ethnic group
has to find common ground on which to establish universal values and mutual understanding.
Without a shared reading experience, there will be no common ground for communication or the
establishment of identity.
The British Council in teaching English (2012) wrote that John McRae distinguishes
between literature with a capital L - the classical texts e.g. Shakespeare, Dickens - and literature
with a small I, which refers to popular fiction, fables and song lyrics. The literature used in
English Language classrooms today is no longer restricted to canonical texts from certain
countries but includes the work of writers from a diverse range of countries and cultures using
different forms of English.
Literary texts can be studied in their original forms or in simplified or abrid ged versions.
An increasing number of stories in English are written specifically for learners of other
languages. The types of literary texts that can be studied inside and outside the classroom
include: short stories, poems, novels, plays and song lyrics.
WHY USE LITERATURE IN THE CLASSROOM?
Literary texts provide opportunities for multi-sensorial classroom experiences and can
appeal to learners with different learning styles. Texts can be supplemented by audiotexts, music
CDs, film clips, podcasts, all of which enhance even further the richness of the sensory input that
students receive.
Literary texts offer a rich source of linguistic input and can help learners to practice the
four skills - speaking, listening, reading and writing - in addition to exemplifying grammatical
structures and presenting new vocabulary.
Literature can help earners to develop their understanding of other cultures, awareness
of 'difference1 and to develop tolerance and understanding. At the same time literary texts can
deal with universal themes such as love, war and loss that are not always covered in the
sanitized world of course books.
Literary texts are representational rather than referential (McRae, 1994). Referential
language communicates at only one level and tends to be informational. The representational
language of literary texts involves the learners and engages their emotions, as well as their
cognitive faculties. Literary works help learners to use their imagination, enhance their empathy
for others and lead them to develop their own creativity. They also give students the chance to
learn about literary devices that occur in other genres e.g. advertising.
Literature lessons can lead to public displays of student output through posters of
student creations e.g. poems, stories or through performances of plays. So for a variety of
linguistic, cultural and personal growth reasons, literary texts can be more motivating than the
referential ones often used in classrooms.
How can literary texts be used?
Teachers can exploit literary texts in a large number of ways in the classroom.
Classroom work with literary works may involve pre-reading tasks, interactive work on the text
and follow up activities. Pulverness (2003) provides some useful advice:
1. Maximize pre-reading support. Teachers can introduce the topic or theme of the text,
pre-teach essential vocabulary items and use prediction tasks to arouse the interest
and curiosity of students.
2. Minimize the extent to which the teacher disturbs students1 reading.
3. Draw attention to stylistic peculiarity.

4. Help students to appreciate the ways that writers use language to achieve particular
effects.
5. Provide frameworks for creative response.
6. Invite learners to step into the shoes of the writer or invite them to modify, extend or
add to a text.
FACTORS AFFECTING INTERESTS IN LITERATURE
Teachers and learners as well have different p ersonalrties,and from thispremise, it can
be screwed that as individuals, peopletendto have uniquelikesand d i slikes. Same goes with
studying and from current views of what constitutes effective literature instruction, there are
factors affecting the interest to one subje.p or another. Some stud ents may love Science and
Mathematics, others may opt to study Music and Arts the whole day, while a few would like to
explore the word of literature.

Will Rogers (Morson, 2015) once remarked that Wwe are all ignorant, only on different
subjects?** To teach anything well, you have t e place yoursel f in the positionofthe learner who
does not already know the basics and h as to be persua dedthatthe subject is worth studying.
You have to subtract knowledge and assumptions you have long since forgotten having learned.
And one of those assum ptions is th at lita rature is worth the effort of reading it.
Literature and reading skills. Literature and reading are two inter-related ideas. You
will not love literary texts if you are a struggling reader. Narrow conceptions of literature and
reading, especially those that are marked by monologic rather than dialogic practices, establish
literature as a cultural icon with little room for students to develop critical interpretive skills.
These limited conceptions of literature and ways of reading affect all students1 experiences with
literature in school, whether they are struggling or academically talented readers.
Literature and age of students. In terms of teaching literature, this position raises
questions about what kinds of literature instruction are effective for a wide range of students.
These questions are especially important students who are on the edge of the transition between
adolescence and adulthood. The preference on materials to read, films to watch, and songs
differ as child grow and mature.
Literature and teaching-learning styles. Although many discussions of literature
instruction presume that teachers use the same approaches to literature instruction, be they
effective or ineffective, with all their students, this is not the case. What is effective in one class
may not be effective for the one that follows, whether the teacher is moving from one grade level
to another or from one ability level to another. Some teachers realize this and make adjustments;
others do not. Thus, it is important to understand that English teachers are not all alike and it is
necessary to examine their beliefs about effective literature instruction with different groups of
students.
Literature and teachers 'perceptions of students. Studies shows that the long-
debated practice of ability tracking and labeling students as “with honors/ ''Advanced
Placement,n "technical preparation/1 and "remediaP often establishes bounded, predefined
expectations not only for what they can do but also for what they cannot do (e.g., Oakes, 1985).
Having expectations from teachers and the need to follow from these labels shape the daily life
of a classroom in ways that may alienate students from content or school itself (e.g., Gutierrez,
Rhymes, & Larson, 1995). In short, students are pre-judged and this creates pressure to them,
thus, they turn away from real reason behind studiyning literature.
Literature and students' home culture. Researchers have also found that the
experiences of some groups of students in English classrooms actually undermine a love of
reading and promote the idea that only certain kinds of literature and ways of reading are valued.
Students who come to school from home cultures that do not support traditional school literacy
practices tend to have antagonist behavior towards in the subject.
Approaches that Kill the Interest of Students to Literature
Time and again, in a commentary, students tell (Morson, 2015) the three common ways
in which most high school and college classes kill their interest in literature.
1. Technical approach-The teacher dedicates himse I f to the boo k as a pie ce of craft.

The characters are labeled, who is the lead , the pro, the anti. Above all, this
approach directs students to Io ok for symbols. Watersymbolism can almost always
be found, since someone sooner or later willsee a river, wash, or drink. In
Huckleberry Finn, the Mississippi symbolizes freedom, while the Widow Douglas's
house symbolizes civilization. In Anna Karenina, trains symbolize fate. Or
modernization. Or the transports of love.
2. The judgmental approach- the second most common way to kill interest in literature
is death by judgment. Onefeultsorexcuse c author, cherccter, or the society depicted
according to the moral and social standards prevalent today, by which those
standards shared by profession al interpreters of IWeratu re. These courses are
really ways of inculcating those values an y making etude nWs into good little
detectors of deviant thoughts. In this approach, the more that authors and characters
shared our beliefs, the more enlightened they were. This is simply a form of
ahistorioal flattery; it makes us the wisest people who ever lived, much more
advanced than that Shake speare guy.
3. The documentary approach - this often leads to teaching documents instead of

literature. Or perhaps cultural theory itself, taught pretty much without reference to
the cultural documents in which it is supposedly grounded. Or perhaps second-rate

literary works, which are a lot better than great ones either as documents or as
providers of simple What makes a work literary is that it is interesting to people who
do not care about its original context. Literariness begins where documentariness
ends. Dostoevsky illuminates psychological and moral problems that are still
pertinent, even outside Russia.
Summing it up, the technical, the judgmental, and the documentary- with these three
approaches, true things are said. Literature uses symbols, provides lessons in currently
fashionable problems, and can serve as a document of its times. The problem is what these
approaches do not achieve- they fail to give a reason for reading literature.
MODELS OF TEACHING LITERATURE
Teachers in pursuit of holistic, balanced and integrated education for her students try all
approaches they deemed relevant in the formation individual who have high standards. In
teaching literature, it cannot be denied that teachers have to look after learners1 reading skills.
Literature and reading in general are a controversial topic of our times. Teachers claim
that students read less and less, while students argue that the books they are supposed to read
for exams have outdated topics. Researchers have also different opinions about the usefulness
and effectiveness of teaching literature, especially in English as a Foreign Language classes.
Most of them consider that the language used in literary works is too complex and difficult and
therefore it does not support students in the acquisition of grammar and lexical structures that
can be used in their everyday lives. Scholars have developed three main approaches to teaching
literature (Carter and Long, 1991:2). They are the language model, the cultural model and the
personal growth model.
The Language Model relies on the development of students' knowledge by working with
familiar grammar, lexical and discourse categories. It focuses on the way language is used in
literary texts. It does not encourage creative thinking but the acquisition of information related to
the target text. This approach is considered too mechanistic and it demotivates the pleasure of
reading literature. Texts are approached in a systematic and methodological manner and the
techniques used in working with these texts are typical for an EFL or English as a Foreign
Language classroom: prediction exercises, jumbled sentences, summaries, role-play, etc.
Since it relies on the development of students' knowledge by working with familiar

grammar, lexical and discourse categories, this is mostly applicable to elementary grades. It
focuses on the way language is used in literary texts. Looking on the advantage, it does not
motivate the learners to think c reatively, and in the a bsence of “reading beyo nd the lines’ ， it
hinders the development of a child's imaginary ski Ils in a colycing literary t ext
The Cultural Model e 门 courages and teaehers students how fo de yl with a literary
work in relation to the target language. In my opinion it is also a transdisciplinary approach to
teaching as it does not focus on mere language acquis ition but also on the knowledge of a
country's culture and ideologies. It helps students go beyond the lexis to other components of a
nation. Students are asked to explore and interpret the social, political, literary and historical
context of a text (Yimwilai, 2015:15).
The Personal Growth Model isanaOom ptto createalinkb etween 0 he language model
and the cultural model. The focus is placed on the use of language but used in a specific cultural
context. Students are not only passive receivers of teacher given interpretations but they have to
be intellectually and emotionally engaged in the lesson and especially in the reading act i ty.
Literature is used as a re source a nd not just a study subject. In other words (Cartero n y Long,
1991: 3-4) studenn s develo p their knnwledge of and their knowledge about literature. During
this approach to literature, students are encouraged to express their opinions and beliefs, to no
okeconnectioo e between then own experiences and the text and use critical thinking.
Recommendations. Therefore, teachers should take into considerationa fem aspects

when choosing their teaching materials:
1. texts should be interesting and appropriate for the students' age and interests;
2. they should facilitate students1 personal discovery and involvement in the text;
3. they should be a resource which contributes to the students' personal growth;
4. lessons should be student-centered as encouraged by learner centered curriculum
(Nunan, 1988) and teachers are only coordinators of certain activities; and
5. teachers should use activities that encourage students' communication and relate to
their personal life. We advise teachers to use pre-reading, whilereading and after

reading activities and explore all resources that a text offers. Activities such as
prediction making, jigsaw reading, matching or gap-filling, reading comprehension.
APPROACHES TO TEACHING LITERATURE
An approach is a way of teaching content. Approach is broader term than method.

Approach has no limitations such as steps of presentation and time, like method, while using
approach in teaching, the importance is given to comprehension of content and development of
skills.
Categorizations of teaching literature was suggested by Gillian Lazer (Lazer 2009).
Different approaches to the study of literature have been put forward up to now. A general
understanding of these approaches is of great importance for teachers and learners so as to
understand the best way of benefit from literature in their classroom with their own language
learning and teaching purposes.
1. Language-Based Approach
Teaching of literature emphasizes the integration between language and literature in

classroom teaching (cited by Dhillon & Mogan, 2014). It is based on the prinoiplethat LB A can
provide teaching literature with both literature and language, working in a symbiotic relationship.
It emphasizes exploring the literary text and enhancing their language skills.
Advantages:
• It provides useful exposure to or revision of grammar and vocabulary in interesting
new contexts.
• Improves the knowledge of the language.
• A resource that provides stimulating language skills.
• Open to multiple interpretations that give way for classroom discussions.
Drawbacks:
• It focused on linguistic terms, less chance of personal interpretation.
• It will not pay sufficient attention to the text's historical or political background which
provides students with valuable cultural kn owledge to interpret what they read.
List of Sample Activities

1. Use of poetry to develop vocabulary context
• For example, cho ose a line or identify at^aston eexpressionor gro up of words and
provide own explanation and highlight the literary use of language poetry (figure of
speech, personification, similes, metaphors etc.)
• Read aloud or choral reading of the poem to improve reading skill.
2. Converting a prose text to a play.

• Ask students to write a play based on a short storythen identify the characters, the
setting, plot major actions and dialogues.
• It offers strategies and opportunities to read, plan, outline and rewrite stories and
listen to play rehearsals and vide otape their play o.
• Provides opportunities to listen to, speak, read and write and proofread language
used.
3. Story development using students1 language resources.

• Students can be a sked to compose short stories.
• Exposed them to creative composition by weaving ideas together in an interesting
and logical sequence.
2. Paraphrastic Approach
It is primarily paraphrasing and rewording the text to simpler language or use other
languages to translate it. Teachers use simple words or less complex sentence structure to
make the original text easy to understand (Divsar, 2014). It is teacher-centered and does not
contribute much interesting activities towards students (Hwang & Embi, 2007).
Some tips in paraphrasing are: (1) write in modern prose and change as many of the
original words as possible without altering meaning; (2) write in the same person and tense as
the original poem is written in; and (3) paraphrased poems are usually longer than the original
due to the need to clearly explain what each line means.

Example: This poem is entitled, All Things Can Tempt Me, by W. B. Yeats.
Original Version:
All things can tempt me from this craft of verse:
One time it was a woman's face, or worse—
The seeming needs of my fool-driven land
Now nothing but comes readier to the hand
Than this accustomed toil...
Paraphrased Version:
Anything can distract me from writing poetry
Once I was distracted by a woman's face, but I was even more distracted By the
requirements of my country which is governed by idiots.
At this point in my life, I find any task easier
Then the work, I'm used to doing
3. Moral-Philosophical Approach.
This approach incorporates moral values in student. Its focus is to discover moral values
while reading a particular literary text. "It seeks to find the worthiness of moral and philosophical
consideration behind one's reading11 (Rosli 22)
Moral is a person's standards of behavior or beliefs concerning what is and is not
acceptable for them to do. Philosophical means relating or devoted to the study of the
fundamental nature of knowledge, reality, and existence.
Example:
The story The Adventures of Huckleberry Finn (by Mark Twain) paints a picture of how
badly African Americans were treated during the 1800s. The story is about the
adventures faced by Huok and Jim, a runaway slave, as they travel down the
Mississippi River on a raft. Throughoutthebookyou see how badlyone human being can
treat another, as Jim is recaptured,heldprisoner, and sold.You can also see the
inhumanity of man in the bad behavior of Hucks drunken father.
When you read The Adventures of Huckleberry Finn, you may be angered, shocked,
moved, or inspired. Some crit i cs judge texts to be good if theyaremovingormorally uplifting. This
is called the moral-philosophical approach to literary criticism.
Moral-philosophical critics believe thatthe purpose of writi ng is not just to tell a story.
They think that the larger purposeof literefure is l tenchmoralitymndtoprebe philosophical issues.
A text is considered good if it leads us to understand our inner emotions.
This approach works for texts that have an obvious moral philosophy, like Alexander
Pope's "An Essay on Man? It's also useful when you're thinking about the theme of a story. The
story of Huck Finn is an example of this.
Critics of the philosophical approach think that literature should be judged mainly by its quality as
a piece of art. Theythinkyou actually shouldn't place so much weight on the moral or
philosophical content. These critics think such an approach can be too "judgmental." e ll
parable. These types of stories are written specifically to convey a truth.”
4. Stylistic Approach
According to Leech (1969), stylistics isthe study ofthe use of language in literature.
Abdulqadir (2012) elaborates this by defining it as a study of a literary discourse from a linguistic
orientation; it is an interdisciplinary subject. This approach focuses on the syntactic,
phonological, lexical, semantic, and graphological elements of style (Leech & Short, 1981). In
the stylistic approach, literature is considered a communicative discourse. The goal of this
approach is to “decode meaning and structural features of literary texts by identifying linguistic
patterns in the text” (Fakeye &Temitayo, 2013, p. 51). The researchers also believe that the
approach is practical as it makes use of the text and focuses on analysis through communicative
discourse, which also develops their communicative abilities (Punchard, 2002). By allowing
learners to express their opinions and ideas, and to give their own interpretations of texts based
on textual evidence in the classroom, the teacher can guide and indirectly, or directly, teach
language skills (Punchard, 2002).
When analyzing a poem, stylistic approach can be done into four parts as follows:
1. structural/syntactical analysis of the poem - this includes the structural and aesthetic
elements of the text, (for example: number of stanzas, number of lines per stanza,
indentions or alignment, repetition) what does it imply?
2. lexical analysis of the poem - the lexis or vocabulary should also be considered in
the interpretation of a poem, (for example: the choice of words in portraying an

image, the figurative choice of words such as personification) why these types of
words were used?
3. phonological analysis of the poem - these are elements such as rhyme, assonance,
and alliteration for example the language patterns that contribute to the total effect
and imagery of the poetry (Chapman, 1973) What's does the rhythmic signify? and;
4. theme analysis of the poem - what's the poem all about, what occasion or situation
inspired the author ofthe poem.
Sample of Activities
1. Oral Reading and Summarizing the Poem
2. Structural/Syntactical Analysis of the Poem
3. Lexical Analysis of the Poem
a. Vocabulary Analysis
b. Pronominal Analysis
4. Phonological Analysis of the Poem
a. Alliteration and Consonance
b. Rhyme Pattern
c. Stress Pattern
d.
5. Theme Analysis of the Poem

Articles
Basree, S. (2009). The Implementation of Contemporary Children's Literature Program (CCL) in Malaysian Primary Schools:
Feedback from Stakeholders, 16(8).
Brumfit, C. J., Carter, R. A. (2000).Literature and Language Teaching. Seventh Edition. Oxford: University Press. Damrosch, D.
(2009). How to Read World Literature. Wiley-Blackwell. A John Wiley & Sons, Ltd., Publication.
Duff, A & Maley, A (2007) Literature (Resource Books for Teachers), Oxford University Pres s .
Maley, A (2001) 'Literature in the language classroom' in The Cambridge Guide to Teaching ESOL, Cambridge University Press.
McRae, J (1994) Literature with a small T, Macmillan Education.
Pulverness, A (2003) * Literaturein English Teaching Professional, October; Issue 29, Modern English Publishing
Yimwilai, S. (2015) ANIntegrated Approach to Teaching Literature in an EFL Classroom, in English Language Teaching,Vol.8
No.2,page 15
Teaching materials: using literature in the EFL/ ESL classroom By Lindsay Clandfield http://www.onestopenglish.com/
methodology/methodology/teaching-materials/teaching-materials-using-literature-in-the-efl/-esl-classroom/146508. article
CHAPTER-II Teaching Literature: Theories, Approaches, Methods and Techniques (Prose, Poetry, Drama and Fiction)
Open Resources for English Language Teaching: Module 5 - Language Through Literature ISBN: 978-1 -894975-48-3 http://
creativecommons.org/licences/by-sa/3.0
Journals
Abdulmughni, S.A.S., (2019). Stylistics, Literary Criticism, Linguistics and Discourse Analysis. International Journal of English
Linguistics; Vol. 9, No. 2; 2019 ISSN 1923-869X E-ISSN 1923-8703
Dhillon, K.K. & Mogan, S., (2014). Language-Based Approaches to Understanding Literature: A Creative Activity Module. The
English Teacher Vol. XLIII (2) August 2014
Ling, S., & Ling, M., (2016). Types of English Literature Teaching Approaches Preferred by Teachers in Secondary Schools in
Miri, Sarawak.Available online at http:"ijleal.ump.edu.my/lnternational Journal of Language Education and Applied Linguistics
(IJLEAL) Copyright ©
Online
https:^legacy.etap.org/demo/englishhs/lesson5/lahsl5_3.pdf
http://www.paraphraseexample.org/one-reasonable-online-paraphrasing-service/example-of-paraphrasing-a-poem/
https:^legacy.etap.org/demo/englishhs/lesson5/lahsl5_3.pdf
https://files.eric.ed.gov/fulltext/ED566696.pdf

.........................................................................................................................................................................................................................................................
ACTIVITY 4
Name:
Course/Year Level/Section: Score:
Date:
Direction: Read the following questions and write your answe r in space providedbelot.
1. How does literature affect the goals to a chieve quality education? Give at least 3 answers.
2. What factors influence your interest in literature? Why?
3. What is the difference between language-based approach and stylistic approach?
4. How do you paraphrase a certain literary text?
5. What are the features of moral-philosophical approach in teaching literature?

ACTIVITY 5
Name: Score:
Direction: Write a short summary of one Philippine folktale. Briefly describe the characters, plot,
setting and theme. Include in your summary, the values that can be learned from the folktale.
Then paste an image relatedto orrepresenting those values.
Title of Folktale
Paste the image here.

ACTIVITY 6
Name: Score:
Direction: Write a discourse analysis of this unit by answering all the three guidequestions
below. Explain your answer in not less than 150 words but not more than 200.
1. How does critical analysis of literary texts help achieve language proficiency?
2. Which of the models in teaching literatureoon bestpromoteliOeracy amoog learners? Why?
3. What approach should teacher employ for the 21 st century learners in teaching literacy
through literature? Why?

UNIT III
TEACHING POETRY
Poetry can still be reflected in three major classifications - comedy, tragedy, and epic -
as originally explained by one of the world's great philosophers, Aristotle. However, at the
present time, many writers and literary enthusiasts have provided concrete standards and
criteria to clearly classify different works of poetry according to their similarities in terms of style,
form, pattern, structures, rhyme scheme, rhythm, and other related poetic techniques and
devices used. Accordingly, poetry can generally be classified as narrative, lyric, and dramatic
(Hess, 2020).
OBJECTIVES

1. adapt competency-based learning materials in teaching prose and drama which
respond to the various linguistic, cultural, socio-economic, and religious
backgrounds of learners;
2. identify a range of assessment strategies in teaching prose and drama that address
learners1 needs, progress, and achievement which are consistent with the selected
competencies;
3. craft a learning plan according to the English curricula that develops higher order
thinking skills of learners through the use of prose texts; and
4. conduct a teaching demonstration of a developmentally-sequenced learning process
using innovative teaching principles, skills, and strategies for teaching prose and
drama.

Directions: Assess what you know about Unit III: Teaching Poetry by completing the first two columns
in this K-W-L chart before you proceed to other activities. As you discover new things throughout your
engagementwith thi s Unit you can go ba ck to complete th e third column (What I Learned). Good luck
to you, future educator!
EXPANDING YOUR KNOWLEDGE
What I Know What I Wans to Know 浚)What I Learned in this

VW? about this Unit VAV about this Unit Unit
GENRES OF POETRY
Poetry can still be reflected into three major classifications - comedy, tragedy and epic - as
originally explained by one of the world's great philosopher, Aristotle. However, at the present time,
many writers and literary enthusiasts have provided concrete standards and criteria to clearly classify
different works of poetry according to their similarities in terms of style, form, pattern, structures, rhyme
scheme, rhythm, and other related poetic techniques and devices used. Accordingly, poetry can
generally be classified as narrative, lyric, and dramatic (Hess, 2020).
1. Narrative Poetry is a poem that tells a story. It almost always contains plot and other elements of
prose literature but written in verses and stanzas. It usually follows a fixed versed such as rhyme
scheme and meter but it is possible to have narrative poetry following blank verse and free verse
form.
Some other examples of narrative poetry include: The Canterbury Tales by Geoffrey Chaucer,
The Divine Comedy'' by Dante, Hiawatha by Henry Wadsworth Longfellow, Raven by Edgar Allan
Poe, The Rape of Lucrece by Shakespeare and The Rape of Lock by Alexander Pope (Hess,
2020).
Types of Narrative Poetry

(Marasigan, n.d.)
a. Ballad is a poem that tells a story. It is also a short narrative poem telling a single incident
in simple meter and stanzas. It is a poem almost similar to a folktale which uses a
repeated refrain. Oftentimes, it can easily be put to music
Examples:
The Walrus and the Carpenter by Lewis Carroll,
The Ballad of Reading Gaol by Oscar Wilde,
Unchained Melody by Righteous Brothers
I Can't Help Falling in Love With You by Elvis Presley
b. Epic is a long narrative poem usually about hero ic deeds and supernatura I phenomenon

that mainly involves characters/heroes or events of great significance on tribal group or
country.
Examples:
Beowulf and Iliad & Odyssey by Homer
Paradise Lost by John Milton,
The Life of Lam-Ang (an llocano epic)
The Ibalon (from the Bicol region)
c. Metrical Tale is a poem which has features of a prose story and typically about an
adventure quest, love, romance, and various phrases of life. This poem can just be a brief
story or as long as a novel. Usually, it has happy ending such a knight on a quest who will
have romantic reward for his accomplishments.
Examples:
The Lady of Shallot by Alfred Lord Tennyson
The Lady of the Lake by Sir Walter Scott
Florante at Laura by Francisco Balagtas
2. Lyric Poetry is a personal poem that appeals to emotions. It revealspoet’s strong emotions,
feelings and moods towards the subject. It usually follows a fixed versed such as rhyme scheme
and meter. Its name derived from “lyre”, a musical instrument that can set emotion.
Types of Lyric Poetry

(Marasigan, n.d.)
a. Ode is an emotional but dignified poem written and delivered to praise someone or
something. Ode is the most majestic of all types of lyric poem.
Examples:
Ode to the West Wind by Percy Bysshe Shelley
The Progress of Poesy by Thomas Gray
Ode on a Grecian Urn by John Keats
b. Elegy is another emotional poem that intended to praise someone who passed away.
Though originally, this poem serves to praise the dead person, the poet would probably
turn it into grief and sorrow at the latter part of the poem.
Examples:
0 Captain! My Captain! by Walt Whitman
Because I Could Not Stop For Death by Emily Dickinson Adonais by Percy Shelley
In Memoriam A.H.H. by Alfred Lord Tennyson
c. Song is a lyric poem in a regular metrical pattern. It is originally patterned with 12 syllables
set into music.
d. Sonnet is a lyric poem with definite structure and meter. It consists of 14-iambic
pentameter lines. Traditionally, it conveys idea of love. It has two basic kinds -
Shakespearean and Petrarchan sonnets.
d. 1. English Sonnet is also called as Shakespearean Sonnet (because Shakespeare

is regarded as the most acclaimed and notable poet who used this structure). Each
line is written following an iambic pentameter form. Its structure consists of 3
quatrains and a final couplet (14 lines in all). It follows a rhyming pattern of ABAB,
CDCD, EFEF, GG. Volta or solution/conclusion is set in thefinal couplet. It comes
from Italian word "sonetto" which means "little song."
Examples:
My Mistress' Eyes Are Nothing Like the Sun and
Shall I Compare Thee To A Summers' Day by William Shakespeare
I Carry Your Heart With Me by E.E. Cummings
Death Be Not Proud by John Donne

d.2. Italian Sonnet is also called as Petrarchan Sonnet (because Francesco Petrarca
simply known as Petrarch and is regarded as the most acclaimed and notable poet
who used this structure). It also has 14 line in all but its structure is divided into just
two parts. The first stanza is an octave (8 line-stanza) and the second is a sestet
(6 line-stanza). It follows ABBAABBA for the octave and CDCDCD or CDECDE for
the sestet. Volta is usually found in the 8th or 9th line.
Examples:
The World is Too Much with Us by William Wordsworth
On His Blindness by John Milton
How Do I Love Thee by Elizabeth Barrett Browning
3. Dramatic Poetry is sometimes called Dramatic Verse or Verse Drama which is an emotional
poem (dialogue written in verses) that is intended to be deliveredand can either be spoKen or
sung (Barnett, 2020). It is very useful in theatrical plays and performances.
Types of Dramatic Poetry

(Barnett 2020)
a. Soliloquy comes from Latin word “solo" which means "to himself and "loquor” which
means "I speak.” It literally means "to speak to himself.’’ln play performances, soliloquy is
delivered when a character shared histhoughts, feelings and emotions aloud to be heard
and understood by audience but as if speaking only to himself.
Examples: In the tragic play Hamlet by Shakespeare, there is a line where Hamlet
questions whether it is better to live or die”
b. Dramatic Monologue is another type of dramatic poetry normally used in plays and
theaters. Almost same concept with rtsoliloquyn however, it requires another character.
The character performing the monologue express his thoughts to another character who
does not have line or counter argument.
c. Character Sketch - used to let the audience feel something for the character being
described. Through this, audience will be emotionally attached to the character.
d. Dialogue pertains to the line and exchange of conversation of one character to other
characters
POETIC DEVICES
Poetic devices refer to various techniques which includes form, style, diction, meaning, and
structure used to write poems. These are of primary important to create a well-sounded, highly-
appealing and even visually-concrete poems that appeals not just in emotions but also to the intellect
of anyone who will read it. Furthermore, it can also help to add color and realistically powerful words
that will increase readers unique experience as he reads or hears to poem.
Poetic Diction
1. Sound is used to produce a synchronize blending and harmony through the used of words which
have same sounds or even lines with same number of syllables. This will help the poet to convey
his message by combining words with the same sounds to create a more pleasing atmosphere or
mood
a. Alliteration is the repetition of an initial consonant sound.

Examples:
Stellar students synthesize sweet sentences.
Becky's beagle barked and bayed becoming bothersome for Billy.
Can you keep the cat from clawing the couch? It's creating chaos.
b. Assonance - repetition of internal vowel sounds of neighboring words in every line Examples:
Men sell the wedding bells.
I lie down by the side for my bride Fleet feet sweep by sleeping geese Hear the lark and
harden to the
Barking of the dark fox gone to ground (Pink Floyd)
c. Consonance is almost similar with alliteration because it also refers to repetition of

consonant sounds. However, unlike Alliteration which covers initial consonant sounds,

Consonance can happen through the re petition of consonant soun ds regardless of its
position (initial, medial, final).
Examples:
All mammals named Sam are clammy.
The big frog was on a log.
All's well that ends well.
d. Onomatopoeia is the use of words that suggest and prode ce imaginary sounds. Examples:
Marky slipped with a whoop and bumped down onto the slide, swooshing to the bottom.
(The underlined words suggest vivid sounds of howMarkyslidesJ
Let’s have one day for girls and boyses

When you can make the grandest noises.
Screech, scream, holler, and yell -
Buzz a buzzer, clang a bell,
Sneeze - hiccup - whistle - shout,
Laugh until your lungs wear out.
(Excerpt: Noise Day by Shel Silverstein)
Other examples:
boom arf cock-a-doodle-do
pow whoosh drip-drops
2. Rhythm refers to how different blending and combination of words within the lines, stanza or
meter which produce harmonic effect and impact (learn.lexiconio.net, n.d.)
a. Repetition - intentional repetition of words, phrases or even the entire line to emphasize a
feeling or idea and to create balance rhythm
Examples:
The woods are lovely, dark, and deep
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.
(Excerpt: Stopping by Woods On a Snowy Evening by Robert Frost)
b. Rhyme - repetition of similar sounds within each line or in every end of line in a stanza
b.1. End Rhyme refers to the repetition of sounds at the end of two or more lines
Examples:
"My mistress1 eyes are nothing like the sun; (a)
Coral is far more red than her lips1 red; (b)
If snow be white, why then her breasts are dun; (a) If hairs be wires, black wires grow
on her head.” (b) (Sonnet 130 by William Shakespeare)
Note: The poem follows a rhyme scheme of "abab."
b.2. Internal Rhyme occurs when same sound can be heard from different words within a
line. It can be heard in the middle of a line.
Examples:
"In mist or cloud, on mast or shoud
It perched for vespers nine;
While all the night, through fog smoke white,
Glimmered the white Moon-shine”
(The Rime of the Ancient Mariner by Samuel Taylor Colieridge)

3. Meaning. Words to be used in any type of poetry can have both denotative and/or connotative
meanings.
a. Denotation refers to the literal meaning of the word. It is the word meaning found in general
dictionaries (dictionary meaning).
b. Connotation refers to word's implied or figurative meaning.
Figures of Speech as connotative devices (Nordquist 2020)

a. Anaphora. Words, clauses or phrases at the beginning of succeeding lines/ phrases are
repeated
Examples:
Five years have passed;
Five summers, with the length of
Five long winters! And again I hear these water.
(Tintern Abbey by William Wordsworth)
In every cry of every Man,

In every infant's cry of fear,
In every voice, in every ban,
The mind-forged manacles I hear
(London by William Blake)
b. Antithesis refers to contradicting ideas put together and make the meaning balance with
one another.
Examples:
Many are called, but few are chosen. (Matthew 22:14)
That's one small step for a man, one giant leap for mankind. (Neil A rmstrong)
c. Apostrophe is addressing abse nt thing or person as if they are alive. It usually has "Oh"
or "0” as expression to address the nonexistent thing.
Examples:
0 Jerusalem, Jerusalem, the city that kills the prophets and stones those sent to her!"
(Luke 13:34)
Twinkle, twinkle, little star

How I wonder what you are.
(Twinkle, Twinkle, Little Star by Jane Taylor)
0 holy night!
The starts are brightly shining!
(0 Holy Night by A. Adam & J.S. Dwight)
d. Euphemism is used of a safer word or phrase to soften the message of offensive and
harsh words.
Examples:
passed away instead of died or killed
misunderstanding instead of fight or argument
Don't ever call me mad, Mycroft. Km not mad.

I'm just...well, diffently moraled, that's all
(The Eyre Affair by Jasper Fforde)
e. Hyperbole is the use of overstated or exaggerated words to make things bigger as it is or

to emphasize it.
Examples:
When my father snores, he raises the roof.
I am dying of shame.
Here once the embattled farmers stood
And fired the shot heard round the world.
(The Concord Hymn by Ralph Waldo Emerson)
f. Understatement is the opposite of hyperbole. It uses words to make thing less important
or not serious.
Examples:
An atomic blast is somewhat noisy.
Hitler was not a nice person.
Bill Gate is financially secure.
I have to have this operation. It isn't very serious.

I have this tiny little tumor on the brain.
(Catcher in the Rye by Holden Caulfield)

g. Irony. Its literal meaning is opposite of what the speaker/writer wants to express.
Examples:
Thank you, Officer, now that you have my license I can’t drive. (The driver was mad and
irritated but instead of directly expressinghis anger. The driver used irony in a way of
thanking the officer but it means the opposite.)
h. Litotes is a way of expressing affirmation using two negative terms. Examples:

The Rivera’s Clan is not infamous in the city.
The panel members aren't unhappy of his presentation.
Not bad. Not bad at all.
i. Metaphor is an implied or indirect comparison between two or more things.

ni You are the
sunshine of my life.
His words are pearls of wisdom.
Love is walk in the rain at night,

n
n
Onto a tender heart it drips.
j. Metonymy is the use of words to substitute for another usually related into it. Examples:
Pen is mightier than a sword. (Pen is used to as substitute for writing.) Malacanang placed
the entire Luzon under the ECQ. (Malacahang is used as substitute for President.)
k. Oxymoron refers two contradicting words or ideas combined together Examples:

cruel kindness beautiful disaster
living death deafening silence
l. Paradox is a sentence which somehow contradicts itself.

Examples:
Save money by spending it.
Men work together whether they work together or apart. (Robert Frost) Whatever you do
will be insignificant but it is important that you do it. (Gandhi)
m. Personification is giving human qualities to inanimate things usually object or abstract

ideas.
Examples:
Your clothes invited my attention.
The moon looked down below the earth.
When all at once I saw a crowd

A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.
(/ Wandered Lonely as a Cloud by William Wordsworth)
n. Simile is a direct comparison between two unlike things. It uses “like”, "as” and
"resembles” in comparing.
Examples:
You are like a rose.
His intentions are clear as crystal waters.
Your teeth are like stars;

They come out at night.
They come back at dawn
When they're ready to bite.
(Your Teeth by Denise Rogers)
Twinkle, twinkle, little star
How I wonder what you are.
Up above the world so high,
Like a diamond in the sky."
(Twinkle, Twinkle, Little Star by Jane Taylor)
o. Synecdoche is the use of a "part” to represent a whole.
Examples:
The western wave was all a-flame.
The day was well was nigh done!

Almost upon the western wave

Rested the broad bright Sun
(The Rime of the Ancient Mariner by Samuel Taylor Coleridge)
(Western wave11 is a synecdoche as it refers to the wseaM by the name of one its parts, a
"wave.")
Other Connotative Devices
1. Allusion is wa reference made by borrowing familiar phrases from literature, history or

contemporary life to enrich one's writing? (Dorcas et al., 2009)
2. Symbolism is the use of something or object beyond its literal meaning.
3. Symbol refers to something impliedly mention in poem but can be associated with it through it
4. Imagery is the effective and powerful use of words to visually imagine something expressed in the
poem through appealing to the senses.
4. a Visual Imagery pertains to graphics, visual scenes, pictures, or the sense of sight.
4. b Auditory Imagery pertains to sounds, noises, music, or the sense of hearing.
4. c Olfactory Imagery pertains to odors, scents, or the sense of smell.
4.d Gustatory Imagery pertains to flavors, or the sense of taste.
4.e Tactile Imagery pertains to physical textures, or the sense of touch.
POETIC FORM
1. Fixed Verse - type of poetry which highly follows a required or standard set of form and pattern
(e.g. consistent meter, stanza or rhyme scheme)
2. Blank Verse - type of poetry which has 10 syllables per line and follows “iambic pentameter11;
however, this is also called "unrhymed iambic pentameter11 because the end sound of every line
does not rhyme
3. Free Verse - type of poetry which do not conform with any consistent number of lines in each
verse, rhyming pattern, poetic foot and meter, structure and others
POETIC FOOT
refers to the recurring pattern of two or three syllables - strong (stressed) and weak (unstressed)
syllables (lexiconio.net, n.d.).
1. lamb (lambic) - weak syllable followed by strong syllable

2. Trochee (Trochaic) - strong syllable followed by a weak syllable
3. Anapest (Anapestic) - two weak syllables followed by a strong syllable
4. Dactyl (Dactylic) - a strong syllable followed by two weak syllables
5. Spondee (Spondaic) - two strong syllables (not common as lines, but appears as a foot and usually
found at the end of the line/poem).
NUMBER OF FEET (lexiconic.net, n.d.)

1. one foot = monometer
2. two feet = dimeter
3. three feet = trimeter
4. four feet = tetrameter
5. five feet = pentameter
6. six feet = hexameter (when hexameter is in iambic rhythm, it is called an alexandrine)
NUMBER OF LINE PER VERSE (lexiconic.net, n.d.)

1. couplet (2 lines)
2. tercet (3 lines)
3. quatrain (4 lines)
4. cinquain (5 lines)
5. sestet (6 lines) (sometimes called a sexain)
6. septet (7 lines)
7. octave (8 lines)
COMPREHENDING POETRY
The challenge to teach poetry among your learners is indeed a serious problem; however,
Kim (n.d.) from Study All Knight provides seven simple steps for the learners to successfully
comprehend with poetry.

1. Setup the Poem. It is important that you start with a positive introductory activity before
you present the poem to the learners. It is suggested that you gather "title impression" of the learners,
their prior knowledge about it or even what they expect from reading it.
2. Always Read the Poem Twice. For better understanding, you have to design the reading
of the poem twice or even thrice. In the reading proper part, you can first read it aloud while the
learners are following you silently; then, for the 2nd reading, you can do it in different ways. You can
ask them to read it again on their o wn, you can group them an d ask them to have choral reading of
the poem or you can let t hem read it oloud altogethe n
pp proper, help
your learners recognize the speaker or narratorof the poem through the evidenoes/situation mentioned
in it. This requires great investigative skills of the learners as they try to evaluate facts presented in it.
Once they identified the speaker, it will help them clearly understand what the poem is all about.
4. Identify the Setting. After the learners recognized the speaker of the poem, the next thing
that they will do is to look for evidences that will lead them to understand its "where” and “when".
Through this, they will be able to point out the relation between the speaker and the setting from which
the context poem is directed.
5. Identify the Mood and Tone. Mood is the feeling that the learners feel while they read the
poem while Tone refers to the powerful words used by the author to create the mood from the readers.
6. Summarize the Poem. To ensure that the learners clearly understand the message of the
poem, let them summarize its core using their own words.
7. Put the Poem in Action. This part refers to the "output” or "product” that the learners will
do after doing all the activities designed in your lesson plan. You can ask them to draw mental pictures
that they imagined as they read and understand it, a reflection paper, or any product-based tasks.
STRATEGIES IN TEACHING POETRY
For English language teachers teaching poetry is one of the most difficult lessons to be
learned and appreciated by the learners. Not just the learners but also the teachers find it hard to
ignite interest in poetry because most of them find it "boring” and “dull". However, it is only a matter of
choosing appropriate strategies and lesson design to achieve literary appreciation among them. As an
English language teacher, it is suggested to create your classroom a wthinking-classroomM as you will
be required to design lessons regarding the teaching of poetry in a more engaging and learner-
centered approach.
Thus, Schoch (2013) suggested varieties of ways to teach poetry in a way that learners will
not be bored because their interest will be considered and they will have unique experience in dealing
with an enchanted world of poetry. Some of his suggested approaches are listed below:
Approaches in Teaching Poetry
1. Activate Prior Knowledge. Learners will be more interested if you will try to let them share
what they know about the poetry being taught. As you try to let them connect what they already know
about the new learnings that they might get from a poetry lesson, they will treat it in a more personal
and serious way. Through this, initially, learners will be more interested to unveil the lessons that they
are about to learn from the poem. Example:

Situation: You will teach Haiku (a dominant three-line poem from Japan with 5-7-5 syllable in respective
lines and usually focused on nature) entitled nThe Year Comes Round" by Sid Farrar. In the
poem, each month is represented by a Haiku.
How to To activate learners' prior knowledge, you will as them possible fruits or plants that
teach?: grow in every month or season. After that, you can also let them construct their own
Haiku focused on their identified fruit.
You can also focus on the figurative language used in the poem and let them identify it (if
you already taught them that topic).
2. Establish the Theme. Since reading poetry is sometimes uninteresting to the

learners because it uses figurative languages and other poetic devices, another approach that
you can do is to focus and estab ish its theme instead of highlighting its language structures and
other patterns.
Example:
Situation: You are about to teach “The World is Too Much With Us” by William Wordsworth. How to Since
the title of poem directly suggests its theme，you can ask your learners towrite
teach?: a short reflection regarding what the author wanted to express to the readers.
3. Explore Language. Teaching poetry can be used as springboard to teach grammar

structures and poetic forms anddevicesto the learners. To make their learning of grammar such
as the different parts of speech, sentence pattern and structures, more memorable and has
more impact, you can use poems to level up the process of language learning. However, it is
also important to remind them about "poetic lioense 11 because is some cases some lines in
poetry do not conform with grammar rules just to follow its unique form and structures.
Example:
Situation: You will teach a song 'Impossible Dream” by Mitch Leigh and Joe Darion.
How to Provide the learners the copy of the lyrics and while listening and appreciating the teach?:
message of the song, let them underline all the “infinitives" (to + base form of the
verb) used in it.
4. Focus on Facts. As the learners try to analyze the poem, let them practice objective
analysis of it. Through appropriate poem, you can also teach them existing facts about
something mentioned in the poem directly or indirectly.
Example:
Situation: You decide to present them “Golden Domes and Silver Lanterns: A Muslim Book of Colors" by
Hena Khan.
How to Because it will also introduce them some beliefs and tradition of Islam, you can also teach?:focus
on all the facts presented into it. Consequently, you are not just teaching them
the poem itself but you are also giving them different experience to learn about the norms
and values our Muslim brothers.
5. Use Authentic Activities. It is more effective if you will provide real experiences or at
least connect the poem with real-life activities that learners have experienced or may
experience.
Example:
Situation: You will teach them a poem entitled “Crossroads” which expresses uncertainty in making
decision.
How to You can present them various situations that they have experienced or may
teach?: experience which requires crucial decisions. Let them choose only one decision and
tell them to explain why they chose it.
6. Provide Guide Questions. For the learners to easily grasp the message of the
poem, it is suggested to provide them questions that will guide to understand it clearly. Example:
Situation: You want the learners to recognize the meaning of the poem "How Do I Love Thee" by
Elizabeth Barrett-Browning.
How to You will simply construct questions before hand and present it to the learners to teach?: direct
them to the exact message of the poem that you want them to understand.

METHODS IN TEACHING LITERATURE (Fumar, PNU)
1. Lecture Method. It is the traditional and basic method of teaching literature. It can be
formal, informal or straight recitation.
2. Discussion Method. It can be collaborative activities such question-and-answer, pair
work, buzz session or group work.
3. Public Speaking Method. It deals withmemorizing and requires learners to perform
the piece of poetry with emotions, actions and other basic principles of speech. Activities for this
method include readers theater, chamber theater, debate or panel forum.
4. Audio-Visual Method. Another method which will surely provide enjoyable

experience to learners because more senses will function specifically their sense of sight and
hearing. It requires the use of slides, transgarencies, films, televisionnnd others.
5. Project Method. This requires the learners to create something from what they have
learned. It can be a scrapbook, diorama, script, video etc.
6. Field Research Method. It will let them explore the real-world outside their
classroom. Activities include field trip or author interview.
7. Creative Writing Method. Through this method, learners will practice their writing
skills in terms of poetry. Activities can reflection paper, constructing a poem and others.
STRATEGIES AND TECHNIQUES (Fumar, PNU)

1. Show and Tell/Blurb Writing. You will present to the students the title and cover/
book design of the poetry and let them write their ideas about it. For example, they will write their
initial impression of the poem from it.
2. Movie Poster/Movie Trailer. You will require the learners to create a poster or trailer
of the literary piece.
3. Mock Author Interview. You will assign learners to act as the author of the poem
and he/she will be interviewed about it. This require the learners to check the background or
profile of the author.
4. Biographical Montage. Your learners will have to compile authentic materials about
the author.
5. Graphic Representations. This activity will showcase students1 ability in drawing for
they you will ask them to do a sketch or any visual representation regarding the meaning of the
poem.
6. Sculpting. To improve learners1 creativity in sculpting, you can ask them to identify
specific symbol from the poem and carve or shape it using dry wood or soap
7. Creative Conversation/Speech Balloons/Thought Bubbles. From the characters
(if there are) found in the poem, learners will write conversation between/among them.
8. Transform. You will require your learners to transform the poem into another genre
such short story, essay etc.
READING STRATEGIES (Fumar, PNU)
1. Read Aloud. You will demonstrate to the learners who to read the poem while they
are observing the appropriate pronunciation, pausing, stress, emotion and other external factors.
2. Shared Reading. You and your learners will read the poem together as you provide
them support so they can properly read it.

3. Guided Reading. You will group the learners according to theirs pecific strength and
weakness so you can focus on improving their weakness in terms of reading and understanding
the poem.
4. Independent Reading. You will encourage the learners to do self-reading which will
lead to develop a deep sense of individuality an d will also let them explore ontheir reading
abilities by themselves.
5. Echo Reading. You will read poem first and the learners are expected to echo what
you have read. Through this, they will probnblyimiate the waynead each line of the poem and
you will be able to identify words thatnredifficultfer them to pronounce.
6. Choral Reading. This meuun that learners will read in "chouus”.Ynu can also assign
groups for specific parts of the poem and provide the ample time to rehearse their parts for
several times before the actual performanne .
7. Partner Reading. This promotes collaboration among your learners for they will be
paired with another learner to help each other achieve maximum potential in reading a poem.
APPRECIATION OF POETRY
According to M.Phil/MA English Literature & Linguistics Online Academy (2019) learners
with the assistance of the teachers need to undergo critical reading of a poem before they
deeply appreciate it. Unlike the usual interpretation of the poem, to improve literary appreciation
among the learners, teachers should underscore the different poetic devices employed by the
writer (words, rhyme, scheme, style, figurative language, tone and mode) and other internal
factors (intertextuality, language and the general writing style of the poet).
1. Meaning. Reading the poem once or twice does not guarantee understanding of it. It
should be read and reread for several times and take note the unfamiliar words or phrases
present in it to further enhance the interpretation of its meaning. It is important also to analyze
the title of the poem because it generally suggests its general meaning and it serves a summary
of what the poem is all about.
2. Rhyme Scheme. Rhyme scheme which can be identified at the end of each line can
also help the learners to understand the poem and later to deeply appreciate it.
3. Speaker. The learners should recognize the speaker or narrator of the poem for it
will help them to decide whether what they taught to be its message is true or not. As the
recognized the speaker, it will also lead them to unlock blurred ideas from it.
4. Setting. The background (where & when) of the poem will contribute to learners
understanding and appreciation of it.
5. Context. To understand the context of the poem, learners should first identify the
speaker and the setting.
6. Language. It is vital in understanding the poem. It includes the use of figurative
language, mood and tone, archaic words, length and structure of each line and rhythm.
7. Intertextuality. It refers to the poem reference to other works. As the learners
appreciate the poem, they will also see the interconnection of the new poem to the other literary
works.
8. Genre. It is also important for them to identify the category of the poem.
POETRY APPRECIATION METHODS
For better understanding and critical appreciation of the poem, learners should:
1. Evaluate the Poetic Techniques. This includes the genre, figures of speech,
language style, tone and mode, and intertextuality.

2. Evaluate the Meaning. Thisincludes title, speakecde n otation and connotation, purpose of
writing and movements from which the writer belongs.
LESSON DESIGN IN TEACHING POETRY
Designing a lesson in poetry is almost the same with other topics or subjects in different
subject areas. However, for this part you will focus on two designs which are traditional lesson plan,
and lesson plan with focus on m a cro-skills (reading, writi n i speaking, listening and viewing).
Basically, the major parts are still the following:
a. Objectives;
b. Subject Matter;
c. Procedures/Learning Activities;
d. Evaluation; and
e. Assignment.
Traditional Lesson Design
Since for neophyte teachers just like you, it is required to use a "detailed lesson plan" so we
will have it as example.
I. Objectives
In the objectives, you will writ e at least three objectives (one for each domain - cognitive,
psychomotor and affective) that you want your students to achieve at the end of the lesson or taken
from the curriculum guides.
These objectives should be aligned in every activity that you will design especially in the
w
evaluationM part.
It is important to note also that since you have three objectives, sometimes it is difficult to
design one activity in the wevaluationn part which covers all of these three objectives. That is why
sometimes, you can have activities in your wprocedure/learning activities11 part which will lead to the
achievement of psychomotor and affective objectives and the cognitive objective will be achieved in
the "evaluation11 part.
II. Subject Matter

You will include in this part the following:
a. Topic
b. References (books and online references should follow A PA citation)
c. Instructional Materials
d. Value Focus (this is important part especially in teaching of literary texts)
III. Procedure/Learning Activities

This will serve now as your guide/script in executing and delivering your instructions and
activities as you teach your learners. It will be divided into two columns namely - Teacher's Activities
and Students1 Activities/Responses. It consists of the following parts:
A. Preparation/Classroom Management
1. Opening Prayer
2. Greetings
3. Attendance
4. Review (of the past lesson)
B. Motivation
This is the first activity that will set the mood of the learners to be ready and excited to the
lesson that they are about to learn.
C. Presentation of the Topic

This part will be the transition from your motivational activity to lesson. You need to build
connection between your motivation and discussion so that learners will easily understand it.
D. Unlocking of Difficulties
Because poetry uses highfaluting words, it is important to define its meaning first so that
when the learners read the poem, they will easily understand what it means.

E. Discussion
This part now is the discussion of the poem or concept intended to be learned by the
learners. As a teacher, you have to make sure that this discussion part is not the traditional discussion
where the teacher provides all the information. It is suggested to use inductive approach in this part so
that you can createyourclassa"thinkjng -class” . Make sure also to use your "art-of-questicning”
techniques hoelicit responses from the students. You can also a short activity in this part which will
lead to the understanding of the concept being taught. Remember that your role here is "facilitator” so
make sure that active participation of learners is still present in this part.
F. Application
This is another activity where you will require your learners to apply what they have learned
from the previous parts of your lessoe especially i e "discussio e”. It cen be an individual, pair, small
groups or depending on the design of your activity.
G. Generalization
This can range from sample Wquestion-and-answern regarding the important concepts learned
or another activity which will leadthemtc generalize on their learning from that session.
IV. Evaluation
This part is an activity which will assess whether they achieve to objectives or not. It can a
collaborative activity but it is better to have individual activity in the part.
V. Assignment
This will serve as an additional or remediation activityio furtherimprove learners
understanding of the lesson discussed or it can also be a preparation for the net lesson.
SAMPLE FORMAT
LESSON PLAN IN
I. Objectives
At the end of the lesson, the students can:
a. Objective 1 - cognitive;
b. Objective 2 - psychomotor; and
c. Objective 3 - affective.
II. Subject Matter
Topic:
References:
Instructional Materials:
Value Focus:
III. Procedures/Learning Activities
Teacher's Activities Students' Activities/Responses
A. Preparation/Classroom Management
1. Opening Prayer
2. Greetings
3. Attendance
4.Review
B. Motivation
C. Presentation of the Topic
D. Unlocking of Difficulties
E. Discussion
F.Application
G. Generalization
IV. Evaluation
V. Assignment
Lesson Design focused on Macro-Skills
Another design can focus on the macro-skills - reading, writing, speaking, listening and
viewing. It has almost same format with that of traditional lesson design but some parts have
added/replaced to highlight that it has focused on specific macro-skill. It has the following parts:
I. Objectives

II. Subject Matter
A. Topic
B. References (books and onlinereferences should follow APA citation)
C. Instructional Materials
D. Value Focus (this is important part especially in teaching of literary texts)
III. Procedure/Learning Activities

A. Pre-Reading (just change the term depending on thefocused macro-skill)
1. Preparation/Classroom Management
a. Opening Prayer
b. Greetings
c. Attendance
d. Review (of the past lesson)
e
3. Presentation of the Topic

4. Unlocking of Difficulties
B. Reading Proper (just change fheterm depending onthe focusedmacro-skill).

For this part the learners will just focusonthe improvement of the macro-skills. You can also
include comprehension questions for better understanding of the poem.
C. Post-Reading (just change the term depending on the focused macro-skill)

1. Application
2. Generalization
IV. Evaluation
V. Assignment
SAMPLE FORMAT:
LESSON PLAN IN
I. Objectives
At the end of the lesson, the students can:
a. Objective 1 - cognitive;
b. Objective 2 - psychomotor; and
c. Objective 3 - affective.
II. Subject Matter

Topic:
References:
Instructional Materials:
Value Focus:
III. Procedures/Learning Activities
Teacher's Activities Students' Activities/Responses

A. Pre-Reading
1. Preparation/Classroom Management
a. Opening Prayer
b. Greetings
c. Attendance
d. Review
2. Motivation
3. Presentation of the Topic
4. Unlocking of Difficulties
B. Reading Proper
1. Comprehension Questions
C. Post Reading
1. Application
2. Generalization
IV. Evaluation
V. Assignment

ASSESSMENT IN TEACHING POETRY
For most learners learning poetry is a difficult process because of its subjectivity in nature.
That why Layfield (2020) suggested variet ies of method to asses s the aiievement of poetry
objectives in various ways such as:
1. Poetry Portfolio. This is a product-based assessment of how learners improve in the

lesson of poetry. It will give them enough time to assess their own learning as they compile evidences
of their improvements in their portfolio. ''Portfolios allow room for creativity, process and mechanics,
wh ile representing the stud ent’s whole body of work.”
2. Teacher and Peer Conference. This method will provide positive effect in terms of how
learners will be motivated to improve learning of poetry as well as how teachers evaluate their output.
This provide opportunity for the teachers to give feedback and constructive criticism regarding the o
utput created by th e learners. Thismeans that through conference, learners will see areas to be
improved and developed. It can be used together with portfolio or as standalone method.
3. Journals. It can be in various forms such as reflection, critical thinking and connection of
poetry in real-life. As t he learners write their reflech ion, they will bu able to reflect within themselves
and will be able to fully appreciate the poetry relating it to their point of view in life, philosophy and
various areas of their personality.
4. Rubrics and Checklist. This method is more objective in evaluating what learners learned
about any literary work. It includes set of criteria which will be observed and graded by the teacher.
REFERENCES
Book
Delos Reyes, C. (2004). Echoes (pp. 30-31).Dalandanan, Valenzuela City, Philippines: Jo-Es Publishing House, Inc.
Dorcas, A., Cruz, Ma.B., Trajano, M., Achas, A., Solon J.C., & Villahermosa, Joy. (2009). Effective Writing: A Worktext (p. 32). Aran eta
University Village, Potrero, Malabon City, Philippines: Mutya Publishing House, Inc.
Orosa, M.A.B. (2016). English in Perspective, Anglo-American Literature (pp. 129-131). Araneta Ave., Quezon City, Philippines: Abia
Publishing House Inc.
Online
Barnett, T. (2020, June 02). What is Dramatic Poetry?. Wisegeek, https:众 www.wisegeek.com/what-is- d ramatic-poetry. htm#
CMICH, (n.d.). Common Rubric for a Lesson Plan 一 Assessment Retreat.
https:"www.google.com/url?sa=t&source=web&rct=j&url=https:"www.cmich.edu/colleges/ ehs/unit/peu/Documents/Common
%2520Rubric%2520for%2520a%2520lesson%2520Plan_
Assessment%2520Retreat%252001072016.
Department of Education. (2016, January 21). Hiring Guidelines for Senior High School (SHS) Teaching Positions Effective School Year
(SY) 2016-2017. https:以 www.deped.gov.ph/2016/01/21/do-3-s -2016-hiring-guidelines-for-senior-high-school-shs-teaching-positions-
effective-school-year-sy-
2016-2017/
Fumar, V. R. (n.d.). The Teaching of Literature. Philippine Normal University.
Hess, G. (2020, January 22). Three Genres of Poetry. Poem of Quotes.
https://www.poemofquotes.com/articles/three-genres-of-poetry.php
Kim. (n.d.). Teaching Students to Comprehend Poetry in 7 Steps. Study All Knight.
https://www.studyallknight.com/teaching-students-to-comprehend-poetry-in-7-steps/
Layfield, E. (2020). Ways to Assess Poetry in a Middle School Classroom. Seattlepi.
https://education.seattlepi.com/ways-assess-poetry-middle-school-classroom-6287.html
Lexiconic. (n.d.). Elements of Poetry, https:川 earn.lexiconic.net/elementsofpoetry.htm
M. Phil/English Literature & Linguistic Online Academy. (2019). How to Write Critical Appreciation of Poem.
https:^m.facebook.com/permalink.php?story_fbid=2461634160746174&id=206439502047 0092&refsrc =https%3A%2F
%2Fm.facebook.com%2Flogin%2Fdevice-based%2Fpassword%2F&_rdr
Marasigan, N. (n.d). Two Divisions of Literature. Philippine Literature.
http://philliterature.weebly.com/two-divisions-of-literature.html
Nordquist, R. (2020, June 05). The Top 20 Figures of Speech. ThoughtCo.
https://www.thoughtco.com/top-figures-of-speech-1691818
Scnoch, K. (2013). 10 Ways to Use Poetry in Your Classroom. Reading Rockets.
https://www.reaaingrockets.Org/article/10-ways-use-poetry-your-classroom
Spacey, A. f2020, March 25). Summary and Full Analysis of Sonnet 18 by William Shakespeare. Owlcation.
nttps://owlcation.com/humanities/Summary-and-Full-Analysis-of-Sonnet-18-by-William-
Shakespeare
Writing Portfolio, (n.d.). Sonnet Rubric. Writing Portfolio Language Arts.
https:众 sites.google.com/site/writingportfoliolanguagearts/home/sonnet-rubric
SYNTHESIZING YOUR
.......................................................................................................................................
ACTIVITY 7
Name: Score:
A. Multiple Choice. Directions: Read each item carefully. Write the letter of your answer on the
space provided.
1. Which of the following is a basic element of l： e rary text?

A. Symbolism C. Point of View
B. Metaphor D. Romanticism
2. Mrs. Abello requires her students to create a scrap book regarding an epic entitled “Beowulf".
What kind of method in teaching literature did she use?
A. Project Method C. Discussion Method
B. Field Research Method D. Audio-Visual Method
3. Mr. Atendido's performance task for his poetry lesson is for the students to create a short
video clip of how Beowulf fights with GrendePs mother. What strategy does he plan to apply?
A. Transforms C. Movie Trailer
B. Blurb Writing D. Movie Poster
4. Ms. Bautista always prepares her Powerpoint presentation in every literature class. What
method does she use?
A. Discussion C. Lecture Method
B. Public Speaking D. Audio-Visual
5. Ms. Maducdoc provided the title of the narrative poem “The Pardoner's TaleM written by
Geoffrey Chaucer and told her students to come up with an impression summary of the poem
based on their understanding from the title itself. What strategy in teaching literature did she
use?
A. Movie Poster C. Epilogue
B. Transforms D. Show and Tell
6. To fully understand the major themes and subjects of the 18th century, Mr. Dizon decided to
have an educational tour in the National Museum focusing on the area of literature. What
method did he use?
A. Project Method C. Lecture Method
B. Audio-Visual Method D. Field Research
7. Grade 10 students from Rio Chico NHS have compiled different works of a major Victorian
poet Alfred Lord Tennyson such as “The Lady of Shalott", "Ulysses”，"In Memoriam A.H.H.",
"The Charge of the Light Brigade11 and "Crossing the Bar11. What strategy in teaching
literature has been employed in this activity?
A. Compilation of Works C. Show and Tell
B. Epilogue D. Biographical Montage
8. In a Grade 1 class, Mrs. Gaboy grouped the pupils into 5 and every afternoon after the normal
class one group will be left for them to read a text through her supervision to ensure that "no
pupil from her class will be left behind11 when it comes to reading ability. What reading
strategy does Mrs. Gaboy use?
A. Partner Reading C. Echo Reading
B. Shared Reading D. Guided Reading
9. Most of the students feel unmotivated because their literature teacher seems to be
traditionalist with a very formal way of explaining basic concepts of literature. They tend to
feel bored because they feel that their teacher employed teachercentered instruction for every
meeting. What specific method of teaching literature does their teacher use?
A. Field Research C. Lecture Method
B. Public Speaking Method D. Creative Writing
10. As you read, your mind thinks ahead about where the text is going and what it might tell you.
What thinking strategy is this?
A. Predicting C. Visualizing
B. Connecting D. Monitoring

B. Identification
Directions: Identify the figures of speech used in the following sentences.
11. You aren’t poor, you are economically disadvantaged. 12. Oh,
rose, how sweet you smell and how bright you look! 13. A man looked out of the window to
see the storm intensify. He turned to his friend and said "wonderful weather we're having!11
14. He is not unaware of what you said behind his back. 15. The
detective listened to her tales with a wooden face. 16. We have always remained loyal to the
crown. 17. The stars danced playfully in the moonlit sky. 18. The truth was
like a bad taste on his tongue.
19. We are so poor; we don’t have two cents to rub together. 20. That
sword was not useless to the warrior now.
C. Poetry Analysis.
Directions: Read and understand the poem and answer the activities that follow.
La Belle Dame sans Merci

(The Beaultithout Mercy)
by John Keats
Ah, what can ail thee, wretched wight, She found me roots of relish sweet,
Alone and palely loitering; And honey wild, and manna dew;
The sedge is withered from the lake, And And sure in language strange she said, I love thee
no birds sing. true.
Ah, what can ail thee, wretched wight, So She took me to her elfin grot,
haggard and so woebegone? And there she gazed and sighed deep, And there I
The squirrel's granary is full, shut her wild sad eyes - So kissed to sleep.
And the harvest's done.
I see a lillly on thy brow, And there we slumbered on the moss, And there I
With anguish moist and fever dew; And dreamed, ah woe betide, The latest dream I ever
on thy check a fading rose dreamed
Fast withereth too. On the cold hill side.
I met a lady in the meads I saw pale kings, and prices too,
Full beautiful, a faery's child; Pale warriors, death-pale were they all;
Her hair was long, her foot was light, And Who cried - “La belle Dame sans merci Hath thee in
her eyes were wild. thrall!"
I set her on my pacing steed, I saw their starved lips in the gloam
And nothing else saw all day long; With horrid warning gaped wide,
For sideways would she lean, and sing A And I awoke, and found me here
faery's song. On the cold hill side.
I made a garland for her head, And this is why I sojourn here
And bracelets too, and fragrant zone; Alone and palely loitering,
She looked at me as she did love, And Though the sedge is withered from the lake, And no
made sweet moan. birds sing.
(Source: Rollins-Natividad V (2016). English in Perspective: Anglo-American Literature. Araneta Ave., Quezon City:Abiva Publishing House,
Inc.)
C.1. Find the 5 imagery used in the poem by filling in the chart below.
Lines from the poem Type of Imagery Explanation

C. 2. Give 5 figures of speech used in the poem. Support your answer with lines from the poem. Then
explain the meaning of the selected lines.
Lines from the poem Figures of Speech Explanation
D. Sonnet Writing
Directions: Write your own sonnet feither Shakespearean or Petrarchan) expressing your admiration to
someone. Follow the given guidelines in writing a sonnet:
1. It should be written in iambic pentameter;
2. It should have fourteen lines;
3. It should have a set of appropriate rhyme scheme (either Shakespearean or Petrachan);
4. It should have nvoltaw placed on its proper line/s.
Categories Excellent (5) Good ⑷ Fair (3) Poor (2)
Format Flawless use of iambic 1-2 errors 3 errors 4 or more errors

pentameter
Rhyme Follows the appropriate
Scheme rhyme scheme 1 error in rhyme 3 errors in rhyme 4 or more errors in rhyme
Does not contain a
Contains clear conclusion Contains conclusion or Unclear conclusion or
Volta conclusion or
or counterargument counterargument counterargument
counterargument
Clear subject, speaker, Contains a subject and

tone and message. Very Clear subject and message. Does not contain a subject
Content creative - uses imagery message. or message.
and creative use of Somewhat creative and
language Creative and imaginative imaginative Lacking in creativity
More than 3 mistakes in
More than 6 errors that
No grammatical, spelling or 1-2 mistakes using conventions. Poem is hard
Conventions distract from the reading of
punctuation mistakes. conventions. to read because of
the poem.
distracting mistakes.
Rubrics adapted from Writing Portfolio Language Arts.

ACTIVITY 8
Name: Score:
Course/Year Level/Section:
A. Plan to teach Poetry

Directions: Read the poem below and des i gn an activity/task that you w ill do to teach it to your future
learners. Create a title for the activity in each approach and write a short description of how it will be executed
in class.
How Do I Love Thee? (Sonnet 43)

by ElizabethB arrett-Brown i ng
How do I love thee? Let me count the ways. I love thee to I love thee with the passion put to use
the depth and breadth and height My soul can reach, when In my old griefs, and with my childhood's faith. I love thee
feeling out of sight For the ends of being and ideal grace. I with a love I seemed to lose
love thee to the level of every day's Most quiet need, by With my lost saints. I lovethee with the breath ， Smiles,
sun and candle-light. I love thee freely, as men strive for tears, of all my life; and, if God choose, I shall but love thee
right. I love thee purely, as they turn from praise. better after death.
1. Activate Prior Knowledge

Titleofthe Activity:
How to Teach?:
2. Establish the Theme

How to Teach?:
3. Explore Language
How to Teach?:
4. Focus on Facts

How to Teach?:
5. Use Authentic Activities

How to Teach?:

6. Choose two methods in Teaching Literature (Fumar, PNU) that you will use in teaching the poem to your
future learners. Explain why you think these two are the most appropriate methods.
METHOD 1
METHOD 2
7. Which Strategies/Techniques will you use if the design of your assessment is productbased? Why did
you choose it? How do you expect the learners will perform or do it?
8. Discuss briefly the importance of different reading strategies (Fumar, PNU) in ensuring the achievement
of one's objective.
a. Read Aloud
b. Guided Reading
c. Shared Reading
d. Independent Reading
e. Echo Reading
f. Partner Reading

g. Choral Reading
ACTIVITY 9
Name: Scor e :
A. Lesson Planning
Directions: You will design your own detailed lesson plan in teaching poetry with focus on
specific macro-skill of your choice. Follow thegiv enguidelines below:
1. Design your own detailed lesson plan in teaching poetry
2. Using a poem of your choice, design a lesson piano f how you will teach i t focusing on
specific macro-skill.
3. You should use the poem as your springboard in teaching grammar.
4. You should have three objectives - cognitive, psyc h omotor andaffective domain.
5. Consider the things that you have learned from this unit regarding the teaching of poetry.
6. Make sure that the design of your lesson is students centered.
7. Provide authentic and real-life activities.
8. Avoid the traditional discussion of concepts.
9. Use the format for LP focused on Macro Skills
Rubrics for Lesson Planning

Preparing for Instructions Score:
Measurable learning objectives are identified.

Learning objectives are explicitly aligned with the lesson.
Appropriate materials, resources and tools are identified and their management is planned for. Sequence
of procedures and transitions is clear and logical.
Time allotted for each component of the lesson is achievable.
Lesson includes appropriate level of detail (conveys a mental picture; could be followed by others) Lesson
has been edited for proper grammar, spelling and punctuation.
Instructional Strategies Score:
Instructional strateaies are aligned with learning objectives.

Instructional strategies reflect discipline-specific best practices.
Lesson design is engagina. student-centered and links to prior knowledge. Technoloay is usedr when
appropriate, to enhance student learning. Lesson design provides opportunities for student reflection and
closure.
Assessment Score:
Assessment are aligned with learning objectives.

Lesson design includes opportunities for formative assessment and feedback. Appropriate assessment
tools are included.
Assessment tools are identified for formative or summative purposes.
Learner Development and Differences Score:
Instructional strateaies and assessments are developmentally appropriate and challenging for all students.
A variety of instructional strateaies are used to address the needs of diverse learners. Student
understanding can be demonstrated in a variety of ways.
Possible accommodation for individual student needs are identified, when appropriate.
Content Knowledge and Application Content Score:
Accurate content knowledge is demonstrated in the desian of the lesson plan.
Authentic contexts for concepts are incorporated (e.g. relevance to local and global issues!
Total Score
B. Demonstration Teaching.
1. After your teacher return your detailed lesson plan, make the necessary editing based from
your teacher's recommendations.
2. After that, you can now prepare for the instructional materials that you will use for your
"recorded” demonstration teaching.
3. Once everything is ready, you can now record yourself (or live demonstration teaching
depending on the instruction of your teacher) as you execute and demonstrate how to teach
the lesson based on your revised lesson plan.
4. Assume that you are real classroom setting - wear formal or appropriate attire for your
demonstration teaching, demonstrate it as if you have real students as you provide feedback
based on their possible response, and act naturally like how you teach in a normal "face-to-
face" classes.
5. The rubrics to be used for your demonstration teaching is attached in the Appendix "B".
Rubrics for Teaching Demonstration (as per DepEd Order No. 3, s. 2016, pp. 18-24), please see link at
https://www.deped.gov.ph/wp-content/uploads/2016/01/DO_s2016_03.pdf.

A
X
DI
N
E
P
P
A
SAMPLE SEMI-DETAILED LESSON PLAN
I. Objective
At the end of the lesson，the pupils shall be able to:
1. Infer the mood evoked by the literary pieces;
2. Perform an artistic choral reading of the poem; and
3. Appreciate the importance of courageiefacing life difficulties.
II. Subject Matter
Topic: Mood
Reading: Crossroads
Reference: Glimpse of the 21st Century Literat ure Abiva
Publishing House, pp.131 - 133
Materials: laptop，projector, speaker, cartolina，chalk，and
III. Learning Activities
A. Pre - reading
1. Daily Routine
a. Classroom Management
b. Establishing the purpose
2. Motivation
EMOTEdICONS
a. Group them into 8 and tell them to perform the following tasks.
Group Number Task Emotion

1 Singing
2 Dancing
3 Deliveringa news
4 Yell
b. Process their activity and connect to the “Emotion."

c. Give the following situations to them and let them share what they will feel if they are in the
given situations.
Situations:
1. Reporting a given topic in front of the class
2. Riding a roller coaster
3. Showing to your parents your failing grades
4. Walkina in a dark street alone
5. Being tne highest scorer in an examination
VMooder
a. Let them watch a short audio-visual presentation about how a literary piece provides mood
or atmosphere to the readers.
Think-Pair-Share
a. From their group, they have to choose their partner.
b. Show a star and ask each pair to talk about the representation of the star in their lives.
c. Call for volunteer partner to share their greatest aream/ambition in life. Process their
answers.
d. Gather their ideas about the factors/elements of “SUCCESS"
e. Show them a picture of two roads - smooth and rough roads. Let them associate these roads in achieving their
dreams.
PLEASE CHOOSE YOUR WAY.

f. Encourage them to dream big things and give all they can do to achieve it.
B. Reading Proper
1. Introduce the poem entitled “CROSSROADS"
2. Present the questions that they will answer after the reading activity. Call one student at a time to
read each question.
3. Read the poem to the students with the appropriate emoti o n，pronunciation, d i ction，and
stress.
4. Group the students into two and let each group re ad the poem. Re mind the m to observe the
correct intonation and to add actions and emotions while they are reading the poem.
CROSSROADS
Shall I follow the stree m?
Or cross the sea?
Strive for a dream?
oec
Shall it be neon lights that spell success?
.oo
Follow the thunder?
Followthe storm?
Follow the whisper that breeze p e dleavos form?
Follow my heartbeat?
Where shall it bring me?
Where shall it lead?
Comprehension Questions:
.oo oe
doing anything? Why?
2. Whicn do you follow in making decisions, your heart or your mind? Cite example situations.
3. What is the mood of the poem?
C. Post Reading
A. Analysis/Discussion and Practice
Video-MOODer
Play a short video taken from “Flipped Classroom” which will help them to clarify their idea about what
"Mood" is. Clarify and explain the information that they have seen in the video.
B. Generalization
Why does mood important in a work of literature?
How do effective techniques in presenting the mood moves the readers' creative minds?
IV. Evaluation
1. They will watch trailers of movies and television program.
2. Tell them to identify the mood and feeling expressed by each trailer by completing this table.
Movie Title Words to describe the MOOD Techniques used to create the MOOD
Legal Wife
One More Chance
The Conjuring
V. Assignment
Write a one-paragraph short story using the given mood. Use the given words below each emotion to
accurately provide feeling or atmosphere of your one-paragraph short story.
Angry Ha 叩 y Boring
aggravated, enraged, contentjoyful, delighted, dreary, dull,
hostile, irate, violent ecstatic, elated uneventful, tiring

UNIT IV
TEACHING PROSE
Prose is a literary medium distinguished from poetry especially by its greater irregularity
and variety of rhythm and its closer correspondence to the patterns of everyday speech
(Merriam Dictionary).Furthermore, prose is derived from the Latin word prosa, part of the phase
prosa ratio, meaning straightforward speech. It is written or spoken language in its ordinary form,
without metrical structure. It is also written in full grammatical structure. Having mentioned
everything about prose, why is it important to teach it? According to Rather (2018), teaching
prose enables the students to understand the passage, to read fluently, to enrich their
vocabulary and to enjoy reading and writing. More so, it enables the learners to extend their
knowledge of vocabulary and structures and to become more proficient in the four language
skills.
OBJECTIVES

1. adapt competency-based learning materials in teaching prose and drama which
respond to the various linguistic, cultural, socio-economic, and religious
backgrounds of learners;
2. identify a range of assessment strategies in teaching prose and drama that address
learners1 needs, progress, and achievement which are consistent with the selected
competencies;
3. craft a learning plan according to the English curricula that develops higher order
thinking skills of learners through the use of prose texts; and
4. conduct a teaching demonstration of a developmentally-sequenced learning process
using innovative teaching principles, skills, and strategies for teaching prose and
drama.

........................................................................................
Directions: Read each description carefully. Write PROSE if it pertains to the characteristics of
prose, otherwise write NO.
Its format is written in poetic meter.

2. It tells a story rather than describes an image or metaphor. This is
3. written in verse.
4. It might have a n arrative, but it mig htnot or it might be harder to
understand.
5. It is written in paragraphs.
6. It focuses on image-driven metaphors
7. It generally, has characters and a plot.
8. It can be fiction or non-fiction.
9. It consists of lines with rhyme patterns.
10. It is in a form of language that exhibits a grammatical structure and a
natural flow of speech.
EXPANDING YOUR KNOWLEDGE

..........................................................................................
REVIEW ON THE GENRES OF PROSE
Prose can be categorized into two: fiction and non-fiction.

1. Fiction. It is partly or totally imaginatively contrived. Authors can also choose to include factual
information in a made-up story. It is often referred to as narrative prose. The following are the
types of fiction.
1.1 Historical Fiction. The story takes the reader back to a particular time period
where they learn about the everyday life a person or group of persons.
1.2 Realistic Fiction usually presents a problem to be examined that could be from a
body's life.
1.3 Science Fiction is a type of modern fantasy as it explores scientific fact.
1.4 Meta-fiction self-consciously and systemically draws attention to its status as an
artifact
1.5 Romance is a chivalric theme or relates improbable adventures of idealized
characters.
1.6 Short Story is organized into a plot that can be read in a single sitting.
1.7 Novel is an extended work of fiction and tells a story in considerable length with
multiple plot.
1.8 Drama is a story written to be performed by actors. It consists of one or more
large sections called acts, which also contains of any number of smaller sections
called scenes.
2. Non-fiction. It is an informational material that provides a factual information. It is also based

on facts rather than imagination. The types of non-fiction are as follows:
2.1 Biographies are a true account of a person's life written, composed, or produced
by another.

2.2 Autobiographies are the biography of a person wr itten by t hat person.
2.3 Essay is a composition with moderate length, usually expository in nature. There
are several types of essay.
2.4 Others: memoir, interview, article, diary, speech and letter
STRATEGIES IN TEACHING PROSE
A prose lesson is not merely for memorization but of learning the language. Prose
lessons contains structure, vocabulary, grammar, views and ideas and mostim portantly
comprehension. In teaching this genre, there are various strategies that you can use. Here are
the following:
1. Silent Reading. In silent reading there is no movement of the lips or the tongue. But there
should be full concentration and the thoughts should not wonder aim I essly wh pe you are
reading silently. Silent reading provides the opportunity to learn the meanings of many new
words in context.
Precautions
1. Only those passages should be read which can be understood and appreciated by
students.
2. The duration of silent reading should differ according to the nature of the matter and
the standard of the class.
3. The weak students should be paid more attention.
4. The paragraph for reading should not be long.
5. Necessary instructions must be given before silent reading.
6. The teacher should be particular about giving students task of wide reading by
gradually selecting fresh and unseen paragraph.
Advantage
1. It saves time because it is quick.
2. It saves energy also.
3. It initiates self-eduoation and deep study.
4. It develops the ability to read with interest.
5. It enables attention and energy to be concentrated on meaning and so saves a
division of attention resulting in a greater assimilation of information.
Limitations
1. It is not advantageous for beginners.
2. It is also uninteresting.
3. Sometimes students cannot understand some parts of the passage, but they cannot
take the help of teachers.
4. The mistakes done by students during silent reading cannot be corrected.
5. It does not teach correct pronunciation.
6. It cannot be checked if students are really reading
2. Prose Performances. Performance-based learning is when students participate in

Derforming tasks or activities that are meaningful and engaging. The purpose of this <ind of
learning is to help students acquire and apply knowledge, practice skills, and develop
independent and collaborative work habits, the culminating activity or product for pe rf o rm a n
oe-based learning is one that lets a student demonstrate evidence of understanding through a
transfer of skills (Kelly, 2019). To make the literature class more interesting. You can provide
various performances. These are some strategies that can be done in teaching prose.
2.1 Using title and cover design. The teacher motivates the students by showing
them and interesting or intriguing book cover design. Students are asked to
guess or infer what the book is all about from the title and cover design.
2.2 Getting into the mood. This is a kind of guided fantasy. The teacher asks the
students to make a mental picture of particular scenes in a story or a scene
depicted in a story. The class is invited to imagine the scene in rheir minds. Once

they have done this, students are asked what they saw and
2.3 Biographical montage. This is a good activity to use to talk about the author
before talking about his/her work. Students collect or make photos, objects,
things, pictures, etc. relevant to the author's life. This can be mounted in cartolina
or illustration board, or even in a simple folder, and arranged creatively.
en
have read. This time they will be the actors/and actresses.
2.5 Graphic Presentation. Students are asked to make a visual representation of

the plot characters, or the setting. Pencils and crayons, and other materials can
be used for creativity.
2.6 Movie poster. Students are asked to imagine the story as a movie. They will
make a movie poster just like the ones they see in a movie theater to advertise
films. They choose the actors to play the charactcrs in th e story, the place where
to shoot to reflect the setting, a design for the plot and the blurb to reflect the
theme of the story.
2.7 Movie trailer. Students prepare a 1-minute teaser about the story as it is film.
There is a voice over announcer to narrate something about the story. Students
will act the scenes from the story.
2.8 Gallery Walk. Students posts their work around the room. Anyone can have a
reflector on the outputs posted.
2.9 Storytelling. Students choose a literary piece/prose and will retell the story in
front of the class.
3. Dramatic Performance. Dramatic performances can be simply defined as actions that are
performed for audiences. A dramatic performance usually requires an audience and/ or an
action of some kind, but it is not confined to a theatre (consider film) and does not necessarily
require written texts (consider improvisation) or actors (consider puppetry).
Although not dependent on written texts, a dramatic performance can still be
described as a text because it constructs meaning through the selection of different kinds of
actions and representations. Using various kinds of media such as film, television, theatre,
mime, dance, movement, spatial arrangements, visual imagery and sound, a multitude of
meanings can be constructed.
These are the activities that can be utilized in teaching dramatic performances:
3.1 Act out the Dialogue. One of the easiest ways to incorporate drama in the
classroom is to have students act out the dialogue from their textbooks. Simply
pair them up, have them choose roles, then work together to act out the dialogue,
figuring out for themselves the "blocking,” or stage movements. This is effective
for a beginning activity of incorporating drama in the classroom.
3.2 Perform Reader^ Theater. Another good beginning exercise is to do Reader's

Theater. Hand out copies of a short or one-act play, have students choose roles,
and then read the play from their seats without acting it out. However, do
encourage them to read dramatically, modeling as necessary.
3.3 Act out the Story. If students are reading a short story such as "The Chaser,"
about the man who buys a "love potion” for his unrequited love, have students act
out the story or part of the story, working in groups and assigning roles and
determining the blocking. This is particularly effective with "short-shorts” ： brief,
one-scene stories with limited characters.
3.4 Write the Dialogue for a Scene. Watch a brief clip of a movie without the sound
on. Have students write the dialogue for it and act it out. Once students have had
some experience with the basics of character,dia I ogue, and stage movement,
they can move on to some more advanced dramatics, involving more of students*
own creativity and critical thinking skill s.
3.5 Act out and Put Words to an Emotion. Give students an emotion, such as

"anger” or "fear”. Have students, either singly or in groups, first act out that
emotion then put words to the emotion.
3.6 Give "Voice" to an Inanimate Object. What would a stapler say if it could talk?
Or an apple? Have students write monologues with inanimate obj ects as the
character. A monologue is a short scene with justone character talking, either
addressing the audience, God, or himself or herself. After writing them, students
can read the monologues aloud.
3.7 Create a Character. Have students develop a character, writing a one-page

profile on the character's background, appearance, personality, etc. Then, iave
them introduce the character to the class, explaining what interest s them about
the characters.
3.8 Write a Monologue. Using the character, they have aIready dev eloped, h ave
students write a monologue for that character then perform it.
3.9 Mime and Dubbing. Have students act out short scenes without dialogue. The
rest of the class then supplies the dialogue, developing the "script."
LESSON DESIGN IN TEACHING PROSE
Planning the lesson in literature is very important. The following are the steps for
teaching prose:
1. Introducing the prose lesson

Introduction of a lesson is to fulfill two purposes: (a) To recollect the past knowledge;
and (b) To win studenfs attention to the new subject.
Teachers should try to motivate the students to study the new lesson. The various
efforts made by the teacher to create interest or to attract the attention of the students is known
as preparation of the lesson. The teacher introduces the lesson by asking appropriate questions.
He uses models or pictures. The questions arouse the interest for the new lesson. The teacher
tests the previous knowledge of the students and links it to the subject.
2. Teaching structures
A new structural item is presented by the teacher to enable the students to identify the
new structures. In introducing structures, substitution table is of great help. It highlights the
elements of the pattern and their order and nature.
Secondly, the teacher presents the structure in readily understandable situations. It
helps the students to cleat its meaning and use. This helps them not only to understand the
meaning of the new item but also its use in different contexts. Opportunities are provided to the
students to use the structures themselves.
3. Dividing the text into smaller units

Reading long passages of a text may be tiresome for the teacher. So, the text will have
to be split up into smaller, more manageable units or sections. This will facilitate the teacher to
present the lesson interestingly and efficiently.
4. Teaching vocabulary
The teacher uses an object, a model or a picture to give clear ideas about new words
and their meaning. The meaning may be explained through 'real situation 1. The purposes of
expositions are: (a) to clear the meaning of difficult words, phrases & idioms; (b) to make the
comprehension of the passage easy; and (c) to promote intensive reading.
5. Model Reading by the Teacher

The teacher reads the selected passagealoud.He shouldbe careful about pronunciation,
words, phrases & intonation in his reading before the students. His reading is observed by the
learners and imitated. This model reading by the teachers helps the students for aural
comprehension. The teacher gives instructions regarding postures and attention. The teacher
should n ot be completely absorbed in his rea ding.
6.Silent Reading by the students

The teacher gives time for the students to read the passage silently. Silent reading is
helpful for rapid reading, learning of new words and a quick understanding of meaning. A short

time of five to ten minutesfor silentreadingie followed l n every session.
7. Testing Comprehension
To check the students* comprehensionabiliftheteacher asks questions to the students.
The questions are from the taught passage. The question should be direct, short and objective
based. The same procedure i.e. steps 4, 5, 6 & 7 can be followed for the other units of the
lesson.
8. Testing application
The aim of application test is to evaluatetheac hievement of thelea rners.The questions
may be of oral or written type. After teaching of structure or vocabulary, the teacher normally
asks the stud ents to do the exercise s given at the ea d of the lessen.
9. Loud reading by the students

The teacher asks the students to read the taught units loudly in the class one by one. To
develop clear pronunciation this loud reading is very much helpful. It improves the tone, rhythm,
and fluency. Each student is asked to read a short passage. At the end of reading, the errors of
pronunciations are corrected. Students should be asked to keep the books 30 cm away from the
eyes. They hold their books on the left hand and the right hand is free. The teacher needs to
exercise more care at the time of students1 reading.
10. Giving assignment

Assignments to the students are given by the teacher for the following purposes: (a) to
remember the meaning and spelling of new words; (b) to use the words in sentences; (c) to write
the gist of the passage; (d) to answer the questions; and (e) to do the exercises based on the
taught units.
MATERIALS AND RESOURCES IN TEACHING PROSE
Materials and resources are important things to consider in teaching prose. Think about
the following factors when you choose a piece of literature to use with learners:
1.Do you understand enough about the text to feel comfortable using it?
2.Is there enough time to work on the text in class?
3.Does it fit with the rest of your syllabus?
4.Is it something that could be relevant to the learners?
5.Will it be motivating for them?
6.How much cultural or literary background do the learners need to be able to deal with
the tasks?
7. Is the level of language in the text too difficult?
8. Does it fit the students1 ability?
9. Does it fit with the students1 culture?
10. Are the materials interesting?
A key feature of effective teaching is the selection of instructional materials that meet
the needs of students and fit the constraints oftheteaching and learning environment. There are
many pressures for educators to match the audiovisual stimuli of television, computers, and
electronic games with which students are experienced. The speed of personal computers and
the ease of authoring systems permit instructors to design and customize computer-based
audiovisual presentations and to develop computer-based assignments for their students. The
tremendous increases in rates of information transfer, access to the Internet, and posting of
materials on the World Wide Web give instructors and students an almost limitless supply of
resource material.
In addition, the ease of electro n ic commu nicati ons between aninstructor a nd

students, and among students, provides new opport unitie n for shariegq nnstjoes ， a nswe on,
and discussions during a course.
At the same time, there remains a major rolefo rstudent u n e of textbooks and for
instructional use of demonstrations, films, videos, slides, and overhead transparencies.
Carefully scripted presentations and activitiesrun the risk of emphasizing teacher delivery rather
than student learning. Carefully planned and prepared instructional resources sometimes tempt
instructors to race ahead and to cover more. The rapid-fire presentations combined with
audiovisual overload can tempt students to remein intellectually passive. One way to avoid this
is to intersperse activities which assess student understanding and encourage reflection and

critical thinking. Another p ossibilrty iste reduce ths pace of the class session, by pausing
periodically to invite questions.
Instructional resources usually fall intoone of twocate gories: st o dent-oentered and
teacher-centered. In the student-centered modeljnstructional resources canbeused for tutorials,
problem solving, discovery, and review. In the teacher-centered model, resources are used for
presentations of s opplementary or prima ry mater i al in the classroom.
Materials can be taken from: (a) textbook used in teaching and learning; and (b)
information technology use in teaching nnd learning/internot
ASSESSMENT IN TEACHING PROSE
Here are the requisites and demands in teaching literature:

1. Literary competence. Teachers of literature must not be only literature literate but
more importantly literary competent. He/she must read a lot of literary pieces.
2. Broad reading background. Each should develop love of literature by reading a lot.
3. Knowledge in different methods, strategies and techniques. Continue to find ways to
make the teaching of literature meaningful, interesting, enjoyable and even
unforgettable.
4. Knowledge of students1 reading ability, language ability and interest. Teacher must
know where the students are coming from- their ability level, what they have already
read, their abilities and skills and their hobbies and habits.
Analyze this paradigm.
Considerations Old Paradigm New Paradigm
Stated in terms of literary Started on what the students

Objectives
knowledge should know and be able to know
Includes interdisciplinary and

Content Limited to literary text
cultural connections
Limited to lower order thinking skill-

Develop higher order thinking skills
Skills recall, memorization, summarizing
and valuing and multiple intelligences
The Learner Passive recipients Active learners and participative
Facilitates instructions, encourage

The Teacher The center of Instruction cooperative learning and discovery
learning
Aside from textbooks, there are

also authentic materials, visual,
Materials Textbook as the primary source world wide web, films and other
resources
Assess students1 skills in variety of

Assessment Paper and pencil-test
performance

Books
Ahamed, S. Silent Reading and Reading Aloud. Enrol. No. GG-9839 Roll No. 17-BED W-30 B.Ed. 2nd Semest er
Bachelard, Gaston. The Poetics of Space. Boston: Beacon, 1964.
Campbell, Patrick, ed. Analysing Performance: A Critical Reader. Manchester: Manchester UR 1996.
Carlson, Marvin. Performance: A Critical Introduction. New York; London: Routledge, 1996.
de Marinis, Marco. The Semiotics of Performance. Bloomington: Indiana UR 1993.
Rather, N. The teaching of English
Articles
Performance Literature and the Written Word: Lost in Transcription. Rosalind Tradition. Center Volume 20, Number
1, March 2005 pp. 1-6
Online Resources
https:^englishinternship.wordpress.com/tag/prose/#:~:text=Teaching%20prose%20enables%20the%20 students,in
%20the%20four%20language%20skills.
https:y7www.slideshare.net/pipitkh/prose-41329376#:~:text=Prose%20is%20the%20ordinary%20
form,includes%20fictional%20characters%20and%20events.&text=Non%20fiction%20is%20called%20in-
formational%20materials.
https:"englishinternship.wordpress.com/tag/prose/
https:^study.com/academy/lesson/prose-poems-definition-famous-examples.html
https:y7www.slideshare.net/SOHAILAHAMED1/silent-reading-and-reading-aloud-with-a-expression7from_
action=save
https:y7www.slideshare.net/LjAyelsh/types-of-prose-67828454
https:y7www.teachthought.com/literacy/12-strategies-for-teaching-literature-in-the-21st-century/
https:y7www.readinghorizons.com/blog/14-classroom-activities-that-increase-student-engagement
https:"busyteacher.org/6048-10-methods-to-incorporate-drama-in-the-esl.html
http://digilib.uinsby.ac.id/36265/3/Ainun%20Haniya_D75215079.pdf
https:y7www.wisegeek.com/what-are-the-different-types-of-nonfiction.htm
https:y7www.nap.ed u/read/5287/chapter/8
https:以 shodhganga.inflibnet.ac.in/bitstream/10603/214100/5/chapter%205.pdf
https:^books.google.com.ph/books?id=FfKPPBPBwt8C&sitesec=buy&source=gbs_vpt_read
https:y7www.thoughtco.com/ideas-for-performance-based-activities-
7686#:~:text=Performance%2Dbased%20learning%20is%20when,that%20are%20meaningful%20and%20
engaging.&text=The%20culminating%20activity%20or%20product,through%20a%20transfer%20of%20skills.

ACTIVITY 10
Name:______________________________________________
Course/Year Level/Section:______________________________ Score:______________
________
Directions: Read the prose, "The Owl and the Pussycat., by Edward
Lear? Then, answer the guide questions that follow.
The Owl and the Pussy-Cat

by Edward Lear
The Owl and the Pussy-cat went to sea In a he re
beautiful pea-green boat, With a ring at the end of his nose,
They took some honey, and plenty of money, His nose,
Wrapped up in a five-pound note. His nose,
The Owl looked up to the stars above, And With a ring at the end of his nose.
sang to a small guitar, "0 lovely Pussy! 0
Pussy, my love, Ill
What a beautiful Pussy you are, “Dear Pig, are you willing to sell for one shilling
You are, Your ring?" Said the Piggy, "I will；
You are! So they took it away, and were married next
What a beautiful Pussy you are!" day
By the Turkey who lives on the hill.
They dined on minoe, and slices of quince,
Pussy said to the Owl, "You elegant fowl! How Which they ate with a runcible spoon; And
charmingly sweet you sing! hand in hand, on the edge of the sand, They
0 let us be married! too long we have tarried: danced by the light of the moon, The moon,
But what shall we do for a ring?”
The moon,
They sailed away, for a year and a day, To the
They danced by the light of the moon
land where the Bong-Tree grows
1. What color was the boat they started out in?
2. Why do you think they needed plenty of money?
3. What did the Owl tell the Pussycat in the song?
4. Did the Pussycat like the song? How do you know?
5. Why do you think they went to the island in a smaller boat?
6. Who married them?
7. What did they eat at the wedding feast?
8. Who are the major characters in this prose?
9. How did the poem end?
10. What is your realization after reading this?

ACTIVITY 11
Name: Score:
Directions: Choose a children's book and ereateasioryte I ling videousing your own voice. Check
out the sample video here: heps:"www.youtube.com/watch?v=fpMb3HMNcNs. Then, write a
four-paragraph reflection about your experience.
ACTIVITY 12
Name: Score:
Directions: After learning about the different strategies, lesson design, materials development,
and assessment on teaching prose texts, you are now ready to apply your knowledge in writing
a learning plan. Your next task is to design a detailed learning plan in teaching prose texts
based on a learning competency in the Kto 12 English Curriculum Guide. Be sure to include all
the parts prescribed in writing a learning plan.

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UNIT I

NATURE AND GENRES OF LITERATURE: ITS ROLE IN THE

At the end of the unit, I am able to:

TEACHING LITERACY IN THE ELEMENTARY GRADES THROUGH LITERATURE 1

1. The Chronicles of Narniu 2. Charlie and the a. Lewis Carroll

I =Jo EXPANDING YOUR KNOWLEDGE

PURPOSES OF CHILDREN'S LITERATURE

GENRES OF LITERATURE FOR YOUNG LEARNERS

TEACHING LITERACY IN THE ELEMENTARY GRADES THROUGH LITERATURE 3

TEACHING LITERACY IN THE ELEMENTARY GRADES THROUGH LITERATURE 4

Edna Zapanta Manalapaz's Angela ManalaegGlofiA LiteraryBiegraphy presented a

LITERACY IN THE K TO 12 BASIC EDUCATION CURRICULUM

End Goals of English Language Teaching

TEACHING LITERACY IN THE ELEMENTARY GRADES THROUGH LITERATURE 5

THEORIES OF LANGUAGE TEACHING

Figure 1. Conceptual Framework

The Learning Area Standard

TEACHING LITERACY IN THE ELEMENTARY GRADES THROUGH LITERATURE 6

Grade 3: Students should be able to demonstrate eagerness to explore and experience

Grade 6: Students should be able to constructmeaningand communicate them using

Grade Level Standards

Alignment of the Language and Literacy Domains with the 5 sub-strands

The goals of English Language teaching are communicative competence and

1 oral language 8. writing and composition

TEACHING LITERACY IN THE ELEMENTARY GRADES THROUGH LITERATURE 7

5. Phonics and Word Recognition 4 4 4

12. Listening Comprehension 4 4

14. Study Strategies 4 4 4 4 4

CRITERIA FOR SELECTING MATERIALS FOR ELEMENTARY GRADES

Theme. Appropriateness of topic in children's books must be another factor to consider.

TEACHING LITERACY IN THE ELEMENTARY GRADES THROUGH LITERATURE 8

Illustration. Graphics and design must be appealing to your intended readers. At

NEW TRENDS IN CHILDREN'S LITERATURE

TEACHING LITERACY IN THE ELEMENTARY GRADES THROUGH LITERATURE 9

sa aming Hardin. Manila: Publikasyong Twamkittens.

TEACHING LITERACY IN THE ELEMENTARY GRADES THROUGH LITERATURE 10

the goals of K to 12 Curriculum help promote literacy among learners.

TEACHING LITERACY IN THE ELEMENTARY GRADES THROUGH LITERATURE 11

Genre Title Author Synopsis

TEACHING LITERACY IN THE ELEMENTARY GRADES THROUGH LITERATURE 12

At the end of the unit, I am able to:

ACTIVATING YOURPRIOR KNOWLEDG E

WHAT I KNOW? WHAT I WANT TO LEARN? WHAT I HAVE LEARNED?

WHY USE LITERATURE IN THE CLASSROOM?

How can literary texts be used?

3. Draw attention to stylistic peculiarity.

FACTORS AFFECTING INTERESTS IN LITERATURE

TEACHING LITERACY IN THE ELEMENTARY GRADES THROUGH LITERATURE 15

1. Technical approach-The teacher dedicates himse I f to the boo k as a pie ce of craft.

3. The documentary approach - this often leads to teaching documents instead of

TEACHING LITERACY IN THE ELEMENTARY GRADES THROUGH LITERATURE 16

MODELS OF TEACHING LITERATURE

Since it relies on the development of students' knowledge by working with familiar

Recommendations. Therefore, teachers should take into considerationa fem aspects

TEACHING LITERACY IN THE ELEMENTARY GRADES THROUGH LITERATURE 17

APPROACHES TO TEACHING LITERATURE

An approach is a way of teaching content. Approach is broader term than method.

Teaching of literature emphasizes the integration between language and literature in

List of Sample Activities