LA
LITERATURA INFANTIL EN LA LENGUA INGLESA.
- Development of the topic
A definition: Literature for children:
“a linguistic;
aesthetic; cultural value…. With an historic perspective”
(Before) S. XIX: Didactic aims to teach social
behaviour or adult’s books such as Defog or Swift or Classic literature such as
Ulysses; Esopo; etc...
(After) S. XIX:
Grimm “German Popular stories” Andersen (1846); Lewis Carroll Alice’s
Adventures in Wonderland
CONCEPT OF CHILDREN'S LITERATURE. HISTORICAL PERSPECTIVES
DEFINITION OF THE TERM. CHARACTERISTICS OF CHTLDREN' S LITERATURE
Children's literature
refers to the body of written works and accompanying illustrations produced in order
to entertain or instruct young people. The genre encompasses a wide range of
works, including acknowledged classics of
world literature, picture books and easy-to-read stories written exclusively
for children, and fairy tales, fables, nursery rhymes, and other primarily
orally transmitted materials.
Children's literature
fírst clearly emerged as a distinct and independent form of literature in the second half of the 18th century, before which it had
been at best only in an embryonic stage. During the 20th century, however, its growth has been so luxuriant as to make
defensible its claim to be regarded with
the respect that is due any other recognized branch of literature. Children's
literature is, thus, a comparatively recent
phenomenon, having emerged as a distinct form only in the second half of the eighteenth century. Its late development
may be traced to both economic and social factors. Before modern times children were widely regarded as simply
diminutive adults, and a literature
shaped to their unique needs and level of understanding was not thought to be
necessary. Also, before the invention of printing, the making of
books was simply too expensive and time-consuming
to be used for any purpose involving children, other than instructing them.
Finally, it was only with the attainment of literacy by large numbers of
people and the spread of mass education that there formed a market large enough
to economically justify the creation and distribution
of literary works originally written for young people.
When analysing
children's literature, from a historical point of view, we may find the
following main features and characteristics:
The discovery of the child
Children's literature flows from a recognition of
its proper subject matter. The proper subject matter of children's literature, apart from informational or
didactic works, is children and their world. It is generally felt that,
as a person worthy of special regard, the child began to come into
his own in the second half of the eighteenth century. His emergence, as well of
that of a literature suited to his specific
characteristics and needs, is linked to many historical forces; the development
of 'Enlightenment' thought; the rise of the middle class; the beginnings
of the emancipation of children's
literature, unlike that for grown-ups; and Romanticism, with its minor strands
of the cult of the child (Wordsworth) and of genres making a special appeal to
the young (folktales, fairy tales,
myths and ballads).
Shifting visions of the child: Even añer the child
had been recognized, his literature on occasion persisted in viewing him as a diminutive
adult. Progress in children's literature depended partly on abandoning
this 'a-part-for-the-whole' attitude and consider the child as a person with
special physical, psychological and
affective characteristics, in the process of discovering the real world, but with a wonderful sense of imagination and
fantasy for creating inner pictures of his/her own world.
The didactic versus the imaginative: The most striking
feature or characteristic of children's literature is the creative tensión resulting from a constantly shifting
balance between two forces: that of the 'morality*
and that of the limaginatíori>. Children's
literature designed for entertainment
rather than self-improvement, aiming at emotional expansión rather than
acculturation, usual] y develops late. Alice
Slow
development
Children's literature appears later than adult's and
grows more slowly, both at the level of composition or illustration. As for
contení, only añer World War n did it exploit certain realistic themes and attitudes, turning on race, social
classes,etc.
The tempo of development varíes sharply
from country to country. It is plausible that England
HISTORICAL PERSPECTTVE OF CHILDREN'S LITERATURE
One of the fírst printed works of children's literature was the Moravian
educator Comentas' Orbis Sensualim
Pictus (1658), a teaching device that was also the first
picture book for children. It assumed that children's literature should be of a
special order because children are not simply miniature
adults. A work considered to be the first novel written specifícally for
children, 'The History
of Little Goody Two-Shoes', appeared
in 1765. One of the earliest and most enduring classics of children's literature is the collection of nursery rhymes
known as Mother Goose, the fírst edition of which
appeared in 1791. From these humble beginnings children's literature blossomed in the nineteenth century, particularly in England United States
Among the more famous
nineteenth-century works are 'Alice Treasure Island
(1883) by Robert Louis Stevenson, and 'The Adventures of Huckleberiy Finn' (1884) by Mark
Twain.
Illustration became a major part
of children's books in the nineteenth century and were used, as they are now, to interest children in stories and to
help them visualize the characters and the action. The first modera picture book for children was 'The Tale of
Peter Rabbit' (1901), by Beatrix Potter. Children's literature emerged in the twentieth century
as a major genre in the Germanic and Romance
lahguage countries of Europe .
Children's literature reaches its fullest development in the
twentieth century. The attainment of nea runiversal literacy in the developed nations guaranteed an audience
of young readers numbering in the tens of millions. This
century also witnessed major changes in both the marketing and content of children's books. The production of cheap hardcover and paperback
books, the spread of children's
bookshops, improvement of library services, etc. have all combined to give
children and adults greater access to, and information about, children's
literature. The oíd moral tales have evolved
ínto subtly didactic stories advocating social and racial understanding. Children's
literature now embraces the whole content of the child's imaginative
world and that of his daily environment,
as well as certain ideas and sentiments characteristic of it.
The population of 'this world' is not made up only of children
themselves but also of animated beings and
objects (toys, dolls, and puppets); real and chimerical animáis; miniature or
magnifíed humans; supernatural and fantasy figures; creatures of fairy tale,
myth and legend; and adults seen through the child's eyes. In the
present day, children's literature almost rivals the diversity of popular adult literature, with books for young
readers produced in young genres such as science fíction or more classical ones such as adventure, detective stories,
animal stories, histórical fíction, and
stories dealing with social issues. There are also non-fíctional genres such as
biographies, popularized history, and
júnior encyclopedias.
Overview of children's literature in england and united states overview of children's literature in England
The English have often confessed a certain reluctance to say good-bye to
childhood. This curious national trait may lie at the root of their supremacy
in children's literature. Yet it remains a mystery.
Here, we cannot account for all the works in this genre, so we will
outline some of the major literary works
for children. From the critic's point of view, the English must be credited
with having originated or triumphed in more children's genres than
any other country. They have excelled in the boy's adventure story, wiíh
one undebatable world masterpiece in R. L. Stevenson's Treasure Maná (1883),
plus a solid line of talented practitioners, from the Victorian Robert Ballantyne
('The Coral Island') to the contemporary Richard Church and León
Garfield (Devil-in-the-Fog); historical fíction, as Marryat's
simple and vigorous Children of the New Forest (1847; the "vacation
story", in which Arthur Ransome still remains unsurpassed; the dolí
story, from Margaret Gatty to the
charming fancies of Ruer Godden and the remarkable development of this tiny genre in Pauline Clarke's Return ofthe Twelves
(1962); high fantasy (Lewis Carroll. C. S. Lewis); nonsense (Carroll, Lear, Selloc); and nursery rhymes.
In the sixteenth and seventeenth century, books for children had a moral
and didactic aim, such as 'The Child's
Book or Little Report of How Young People should behavé1. So, Hugh Rhodes in 'Book of Nurture', advised ofthe danger of fantasy for children.
The entire pre-1744 period is redeemed by two works of genius:
'Robinson Crusoe', by D. Defoe, and 'Gulliver's Trovéis" by J. Swift . Neither
of them was meant for children. Immediately abridged and bowdlerized1 they were seized upon by the
prosperous young. The poorer ones, the great majority, had to wait for the beginning ofthe cheap reprint era.
J. Newbury published in 1744 'A
little pretty-pocket book' (a collection of fables, riddles, games), and in 1765 he published the first book for children, lGoody
Two Shoes' and 'Mother Goose\
Blake's poems 'Songs
of Innocence' showed a fresh sensibility and a deep love for the youngest.
In the Victorian Period (19* century) we could distinguisf the
following authors and books:
C. Dickens wrote realístic novéis, most of them reflect
and criticize the society. He wanted educatíon for all children, and shows his readers the problems children had in the cities. 'David
Copperfield' is his most positive
novel about growing up. 'A Christmas CaroF, and 'Oliver
Twisf, could be adapted for the E. class
R.L. Stevenson is remembered for his novéis of adventure, such as 'Treasure
Island', with the figure ofthe pírate Long John; and 'Kidnapped'.
These books have become classic children's stories. Stevenson's
best-known work is probably 'Dr.
Jekyl and Mr. Hyde', showing the double nature of man: good and
evil.
R. Kipling was the most important writer from the colony of
India. "The Jungle Book' made Him famous. This book tells how the chüd Mowgly was brought up in
the jungle by animáis and was taught its rules.
1 To
bowdlerize: to take out words or scenes of a book, which might be considered
unsuitable for children
Literature for children.
In the Victorian Age, many writers wrote books for children, as more
young people could read now.* In topic 16
we will study diese novéis, which had a tone of instruction, and a moral, but
sometióles they were simply enjoyable
stories: 'CoralIsland' by Ballantyne ; 'Black Beauty' by Anna
Sewell. ...
Lewis Carroll's 'Alice's Adventures in Wonderland' is a fantasy
novel which has been popular with both children and adults. "Through the Looking Glass" continúes
the strange story of Alice's adventures. In Carroll's books, he plays with reality, language and logic in ways that
are both comic and frightening.
Osear Wüde is the most important writer in the final years of
the nineteenth century. His fírst stories are fables written for children, but they show a concern with appearance and
reality central to all bis writings: "The Happy Prince and Other Stories'
The twentieth
century literature
Beatrix Potter wrote and illustrated story books for children: 'The
Tale ofPeter Rabbit',...
J.R.R. Tolkien wrote 'TheLord oftheRings', a. novel which
mixes medieval lore, magic and fantasy.
C.S. Lewis created 'Narnia', a series of stories for
children: 'TheLion, The Witch, and the Wardrobé";...
Mary Norton created imaginative tiny figures who live under a
clock in 'Poor Stainless'
W. Golding wrote bis novel 'The Lord ofthe Flies' about a
group of children stranded on a deserted island
Roal Dahl wrote some ofthe
most popular novéis for children in recent years: 'The Gremlins', 'Matilda',
'Charlie and the chocolate
factory', "The Witches',... (they can
made films from some of these books)
Overview of children's literature in united states
Compared with England, the United States has fewer peaks. In 'Huckleberry
Finn '(Mark Twain), of course, it possesses a
world masterpiece matched in children's literature of no other country. 'Little
Women\ (by Louise M. Alcott),
revolutionary in its day, radiates a century later a special warmth and may still
be the most beloved "family
story" ever written.
Though "The Wonderful Wizard ofOz'(F. Baum) has been
compared with Alice, it lacks Carroll's brilliance, subtlety and humour.
Nonetheless, its story and characters carry, Mke Pinocchio an enduring, near universal
appeal for children. To these older titles might be added Stuart Little
(1945) and Charlotte's Web (1952), by E. B. White. two completely
original works that appear to have become classics. To this brief hst of high points few can be added, though, on the level just
below the top, the United States bears comparison with England and any other country.
From Jamestown to the end ofthe Civil War, American ehüdren's literature
virtually depended on currents in England. In
the adult field Cooper and Irving may stand for a true declaration of
independence. But it was not until the
1860s and 70s, with Mary Mapes Dodge's Hans Brinker, Louisa May
Alcott's 'Little Women', and Mark Twain's 'Tom Sawyer' that
children's literature finally detached from the mother country. The development of a júnior literature from 1865 to
about 1920 is due less to published books than to remarkable
magazines, such as 'The Youth Componían', The American Boy' and 'St.
Nicholas', which exerted a strong
influence in its young readers, mostly middle-class children.
In certain important fields, the United States pioneered. These include
every-day ufe books for younger readers; the
non-class-based small-town story such as The Moffats by Eleanor Estes;
the Americanized fairy tale and folktale such as Únele Remus
(1880), not originally meant for children, and Cari Sanburg's Rootabaga Stories (1922); Dr. Seuss's The Cat in the Hat (1957); and
the "new realism".
One might maintain
that American children`s literature. Particularly that since the second World
War, is bolder, more experimental, more willing to try and fail, than England`s
Integrating tales with any language skill
Tales are
useful for working on listening, speaking (including pronunciation), reading, and writing. They can be used to work on these
skills separately, but folktales make
it easy to intégrate any or all of these skills. Some activities with folktales that develop key language skills
are listed briefly below.
Listening
— Stories read aloud by the teacher
- Stories told orally without a book by
the teacher
- Tapes of
stories
- Folktales frorn other cultures as told by other
students
- Dramatic presentations of folktales
- Jigsaw and information-gap activities
Speaking
- Students
telling tales from their own cultures
- Discussion activities
-
Negotiating with other students to créate new variations for existing stories or to créate completely new stories
- Jigsaw and information-gap activities
- Creating and presenting stories dramatically
Reading
- Individual,
extensive reading
- Jigsaw reading
-
Analytical reading involving comparison/contrast, analysis, and so on
Writing
- Recording
stories from the student's own culture
- Writing new endings to existing stories
- Composing original tales
- Writing
papers comparing, analyzing, evaluating, and criticizing stories
- Writing summaries of stories
- Responding to stories on a personal
level
Pronunciation
-
Chanting rhymed portions of tales and repeated refrains to practice aspects of
pronunciation like stress, rhythm, and intonation that go beyond the individual sounds
-
Using/flzz Chant Fairy Tales by Carolyn Graham (1988), also for practice
of stress, rhythm, and intonation
In
addition, folktales are exceptional for expanding and reviewing vocabulary - an
element needed for all of the basic skills. Folktales can also be used in countless ways to teach and
reinforce grammatical points. And they can be used to develop various
cognitive strategies that are useful in a
variety of contexts.
Teaching literature main approaches
Different models of
teaching literature in class
There
have been different models suggested on the teaching of literature to ESL/EFL
students (Carter & Long, Lazar). How the teacher will use a literary text
depends on the model they choose.
The cultural model views a literary text as a product. This means that it is treated as a source of information about the target culture. It is the most traditional approach, often used in university courses on literature. The cultural model will examine the social, political and historical background to a text, literary movements and genres. There is no specific language work done on a text. This approach tends to be quite teacher-centred.
The language model aims to be more learner-centred. As learners proceed through a text, they pay attention to the way language is used. They come to grips with the meaning and increase their general awareness of English. Within this model of studying literature, the teacher can choose to focus on general grammar and vocabulary (in the same way that these are presented in coursebooks for example) or use stylistic analysis. Stylistic analysis involves the close study of the linguistic features of the text to enable students to make meaningful interpretations of the text – it aims to help learners read and study literature more competently.
The personal growth model is also a process-based approach and tries to be more learner-centred. This model encourages learners to draw on their own opinions, feelings and personal experiences. It aims for interaction between the text and the reader in English, helping make the language more memorable. Learners are encouraged to “make the text their own”. This model recognises the immense power that literature can have to move people and attempts to use that in the classroom.
The cultural model views a literary text as a product. This means that it is treated as a source of information about the target culture. It is the most traditional approach, often used in university courses on literature. The cultural model will examine the social, political and historical background to a text, literary movements and genres. There is no specific language work done on a text. This approach tends to be quite teacher-centred.
The language model aims to be more learner-centred. As learners proceed through a text, they pay attention to the way language is used. They come to grips with the meaning and increase their general awareness of English. Within this model of studying literature, the teacher can choose to focus on general grammar and vocabulary (in the same way that these are presented in coursebooks for example) or use stylistic analysis. Stylistic analysis involves the close study of the linguistic features of the text to enable students to make meaningful interpretations of the text – it aims to help learners read and study literature more competently.
The personal growth model is also a process-based approach and tries to be more learner-centred. This model encourages learners to draw on their own opinions, feelings and personal experiences. It aims for interaction between the text and the reader in English, helping make the language more memorable. Learners are encouraged to “make the text their own”. This model recognises the immense power that literature can have to move people and attempts to use that in the classroom.
Teaching reading main methods
·
Phonics
·
Look & Say
·
Context support method
·
Language Experience approach
Aims that underlie our approach
In
general terms, our aim is to complement more conventional approaches and so diversify the repertoire of
classroom procedures. We hope in
this way to put fresh momentum into the teaching of literature, to stimulate students' desire to read, and to
encourage their response. More particularly, the following aims have provided a
rationale for the kind of activities
we outline in later chapters.
maintaining interest
and involvement by
using a variety of student-centred activities
In establishing a number of ways in which a text could be explored, we have tried to bear in mind that any approach used exclusively
can turn to tedium in the classroom. We have found
that role play, improvisation, creative writing, discussions, questionnaires,
visuals and many other activities which we
use successfully to vary our language classes can serve a similar purpose when we teach literature. An
array of enjoyable student-centred activities is particularly important
when working with students who are not
literature specialists and who may not as yet have developed a wish to
read literature in the target language on their own initiative. Moreover, the availability of a variety of
activities enables the teacher to concéntrate
on meeting students' weaknesses in particular skill áreas — in speaking or listening, for example.
supplementing the printed
page
In
devising activities for integrating language and literature we have borne in mind the notion that learning is
promoted by involving as many of the
students' faculties as possible. By itself, the printed page can be a fairly
cold, distancing médium appealing to a restricted part of the reader's visual sense and to the intellect. And
yet, of course, the words that make up that printed page can créate a
whole new world inside the reader's imagination, a world full of warmth and
colour. As teachers we try to exploit as fully as possible the emotional
dimensión that is a vei y integral part of literature, though it is so
often lacking in more neutral language
learning texts.
tapping the
resources of knowledge
and experienck within the
group
Pair and group work are now well established as a means both of increas-ing
learners' confidence within the foreign language and also of per-sonalising
their contact with it. Although it may seem paradoxical \ve have found that shared activity can be especially
fruitful in helping rhe learner find a way into what is usually an
intensely personal and privare experience,
that of coming to terms with and inhabiting an author's uni-verse.
In the creative endeavour of interpreting this new universe, a group with its various sets of life experiences can act
as a rich marshalling devicc to enhance the individuaos awareness both
of his or her own responses and of the world
created by the literary work.
On a more practical level, working with a group can
lessen the difti-culties presented by the number of unknowns on a page of literary texr.
Very often someone else in a group
will be able to supply the missing link
or fill in an appropriate meaning of a crucial word, or if not, the task
of doing so will become a shared one.
Shifting attention away from the texr itself
to such shared activity is often cónducive to the creation of a risk-taking
atmosphere. With the group's support and control, the individual has greater freedom to explore
his or her own reactions and inrerprer-ations.
Above all, we hope that the group will stimulate learners to reread and ponder the text on their own.
helping students
explore their
own
responses to literature
This aim has been strongly hinted at within those already discussed. Our
activities try to help students
to acquire the confidence to develop, exprevs and valué
their own response. Through this process, we hope that rhey will become less
dependent on received opinión and therefore more interested in and more able to assess other perspectives.
Students who have had te accomplish a range of tasks and activities centred on a
literary text, often as a shared activity in groups, may come to
be more personally familiar with that text. The effort they have brought to it and the personal
investment they have made in it will sharpen
their own response, making it more likely that they will wanr
to extend their understanding of it
by personal reading at home.
One of the principies which fashions our classroom approach to
literature is that of using the target language with the range of activities
chosen. We want to give learners the máximum chance of entering the universe of
any selected book. This will be
facilitated if, instead of trying to transpose it into
their own language and cultural experience, they try to put them-selves imaginatively into the target situation.
The main difficulty with this approach
is, of course, that some learners may not yet possess the richness and subtlety of vocabulary and structure in which
to couch their response in the target
language. We feel that there are a number of ways in which students can be
helped to express this response either non-verbally or by making a limited linguistic repertoire go a long
way. /if, however, in the discussion following a shared activity there
is a /reversión to thenati ve langu age, in groups which have a common first frw-éleél thaTthis is not a disaster. First of
all, it usually indi-lat the learners
are enjoying the task and are engrossed in it; then, too, it shows that learners are bringing their
knowledge and experience to bear on
the new language, thus identifying with it and personalising it.
Finally,
in order to achieve this aim of using the target language as much as possible
and framing our approach to the literary text consist-ently within its own
language, we have tried hard to avoid the meta-language of critical discussion. We feel that concentration on this
kind of language can undermine students' confidence in their own
response, especially when they are working
in the target language.
integrating language and
literature
The
overall aim, then, of our approach to the teaching of literature is to let the student derive the benefits of
communicative and other activities for
language improvement within the context of suitable works of literature.
Sharing literature with students is a spur to their acquiring these benefits,
providing the teacher makes a balanced selection of activities and presents them with confidence. However,
before we turn to a descripción of
some activities and techniques that may be helpful, we would like to
answer a few of the more detaíled practical quedes and doubts that practising teachers might still have.
BIBLIOGRAPHY
The Cambridge Guide to English Literature. C.U.P. P.. Cambridge,
1990. Encyclopaedia Britannica. Encyclopaedia
Britannica Inc. Chicago, 1990. The New
Pelican Guide to English Literature. Penguin. London, 1991. The Oxford
Companion to English Literature. O.U.P.. Oxford, 1991. The Penguin Guide to English Literature. Penguin.
London, 1996.
Collie, J. and Slater S. Literature in theLanguage Classroom. C.U.P. Cambridge, 1987 C.
Brumfít & R. Cárter Literature and Language Teaching. O.U.P. Oxford.
1986 Duff, A. and Maley,
A. Literature. 0. U.P. Oxford,
1990.
Ellis, G. andBrewster, J. The Storytelling Handbookfor Primary Teachers. Penguín London, 1991.
Harmer, L: ThePractíce
of English Language Teaching. Longman. London. 1991.
Hill, J. Using
Literature in Language Teaching. MacMillan.
London, 1986.
Materiales Curriculares. Primaria Lenguas Extranjeras MEC. Madrid,
1992.
Morgan, J. & Rinvolucri, M.: Once UponA Time C.U.P.. Cambridge. 1983.
Wright, A.: Storytelling with Chüdren. O.U.P. Oxford.
1995.
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This is the suplementary article
The aim of the following article is to give a wider knowledge and extra information to the previous one.
1.Literature
A definition: Literature for children:
“a
linguistic; aesthetic; cultural value…. With
an historic perspective”
2. Two Hundred Years of Children's Books
Obedient
miniature adult, mischievous free spirit, or mini-consumer--the image of the
child in society has changed many times over the past three hundred years.
The books given to children are meant to mold or train the young mind to the values
of their elders. For this reason, children's literature is often more
reflective of the adult society than of the intended readers.
|
In western Europe, there was no separate category of books for children
before the eighteenth century. The Bible, stories of saints and
martyrs, and bestiaries or books about exotic animals, were probably the first
printed books available to children. The woodcut illustrations of these early
works would be intriguing even for those unable to read the text. As early as the
fourteenth century, children learned to read using horn books. These earliest
primers consisted of a piece of paper or parchment fit into a recess in a
tablet of wood or leather. On the paper the letters of the alphabet, a set of
Roman numerals and perhaps the words of the Lord's Prayer were written or
printed. As the student learned to read, the simple letters would be replaced
by longer sentences.
With the rise of Puritanism in England early in the seventeenth century
and the establishment of the colonies in North America by the Pilgrims soon
after, literature for children turned strongly moralistic. Seeing children as
amoral savages needing to be taught right from wrong, society used stories
filled with death and damnation to frighten children into good behavior. Humor
and imagination were banned, replaced by stories of boys and girls who suffered
grisly fates for misbehaving. The Sunday School Movement of the late eighteenth
and early nineteenth centuries, which aimed at bringing religion to the working
class, continued the didactic tone in the thousands of cheap tracts of simple
stories distributed throughout England and the United States.
The eighteenth century saw the translation into English of the classic
fairy tales such as "Cinderella" and "Little Red Riding
Hood" and the beginnings of the English novel with Robinson Crusoe and Gulliver's
Travels. While these may not have been written specifically for a young
audience, the stories of romance and adventure appealed to readers of all ages,
both in their original forms and in the many illustrated and simplified
editions that followed.
Until
the middle of the nineteenth century, books were available only to middle and
upper class children. Reading for the unsophisticated and the working-class
child consisted mainly of chapbooks and religious material. Chapbooks, small
crudely produced paperbacked books, were sold by itinerant traders and
contained short fairy and folk tales. As books became more readily available
to the growing middle class, the attitude toward the child's reading changed
and reading for pure pleasure became acceptable.
|
The Victorian era was a golden age for childrens' books. It was the
time of classic books -- Alice in Wonderland, Tom Sawyer,
and Little Women--and great illustrators-- Kate Greenaway, Edward
Lear, and Howard Pyle to mention a few. Books and games for children became
plentiful and inexpensive. The twentieth century continued a thriving
publishing industry for young people with adventure stories, series books like
the Hardy Boys and Nancy Drew, science fiction and
fantasy. Recent years have brought books tied to movies and commercial products
from Disney to Star Wars as well as the psychologically-oriented
young adult novel.
http://www.lib.udel.edu/ud/spec/exhibits/child/
3. The 4 Language Skills
When we learn a language, there are four skills that we need for
complete communication. When we learn our native language, we usually learn
to listen first, then
to speak, then to read, and finally to write. These are called the four
"language skills":
- Skill #1: Listening:
-
Dictation
-
Listen
to English by radio
-
Listen
to the News
-
Listen
to Poetry in English
-
Podcasts
- Skill #2: Speaking:
-
Greetings
-
"What
should I call you?" How to Address People in English
-
Telephone
English
-
Presentations
& Public Speaking
-
Speaking
about the Weather
- Skill #3: Reading:
-
English Short Stories
-
Creative Writing Forum
-
Guide
To Reading For English Learners
- Skill #4: Writing:
-
The
English Alphabet (Aa Bb Cc...)
-
Spelling
Rules
-
Punctuation
-
Common
Mistakes In ESL Writing And How To Avoid Them
The four language skills are related to each other in two ways:
- the direction
of communication (in or out)
- the method
of communication (spoken or written)
http://www.englishclub.com/learn-english/language-skills.htm
4. Authors
This is a corpus of some authors in children’s literature:
·
CHARLES PERRAULT
·
EDWARD LEAR
·
CHARLES KINGSLEY
·
LEWIS CARROLL
·
MARK TWAIN
·
JOHANNA SPYRI
·
CARLO COLLODI
·
ROBERT LOUIS STEVENSON
·
RUDYARD KIPLING
·
KENNETH GRAHAME
·
BEATRIX POTTER
·
A.A. MILNE
·
C.S. LEWIS
·
ARTHUR RANSOME
·
DR. SEUSS
·
JOHN CUNLIFFE
·
TONY ROSS
·
ROGER HARGREAVES
This is a very useful link where you can see a long list of authors and
their books, and in bold there are the most important authors.
In this link we can find ten authors with their plays and we have
choosen three of them:
C.S.
Lewis
Probably
the most popular classic fantasy series in children’s literature, C.S. Lewis’s The Chronicles of Narnia has sold over 100 million copies and
been published in 47 languages. The magical world of Narnia captivated children
so intensely that one reader we know tells of crying uncontrollably at the end
of the last book, desperate to be able to get to the fictional realm, certain
that she believed enough. The now-obvious Christian allegory aside, these books
are wonders of imagination that cement Lewis’s place among the best children’s
lit authors of all time.
J.K.
Rowling
Sure,
it may be derivative, and it may not, as her detractors cry, be the most
elevated of literature, but there’s no denying that J.K. Rowling has inspired
millions of kids and adults alike with her Harry Potter series.
Plus, we’re sorry, the stories, rife with wordplay and creative worldmaking,
are just undeniably good — and they were especially wonderful for kids who
got to grow up alongside Harry as his adventures got darker, weirder, and more
dangerous, just like their own imaginations.
Lewis
Carroll
Of
course we couldn’t forget the author of what might be the most well-known work
of children’s literature across the globe, Alice’s Adventures in Wonderland. Obsessed with wordplay and weird
to the bone, Carroll was an odd egg, but we wouldn’t have it any other way —
his innovative brand of literary nonsense became a phenomenon that has inspired
countless reinterpretations, and his 1865 novel (1865!) is still a modern-sounding,
popular work today. Can’t beat that.
5. Matters of interest in children´s literature in United States
Samuel Griswold Goodrich, (born Aug. 19,
1793, Ridgefield, Conn., U.S.—died May 9, 1860, New York
City), American publisher and author of children’s books under the
pseudonym of Peter Parley.
If imagination stood at such
a discount, was it really necessary to admit it into children´s reading at all?
Samuel Griswold Goodrich (1973-1860), the first American to write
systematically for children, thought not. From childhood Goodrich- better known
by his pseudonym of Peter Parley- had been horrified by such tales as Little
Red Riding-Hood and Jack the Giant-killer, which in his opinion were calculated
to familiarize the mind with things shocking and monstrous, to cultivate a
taste for tales of bloodshed and violence; to teach the young to coarse
language feelings and cherish vulgar ideas; to erase form the young heart tender
and gentle feelings and substitute for them fierce and bloody thoughts and
sentiments.
The book consists mainly of
American history, rather rambling and with many digressions. It was followed
the next year by Tales of Peter Parley about Europe. Over the next thirty
years, Goodrich wrote about 120 books for children and forty for “my early
readers, advances to maturity” Sales of genuine Parleys totaled at least seven
million, and there were extensive piracies and imitations, particularly in
England.
Goodrich had thought highly
of Hannah More´s Cheap Repository Tracts. Religious tract societies were
established in England in 1799, and in New York and New England at about the
same time, with the aim of furthering an education based on religion. The New York and New England societies, which
merged in 1825 to become the American Tract Society, were much concerned with
children´s reading and they too distrusted fiction.
The Franconia Stories, ten
little book published between 1850 and 1853, were Jacob Abbott´s main
contribution to American children´s literature.
Matters of interest in Children´s literature in
England
The late Harvey Darton, whose children´s books in England (1932) is still
the most authoritative study of the subject over the period up to Queen
Victoria´s death, refers boldly to “Newbery the Conqueror”. According to
Darton, the year 1744, when the first Newbery children´s book was published,
was a date comparable to the 1066 of the older histories”
Bibliography
·
Written
for Children: An Outline of English-language Children's Literature
WRITTEN BY John
Rowe Townsend
6.Children’s
Literature: Didactic Fiction vs. Fantasy
Sarah Catherine Martin’s The Comic Adventures of Mother Hubbard and Her Dog (1805) was extremely popular with both children and adults when it was first published. In only a few months it sold 10,000 copies and 20 editions of it were published over the course of a year.
While some Romantic fiction and poetry written for adult readers
features children, the period also contains literature specifically for
children. Towards the end of the eighteenth century, a niche market for
children’s literature grew. This trend continued into the nineteenth century as
more writers created fiction for children. For middle-class adolescent readers,
appropriate literature was thought to act as a civilizing force. Many thought
that if parents monitored what their children read, literature could reinforce
middle-class values to help children understand the role their parents wanted
them to play in society as they matured.
Some fiction was overtly didactic and
transparently conveyed the values that parents and authors wished to transmit,
such as developing a conscience, learning morality, fostering compassion for
others, and generally improving social relations. Some popular examples of
children’s literature were Dorothy Kilner’s epistolary novel, First Going to School, or the Story of Tom
Brown and His Sisters (1804), Sarah Catherine Martin’s The Comic Adventures of
Mother Hubbard and Her Dog (1805),
and Maria Edgeworth’s works for children including Early Lessons (1801) and Moral Tales (1801).
More fantasy
fiction also began to be popular, paving the way for the Golden Age of
children’s literature during the Victorian period. During the Romantic period,
Robert Southey, England’s poet laureate, created the fairy tale “The Three
Little Bears,” combining the fantasy of fairy tales with a morality approved of
by parents. Fantastical children’s literature still had the potential to convey
middle-class morals, as exemplified by many fairy tales. Fantasy opened up the
more imaginative aspects of children’s literature, while retaining the moral
teachings of earlier tales for children.
1.
Lecture by
teacher (and what else can you do!)
2.
Class discussion conducted
by teacher (and what else!)
3.
Recitation oral
questions by teacher answered orally by students (then what!)
4.
Discussion groups conducted by selected student
chairpersons (yes, and what else!)
5.
Lecture-demonstration by teacher (and then what 145 other
techniques!)
6.
Lecture-demonstration by another instructor(s) from a
special field (guest speaker)
7.
Presentation by a panel of instructors or students
9.
Student reports by
individuals
10.
Student-group reports by committees from the class
11.
Debate (informal) on
current issues by students from class
12.
Class discussions conducted by a student or student
committee
13. Forums
14. Bulletin boards
15.
Small groups such as task
oriented, discussion, Socratic
16. Choral speaking
17. Collecting
18. Textbook assignments
19.
Reading assignments in journals, monographs, etc.
20. Reading assignments in supplementary books
21.
Assignment to outline portions of the textbook
22.
Assignment to outline certain supplementary readings
23. Debates (formal)
24. Crossword puzzles
25. Cooking foods of places studied
26. Construction of vocabulary lists
27. Vocabulary drills
28. Diaries
29.
Dances of places or periods studied
30. Construction of summaries by students
31. Dressing dolls
32. Required term paper
33. Panel discussion
34. Biographical reports given by students
35.
Reports on published research studies and experiments by
students
36.
Library research on topics or problems
37. Written book reports by students
38. Flags
39. Jigsaw puzzle maps
40.
Hall of Fame by topic or era (military or political
leaders, heroes)
41. Flannel boards
42. Use of pretest
43. Gaming and simulation
45. Flowcharts
46. Interviews
47. Maps, transparencies, globes
48. Mobiles
49.
Audio-tutorial lessons (individualized instruction)
50. Models
51. Music
52. Field trips
53. Drama, role playing
54. Open textbook study
55. Committee projects--small groups
56. Notebook
57. Murals and montages
58. Class projects
59. Individual projects
60. Quizdown gaming
61. Modeling in various media
62. Pen pals
63. Photographs
64.
Laboratory experiments performed by more than two
students working together
65. Use of dramatization, skits, plays
66.
Student construction of diagrams, charts, or graphs
67. Making of posters by students
68.
Students drawing pictures or cartoons vividly portray
principles or facts
69. Problem solving or case studies
70. Puppets
71.
Use of chalkboard by instructor as aid in teaching
72.
Use of diagrams, tables, graphs, and charts by
instructor in teaching
73.
Use of exhibits and displays by instructor
74. Reproductions
75.
Construction of exhibits and displays by students
76. Use of slides
77. Use of filmstrips
78.
Use of motion pictures, educational films, videotapes
79. Use of theater motion pictures
80. Use of recordings
81. Use of radio programs
83. Role playing
84. Sand tables
85. School affiliations
86.
Verbal illustrations: use of anecdotes and parables to
illustrate
87. Service projects
88. Stamps, coins, and other hobbies
89.
Use of community or local resources
90. Story telling
92.
Tutorial: students assigned to other students for
assistance, peer teaching
94. Oral reports
96. Workbooks
97.
Using case studies reported in literature to illustrate
psychological principles and facts
98. Construction of scrapbooks
99.
Applying simple statistical techniques to class data
100.
Time lines
101.
"Group
dynamics" techniques
102.
Units of instruction organized by topics
103.
Non directive techniques applied to the classroom
104.
Supervised study
during class period
105.
Use of sociometric text to make sociometric analysis of
class
106.
Use of technology and
instructional resources
107.
Open textbook tests, take home tests
108.
Put idea into picture
109.
Write a caption for chart, picture, or cartoon
110.
Reading aloud
111.
Differentiated
assignment and homework
112.
Telling about a trip
113.
Mock convention
114.
Filling out forms (income tax, checks)
115.
Prepare editorial for
school paper
116.
Attend council meeting, school boar meeting
117.
Exchanging
"things"
118.
Making announcements
119.
Taking part (community
elections)
120.
Playing music from other countries or times
121.
Studying local
history
122.
Compile list of older citizens as resource people
123.
Students from abroad (exchange students)
124.
Obtain free and low cost materials
125.
Collect old magazines
126.
Collect colored slides
127.
Visit an
"ethnic" restaurant
128.
Specialize in one
country
129.
Follow a world leader (in the media)
130.
Visit an employment
agency
131.
Start a campaign
132.
Conduct a series
133.
Investigate a life
134.
Assist an immigrant
135.
Volunteer (tutoring,
hospital)
136.
Prepare an exhibit
137.
Detect propaganda
138.
Join an organization
139.
Collect money for a
cause
140.
Elect a "Hall of Fame" for males
141.
Elect a "Hall of Fame" for females
142.
Construct a salt map
143.
Construct a drama
144.
Prepare presentation for senior citizen group
145.
Invite senior citizen(s) to present local history to
class including displaying artifacts (clothing, tools, objects, etc.)
146.
Prepare mock newspaper on specific topic or era
147.
Draw a giant map on floor of classroom
148.
Research local
archaeological site
149.
Exchange program with schools from different parts of
the state
150.
In brainstorming
small group, students identify a list of techniques and strategies
that best fit their class.
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