Centro de Estudios de Postgrado Centro de Estudios de P ostgrado Cent ro de Estu di os de Pos tgr ad o Centro de Est udio s de Postgrado Centro de Estudios de Postgrado
Centro de Estudios de Postgradoaj o F in de Máste r
Centro de Estudios de Postgradoaj o F in de Máste r Cent ro de Estu di os de Pos tgr ad o Centro de Est udio s de Postgrado Ce ntro de Estudios de Postgrado Cent ro de Estu di os de Postgra do Centro de Est ud ios de Postgrado Centro de Estudios de Postgrado
Centro de Estudios de Postgrado
Trabajo Fin de Máster
Centro de Estudios de Postgrado
Trabajo Fin de Máster
Centro de Estudios de Postgrado
Alumno/a: Sotés Rodríguez, Ana
Tutor/a: Prof. D. María del Carmen Méndez García Dpto: Filología Inglesa
Junio, 2022
Teaching popular
literature through myths and legends in the
English class
Table of contents
Abstract and key words ... 3
Introduction ... 4
1. Popular literature ... 5
1.1 Self-help books ... 6
1.2 Myths and legends ... 7
1.2.1 Difference between myths and legends ... 8
1.2.2 Celtic society, myths and legends ... 9
1.2.3 Urban myths and legends ... 14
2. The role of literature in the EFL classroom ... 15
2.1 Methods and approaches for teaching literature in the EFL classroom ... 16
2.1.1 How to teach popular literature: myths and legends ... 19
2.1.2 Benefits of using literature in the EFL classroom ... 20
2.1.3 Drawbacks of using literature in the EFL classroom ... 22
2.1.4 Criteria for selection of literary texts ... 23
3. Lesson plan: Let your imagination run wild! ... 24
3.1 Justification ... 24
3.2 Contextualisation ... 26
3.3 Competences ... 27
3.4 Objectives ... 28
3.5 Contents ... 30
3.6 Methodology ... 31
3.6.1 Activities ... 32
3.6.2 Resources and materials ... 33
3.6.3 Classroom management ... 33
3.7 Cross curricular issues ... 33
3.8 Interdisciplinarity aspects ... 34
3.9 Attention to diversity ... 34
4. Lesson plan ... 39
4.1 Session 1: The amazing world of popular literature ... 39
4.2 Session 2: The adventures of Robin Hood ... 48
4.3 Session 3: King Arthur and the Celts ... 53
4.4 Session 4: The wild world of reading ... 64
4.5 Session 5: Narcissus and Echo ... 72
4.6 Session 6: The final countdown ... 79
5. Assessment ... 83
5.1 Evaluation criteria ... 83
5.2 Assessable learning standards ... 84
5.3 Assessment tools ... 84
5.4 Evaluation of the teaching process and peer-assessment ... 86 6. Conclusion ... 90 7. References ... 91
Abstract and key words
Título: La enseñanza de la literatura popular en clase de inglés mediante mitos y leyendas.
Resumen: Este trabajo fin de máster analiza las posibilidades de enseñar literatura popular en una clase de inglés a través de mitos y leyendas. Para ello, la primera parte incluye un marco teórico con algunas características de la literatura popular, mitos y leyendas, además de una serie de metodologías y enfoques para enseñar la literatura popular en clase. Este trabajo también expone una serie de ventajas e inconvenientes a la hora de enseñar literatura en clase, así como pautas para la elección del material adecuado. Los principales aspectos de la parte teórica se recogen en una unidad didáctica que promueve la enseñanza de mitos y leyendas a través de actividades dinámicas para los estudiantes. Se trata de una propuesta que permite desarrollar la capacidad creativa y el respeto hacia otras culturas en los alumnos de primero de bachillerato.
Palabras clave: literatura popular, mitos, leyendas, aprendizaje cooperativo, motivación, creatividad, cultura, tradición.
Title: Teaching popular literature through myths and legends in the English class
Abstract: This master's thesis analyses the potential of teaching popular literature in an English class through myths and legends. The first part of the paper includes a theoretical framework with key characteristics of popular literature, myths and legends, as well as some methodological considerations related to teaching popular literature in the classroom. This thesis also addresses a series of advantages and drawbacks of teaching literature in the classroom and proposes some guidelines for the selection of relevant material. The main aspects of the theoretical part underpin the didactic unit, which promotes the teaching of myths and legends through dynamic activities. It is a proposal that fosters the development of the first year of baccalaureate students’ creative capacity and respect for other cultures.
Keywords: popular literature, myths, legends, cooperative work, motivation, creativity, culture, tradition.
Introduction
We live in a society where knowledge is essential for dealing with specific situations.
Furthermore, we require not only knowledge but also autonomy and motivation.
These three characteristics are necessary in our daily lives, which is why they must be emphasized in school. Students can develop these three elements through a learner- centred approach. This approach develops students’ creativity since they learn to solve problems, make decisions and work in group. It may also motivate students as they are given some control over their learning process. This master's thesis focuses on the teaching of myths and legends to intercultural communicative competence as a crucial component for learning English as a foreign language.
As learning a new language exposes students to a variety of cultural aspects this thesis focuses on the use of new mass media in second language instruction to enhance intercultural communicative competence. As a result, visual literacy may play an important part in the students’ learning process. The literature review focuses on the main characteristics of popular literature, myths and legends, as well as methodologies and approaches to teaching literature in the English class. The thesis discusses the importance of materials selection.
Finally, the didactic unit presents myths and legends through which students are likely to learn values such as companionship, loyalty, love, effort, peace or courage.
1. Popular literature
Popular literature is constructed by us, by our society, by our experiences and it defines us. Srivastava and Kumari (2020) explain that it was in the 20th century when popular literature began to be taken seriously and meaningfully into consideration, although myths, legends, fiction or romances have existed for decades. We live in a society of constant change and popular literature changes with us too. In fact, the popular literature of 100 years ago is not the same as the popular literature that we have today. Rascón (2015) mentions some characteristics of popular literature, emphasising the idea that literature is timeless. No matter how much time has passed since the work was written, it should be able to relate to its readers regardless of when they read it. Furthermore, he mentions that literature is universal.
Human beings follow traditions which are part of our life and childhood. Even as time goes by, we still keep them; traditions have passed on from one generation to the next. Traditions vary depending on the country, cultures and even religion, which play a very influential role. Rascón (2019) believes that through literature we open our minds, we get to know ourselves, we experience new emotions, cultures, attitudes or beliefs. Literature represents the behaviour, thoughts or experiences of a social class.
Harris (1995) sums up these ideas stating that popular culture “is constructed in the intersection of experience and ideology”. Lombardi (2020) agrees with Rascón’s ideas as she explains the importance of literature by saying that literature acts as a historical or cultural medium to introduce us to a new world full of experiences and gives us an insight into the rest of the world's societies.
Mehrotra (2019, 1) believes that:
Popular literature is that which is written for the masses, that is, literature that does not challenge the mindset of the common reader and is easily understood and relatable. Popular literature exists simply to entertain and not to teach or lead the reader into much philosophical enquiry or disturb what they already know about the world. (Mehrotra, 2019: 1)
Lombardi (2020) also highlights the idea that literature has an important role in our lives because it affects us on a personal level. Moreover, literature puts ourselves in someone else’s shoes. Moreover, thanks to literature, readers develop the ability to empathise, socialise, solve problems, collaborate and behave better in the workplace or at home.
Srivastava and Kumari (2020) remark that there are a variety of new and interesting forms of popular literature that have been developed in recent years, such as comic books, cartoon strips or graphic novels which are part of mythology, folk legends,
fables and myths of the time. They also state that popular literature can be used in education as a tool to foster learning, motivate students, and to revitalise our education system. Popular literature is widely available due to its affordable price and, novels are usually not too long. Moreover, the covers are often full of eye-catching illustrations. It is important to mention that popular literature tends to use urban vocabulary as these works deal with current affairs. Besides, the action predominates over the description of characters or environments.
1.1 Self-help books
Bergsma (2007) points out that self-help books are based on psychological positivism.
She believes that their main objective is to enhance personal strength as well as to try to reduce psychological disorders caused by daily problems, anxiety or insecurities.
Some of the main topics are personal relationships, how to manage stress, identity or personal growth. The problems that surround us today are not the same as they were years ago. Our culture, life and the way we see the world has changed a lot; now we care more about things that once seemed insignificant like being fashionable or being the coolest of your friends.
The Oxford Dictionary (2022) defines “self-help” as the action of trusting ourselves and being able to solve our problems without the need for other people to help us. These books are based on the reality that surrounds us; we feel identified with what the author tells us and we try in some way to apply his advice. However, Lamb-Shapiro (2013) claims that the self-help world is full of people with no knowledge and who talk nonsense.
Moreover, Marquis (2018) upholds that there are three factors related to the difficulty of defining what self-help literature is, the cultural context on which it is based and the methodologies employed. On the other hand, Dolby (2005) expresses that self-help books offer and suggest attitudes, advice and guidelines to feel better about ourselves and the world around us. However, McGee (2005) encourages criticism of the self-help literature due to its promotion of a hazardously non-sociological vision; he affirms that
“one can make oneself, invent oneself, is not only fundamentally mistaken but also a profoundly alienating one which implies estrangement from the social position of one’s origins as well as from those individuals who fostered one’s development”
(2005, 10). No self-help book has the power to change anyone's life, as it all depends on our attitude to face life and adversities.
Life is full of problems, bad days, goodbyes; one day you wake up strong and healthy and the next day you are unfortunately diagnosed with a deadly disease. Nevertheless, life also gives you moments of happiness.
We apply self-help books to our lives; to how we feel at different times. When we have moments of despair, pain and anguish, when nothing and no one seems to lift our spirits, we turn to self-help books in the hope of feeling a better. That is the idea Marquis (2005) conveys when he says that self-help books may provide some people with simple technical support, whereas other readers claim that self-help books have changed their lives and personal well-being.
Schütz (2007) calls “paramount reality” what Marquis (2005) defines as the expectations readers have when they read a self-help book; it is clear that people who read this type of book want to change something in their daily life or personality. He also points out that:
The power of the self-help language game thus lies in this ability to re- translate potentially all problems into individual action. Consequently, there is no situation, however complicated it may be, with which the individual cannot theoretically cope with the help of her/his hands or mind. (Marquis, 2005: 2)
Self-help books expose realities that we have all identified with at some point in our lives. The success of self-help books lies in their availability to all audiences. However, just the fact of buying a self-help book makes us feel better even if we do not finish reading it (Shapiro, 2013).
1.2 Myths and legends
Myths and legends are part of traditions and culture. Cigay (2022) says that thanks to the myths and legends that have been preserved over the years, we learn about our beliefs, our history and the relationship between man and their natural environment.
Moreover, Larrington (2019) mentions that what makes myths and legends special is that most of them have been preserved in oral versions; passed down from one generation to the next.
According to Bouchard (2013) there is no possibility of testing myths empirically or scientifically, due to the fact that the places, people or objects described have never existed; they have been a figment of the imagination. Therefore, Bouchard (2013) points out that:
The difference between myth and history is not the difference between fantasy and reality, error and fact, but in the ways in which these are mixed and the manner in which the story is told. Myths have no inhibition about inventing lavishly, when necessary, for their purposes, finding ingredients in all sorts of unlikely places. (Bouchard, 2013: 7)
Progoff (1972) considers that myths are related to the thought and life of the people;
myths enhance the idea that they are the treasures of our past values. Barthes (1972) supports this idea and explains that a myth makes contingency seem eternal and as its goal is to give a natural justification to historical intention.
On the other hand, Segal (2006) mentions the idea that myths are not intended to give an objective view of the world as it is, but to express man's idea of himself in the world in which he lives; in fact, they must be interpreted existentially. Myths and legends could have more than one version. The same story can be told in similar ways depending on culture and place. Although myths are generally universal, they are often rooted in specific places (Larrington, 2019); so, myths and legends have always had important roles in our culture, life and traditions.
1.2.1 Difference between myths and legends
Lombardi (2019) defines the concept of myth as a traditional story that answers general questions about life and attempts to explain mysteries or supernatural events.
Myths are also related to gods. On the other hand, Lombardi (2019) states that legends are of historical nature and often include elements related to a particular community. This idea makes them accepted as true stories, since the characters, historical moment or place mentioned in the legend is known to the reader and the audience. Malzer (2019) underlines that although myths and legends have different characteristics, they share the same purpose: they explain the state of the world and the supernatural events that occurred at that time. Now we use logic or research to understand important issues.
Myths are considered archetypes. The 0xford Dictionary defines archetype as an original model that serves as a guideline for imitation; it is an example of a role model.
In fact, for our ancestors, myths were the basic foundation on which life was built because they represented their way of life; through myths they found the meaning of life (Malzer, 2019). Coelho (n.d.) classifies myths into cosmogonic (explaining the origin of the universe), theogonic (illustrating the origin of the gods), anthropogonic (interpreting the origin of humanity), foundational (describing the creation of towns and cities), moral (representing the struggle between good and evil), etiological (expounding the origin of certain natural phenomena) and eschatological (announcing the end of the world).
Egyankosh (2018) exposes interesting ideas of myths and legends by pointing out that:
A myth is a traditional tale handed down from earlier times and believed to have an historical basis. A legend, on other hand, is a story
which is told as if it were a historical event, rather than as an explanation for something or a symbolic narrative. (Egyankosh, 2018: 3)
Egyankosh (2018) also states that legends tell of the exploits of heroes who are treated as sacred by the people because of their great importance. Legends are based on the past and the world. Coelho (n.d.) also classifies legends as historical, urban, rural, local, etiological, religious and eschatological.
Be that as it may, myths and legends are part of our traditions and culture and will surely remain with us for many years to come.
1.2.2 Celtic society, myths and legends
The Museum of Wales (2021) illustrates that a group of tribes called Celts originated in Central Europe. Although they were independent tribes, they had the same culture, traditions, religious beliefs and language. Barranco (2015, 14) points out they were a group of people who shared similar lifestyles and acted together according to their social and political interests. In fact, the Museum of Wales (2021) points out that it is believed that the Celts lived on the shores of Britain during the Iron Age, the Roman Age and the post Roman era. They seem to arrive at approximately 1,000BC.
Dale (2017) estimates that many of the languages spoken in the UK today derive from ancient Celtic languages. Wesley (n.d.) describes that, in Ireland, the Celts spoke one of the Celtic variants which were used across Europe. Nevertheless, in the British Isles there was more than one dialect. The main one was the Brittonic dialect, which was spoken in southern Britain and France, and the second one was Goidelic (Q-Celtic), which was spoken in Ireland and northern Britain. Today there are still remnants of these variants that are used on a daily basis.
Barranco (2015, 14) points out they were a group of people who shared similar lifestyles and acted together according to their social and political interests.
Julius Cesar called “pictii” to the native inhabitants of ancient Caledonia (now Scotland). These people were said to fierce and warlike. They tended to paint their bodies blue before a battle; that is why they were called the Picts. “The Picts used to wear on their belts the heads of the enemies defeated in war because they thought thereby absorbing the spirit and strength of the defeated enemy” (Barranco, 2015: 3).
Figure 1. The Celts in action ready for battle (Schattevoet, 2013: 3)
According to Rascón:
Celtic society was a heroic, warrior and a tribal society. The first Celts used to live in small tribes […]. At the time that the tribe was established in a place with the intention of staying for several years, it was surrounded by marks or limits: moats, walls or fences in order to have a better protection facing the enemies. (Rascón, 2015: 18)
Celtic tribes organised themselves into small kingdoms and fought each other to increase their "demene" (land possessed or dominion) or to seek resources such as gold, cattle or slaves. (Dale, 2017). He also states that the Celts had their own laws and kings. Culture, craftsmanship, art and jewellery made these tribes famous. They created wonderful jewellery and weapons with which to defend themselves against their enemies. Figure 2 shows a jewel in the British Museum that belonged to the richest Celts.
Figure 2. Celtic jewellery (Dale, 2017: 5)
Celts were blacksmiths who worked iron, bronze, leather and pottery. In addition, social differences already existed in Celtic times, as Celtic society was divided into several social classes. The king the king was the sovereign. He belonged to the noble class. Below him were the craftsmen, of whom the blacksmiths played a crucial role in the kingdom because they were the ones who made the weapons for fighting. Then came the farmers who worked the land, provided food and fought for their chief (Lambert, 2021).
Rascón (2015, 19) talks about a person in Celtic society called "Druid". The Druid was a person of high age and respected by the rest of the tribe. The Druid was related to the gods as he presided over spiritual rituals. Lambert (2021) points out that, apart from being priests, Druids were scholars, judges, and gave advice to the kings. Celtic houses were not luxurious; in fact, they had no furniture. The Celts lived together and used to sleep on the floor.
King Arthur is a legendary king who appears in a series of medieval British romances (Augustyn, 2022). He is the sovereign king of the brotherhood of knights of the Round Table. The legend of King Arthur is believed to have originated in Wales or in one of the northern parts of Britain inhabited by the Celts. There is no certainty that the figure of King Arthur ever existed, nor is it certain that he was based on a historical figure of the time. Dobrota (2016, 1) describes King Arthur as an emblematic figure of chivalric romance full of honour and bravery. Today King Arthur is still part of modern writing in English-language literature and has been portrayed in films and serials.
Arthur was a wise and fearless man both on the battlefield and in his rule of the people. After the withdrawal of Roman troops in a Britain ravaged by barbarians,
Arthur became an important figure for the people, his aim being to repel foreign intruders from his kingdom (Dobrota, 2016).
The Saxons entered Britain as auxiliary troops but within a short period began to ravage new territories. It was a harsh time in Britain full of violence and depredation that ended with the rule of King Arthur. Thus, Arthur had a great impact on the British people and achieved popularity of epic proportions. He is the chivalric ideal in times of war as well as in times of peace. However, there are some historians that do not believe in the existence of King Arthur. Walley (201, 8) states that some scholars do not believe that there is enough solid evidence to affirm that the figure of King Arthur ever existed.
Merlin was the great wizard of the Arthurian legends; Joshua (2019) points out that he has been one of the most popular characters in the legends of medieval literature.
Merlin was a powerful magician. Tristan, Gawain or Lancelot were also characters and warriors of the Celtic culture
Robin Hood is another famous legend in England. Robin is the Nottinghamshire outlaw who robs from the rich to give to the poor; Robin Hood was one of the most popular and versatile heroes in popular culture.
The most frequent enemy of Robin was the Sheriff of Nottingham. Robin was a courteous man who treated women, the poor and humble people in general with respect. Augustyn (n.d.) points out that the common people were attracted to this character because they were struck by how he faced life with the freedom to hunt or confront the forces of the law; this type of behaviour was unthinkable at that time. The stories of Robin Hood reflect the cruelty of medieval life.
Another example of a well-known legend is Cú Chulainn which is one of the most popular legends in Irish folklore. McKennet (2019) underlines that this hero, considered to be the "Irish, hulk" was gifted with great strength and fighting talent; he only lived 17 years but he left a great mark on Ireland that survives to this day.
McKennet (2019) also upholds that Cú Chulainn represents the resistance against the invaders and is a great defender of Ireland. Cú Chulainn was known as Setanta; from an early age, he demonstrated a superhuman strength as well as great courage and skill with weapons. The legend says that Conchobar (Setanta’s sepfather) held a feast at the court and forgot that Setanta had not yet arrived. He released his guardian animal to keep all the guests safe, a huge dog that Setanta would kill in self-defence.
Setanta became the new protector of his household. From then on, he became known as Cú Chulainn. Cúchulainn's fame spread throughout the world as a mighty warrior.
Despite his young age he was always determined to seek glory. He had a strong sense of duty and was loyal to his family and friends.
Scáthach was a mythical warrior queen who trained Cú Chulainn. Scáthach's training was especially intense. Scáthach believed that if one of her apprentices was not able to survive her training, then he was not worthy (DeLong 2019).
Figure 3. Cú chulainn kills the giant dog and rises victorious (O’hara, 2021: 2)
Greyfriars Bobby is one of the most famous legends in Edinburgh, Scotland. Bobby was the faithful dog of John Gray, who was a night watchman. Johnson (n.d.) states that John and Bobby were friends who were always together. Bobby always accompanied John through the streets of Edinburgh in winter and summer; for better or worse, they became inseparable. According to the legend, when John died, he was buried in Greyfriars cemetery and Bobby sat at his grave every day to guard it for the 14 years that remained of his life (Fraser, 2022). The people of Edinburgh adopted Bobby, caring for him and bringing him food daily to his owner's grave. Edinburgh law forbade the burial of animals in the city's cemeteries, and despite the popular demand that Bobby be buried with his owner inside the cemetery, he was buried outside the cemetery, albeit very close to the gate. This legend is an example of loyalty and friendship that has attracted thousands of tourists from all over the world who visit Greyfriars Cemetery.
Bobby captured the hearts of the citizens of Edinburgh, and a year after his death, in 1873, the Edinburgh government placed a memorial statue of Bobby near the cemetery. This statue has become a tourist attraction. As figure 4 depicts, the statue of Bobby's nose is worn out from the number of people who touch Bobby's nose thinking it is good luck (Fraser, 2022).
Figure 4. The statue of Bobby by Greyfriars Cemetery in Edinburgh (Phyllis 2019: 1)
Scotland, and Edinburgh in particular, is said to have abundant myths and legends which describe dark times of pain and suffering.
1.2.3 Urban myths and legends
Just as there are myths and legends from each culture, there are also myths and legends that everyone knows because they are “universal”. This section discusses the three best known myths and legends in the world.
One of the most popular is the “Sack Man”. According to Edwards (2013) The Sack Man is an imaginary and terrifying figure depicted as a man with a sack on his back who kidnaps children. This character is known as a child-scarer, and is used as a plot device to scare children and force them to return home at an early hour or for those who misbehave and refuse to go to bed. In Scottish folk ballads the Sack Man was called Lammikin and was somewhat more terrifying because he stabbed and bit children to wake their mothers (Edwards, 2013). Although there are thousands of names and ways of representing the Sack Man, they all emphasise the same idea.
The Yeti or the Abominable Snowman is another world-famous legend. Radford (2017) states that The Yeti is said to live in the Asian mountains and is a mysterious bipedal creature. “The Yeti is said to be muscular, covered with dark greyish or reddish-brown hair, and weigh between 200 and 400 lbs” (Radford, 2017: 6). The moral of the story is a warning to avoid dangerous wild animals and not to move too far away from the community. Today there is no evidence that the Yeti ever existed.
A further world-famous legend is the Loch Ness Monster. The story says that there was a beast living in a Scottish lake called Loch Ness. Kallen (2009) highlights that the first Nessie’s existence was reported in A.D. 565 and adds that:
Witnesses say the Loch Ness monster is a humpbacked beast with flippers, a lengthy tail, and a horse like head atop a long sinewy neck. It might be a mythical sea serpent, a huge eel, a mutant dolphin, a humongous seal, or the last living dinosaur. (Kallen, 2009: 2)
This legend was born on May 2, 1933 at the local news. The Inverness Courier reported that a local couple were spending the day in the lake and claimed to have seen a huge animal rolling and plunging to the surface (Loch Ness "Monster" sighted for the first time, igniting the modern legend, 2021). This story became a media phenomenon; lots of London newspapers sent correspondents to Scotland to investigate the phenomenon. Such was the expectation that a circus even offered 20,000 pounds to the person who captured the beast. However, many amateurs and researchers carried out unsuccessful expeditions. To this day there is no evidence that the lake monster ever existed, yet it has become a tourist attraction that brings in thousands of people.
As Musto (2020) affirms, despite the lack of any tangible evidence, the Loch Ness Monster has remained popular and profitable for Edinburgh tourism. It is estimated that it is a great source of income for the Scottish economy.
2. The role of literature in the EFL classroom
The role of literature in the EFL classroom as a language learning tool has been a controversial topic and a subject of study for many researchers. Literature must not be separated from language, since literature is language and language can be literary (Savviou, 2004). Focusing classes on literary reading has several positive aspects, due to the fact that students not only develop language skills, but they also develop their imagination, critical thinking about the plot and characters, as well as cultural awareness to which the text refers and with which they will learn new ways of seeing the world.
The expressions, syntax, and context of an "authentic" foreign language are revealed to students through literature. The number of materials, vocabulary, and structures available in these texts encourage the use of literature in EFL education. In the classroom, reading is transformed into a creative activity in which the reader's own interpretation is integrated (García, 2016).
According to Uddin (2019) language is a medium used to express ideas, thoughts, feelings or emotions. Thanks to this medium through which, human beings dream, laugh, or cry. Literature, on the other hand, is those works in language that define a
particular community throughout history, which include mainly artistic works and some aesthetic qualities (McFadden, 1978). Literature is communicative and interactive, language, however, is the medium through which literature communicates and interacts with readers (Uddin, 2019). Language is considered as the vehicle that conveys what literature wants to communicate to its readers.
The Grammar-Translation method was the one used to learn English for years. It was a method that provided students with examples of structures, sentences, verb conjugations or word usages by which students learned grammar, vocabulary or pronunciation (Uddin, 2019). However, everything changed when Structuralism arrived in the 1950s. According to Truong (2009), structuralism focuses on the objectivity of texts and rejects the reader's personal responses in the analysis of literature. It requires students to approach texts in a “scientific” way, using their knowledge of structures and themes to understand the work.
In the mid- 1900s there was a change in language teaching, and special emphasis was placed on the development of communicative skills which were hardly developed in the two previous methods (Uddin, 2019). The direct method and the audio-linguistic method gained momentum as the translation process in language teaching took a back seat. Kern (2002) expresses her opinion about the relation between language and literature, she explains that what is needed is to find a way for learners to interact face-to-face through which they develop the ability to think, read and, discuss texts.
Shantha (2011, 2) also agrees with this idea by saying that language and literature are inseparable. Without literature, language could not exist, and vice versa; the two depend on each other. Literature connects the text with the context.
Finally, as a summary of all the ideas proposed in this section, Rees (1973) upholds that literature:
Is a permanent expression in words of some thought or feeling or idea about life and the world? Literature may be good, bad or different; but good literature will have some, if not all, of the following qualities: (i) psychological truth or holding the mirror up to nature; (ii) originality;
(iii) craftsmanship; and (iv) a consciousness of moral values. (Rees, 1973: 9)
2.1 Methods and approaches for teaching literature in the EFL classroom
This section classifies the different methods and approaches to select and create materials for teaching literature in the classroom.
The language-based approach is according to Lazar (1993) an approach in which students use their knowledge of grammatical, lexical or discoursal categories to give their opinion and make aesthetic judgements about the text. Through this approach, it is possible to create a variety of language teaching activities, such as brainstorming, so that students can make predictions and activate background knowledge. They can also rewrite endings, summarise ideas or plots, and use cloze procedures to build a vocabulary list in order to understand the text. In addition, teacher’s role is to intervene when necessary to provide guidance on how to proceed appropriately in the classroom, introduce or clarify technical terms that are difficult for students and motivate students to keep trying and never give up in the face of adversity (Truong, 2006). The advantage of language-based approach, is that this type of approach is often familiar to students (Lazar, 1993). In this approach teachers prepare linguistic activities from the texts to encourage students to actively participate in the process of understanding the text (Hour, 2011). An example of an activity that Lazar (1993) proposes is for students to choose from three texts the best one that summarises a book they have previously read.
Another method is literature as content which provides the students with the opportunity to learn the content through language. This approach examines the social, political or historical background of a text, the characteristics of literary movements and the author's biography among others (Lazar, 1993). It is important for students to assess reading comprehension through different activities such as summarising the theme, story or characters orally; describing the writer's perceptions through critical opinions; and, finally, do some exercises to fill in sentences or blanks related to the text (Chandrasena, 2019).
Literature for personal enrichment is a good way to win over a class and get to know their tastes or hobbies in order to assess the students' interests and select materials that are in line with them (Lazar 1993). The aim is to capture their attention and keep them active. In this approach the students’ motivation, feelings, opinions or personal experiences are voiced. Students are involved in the learning process both intellectually and emotionally. The new criticism approach appeared after World War I in the United States. The main focus of this approach is the content that appears in the text. The effect on the reader or the author's intention is left aside, so that the external elements are ignored when analysing the work. The role of the reader is to discover the one correct meaning of the text through attentive reading and analysis of the formal elements (Truong, 2009).
Many scholars criticise this approach as close reading may not aid students to develop any historical, cultural or lexical aspects. Moreover, reading is a process that requires a
series of guidelines such as introducing the content, describing the setting, the characters and the plot. In order to elicit students' opinions and discussion, it is advisable to relate the text to the students' experience (Truong, 2009). The reader response approach uses activities that encourage students to talk about their personal experiences, opinions and feelings in their interpretation of literature (Truong, 2009).
Truong (2009) points out the advantages to use this approach in class:
When I allow students to interpret and respond to literature within the framework of their backgrounds and life experiences, they are empowered to: give opinions without the fear of having responses different from the teacher, work collaboratively in pairs or groups to debate a topic, and read poems aloud and perform scenes from plays, which brings smiles, laughter, and contemplation into the classroom. (Truong, 2009: 5) In addition, teacher should encourage mutual understanding and tolerance so that the students feel free to express their opinions and feelings. It is best to set a common goal and for the students to work together to achieve it. Students feel free to elaborate their own interpretation of a text (Hour, 2011).
Finally, the stylistics approach emerged in the late 1970s. The aim of this approach is to develop pupils' sensitivity to literature by analysing the characteristics of literary language. The teacher's role is to encourage students to make aesthetic judgements and interpretations of the texts using their own linguistic knowledge (Truong, 2009).
Therefore, the approach is focused on linguistic style and on the expansion of students’ knowledge and learning capacities.
Apart from the above-mentioned approaches, there are three different models worth analysing.
Bibby (2013) considers that the purpose of the personal growth model is to try to get students to assess, evaluate and discuss issues in the text, using literature as a vehicle that promotes critical awareness and seeks to educate. Learners have learnt when they are able to interpret and construct meaning of the texts from their own experience (Yimwilai, 2015). This approach encourages students to make connections between their personal and cultural experiences and those expressed in the text and to express their feelings and opinions. According to Yimwilay (2015) the cultural model focuses on the cultural and historical aspects of a literary work through which students explore and interpret the social, political, literary or historical context. In addition, students to explore the cultural background of the literary work as well as its understanding. Students learn about and compare new cultures and ideologies in relation to their own.
In fact, the texts are useful to provide students with a more direct and deeper connection to different cultures (Lazar, 1993). Texts are full of cultural aspects and are used to engage and motivate students. Allowing pupils to learn about the culture of the target country will result in just learning about it but also respecting it. It enables people to comprehend and respect foreign culture and idiosyncrasies (Demetriou &
Ruiz Mas, 2009).
Yimwilai (2015, 2) considers that the language model enables students to access a text in a systematic and methodical way in order to study examples of literal and figurative language, direct and indirect speech and some examples of specific linguistic features.
It also helps students to formulate meaningful interpretations and a better understanding of a text. This mode facilitates a sensible and aesthetic appreciation of a text. Students learn specific grammatical structures through a literary text. Therefore, teachers can use the texts as a centre for grammatical analysis (Savviduo 2004).
2.1.1 How to teach popular literature: myths and legends
This section focuses on methods and approaches for teaching popular literature in the classroom through myths and legends. For this purpose, the first word to be mentioned is creativity. From an educational point of view, creativity is an innate ability that every human being possesses and has to cultivate and develop. Thus, Menchén (1998) defines creativity as the ability to grasp reality in a unique way, generating and expressing new ideas, values and meanings. It is a combination of flexibility, originality and sensitivity. The importance of motivation and positive attitudes must be emphasised to achieve creativity (Vecina, 2006). Teachers have to develop the full potential of the students, both mentally and physically, and for this reason, they have to provide spaces for all kinds of creative work.
Myths and legends allow to develop the creative capacity of students through activities such as inventing an ending. Santos (2014) proposes some creative writing techniques.
El cuento del loco is a creative writing technique that consists of making up wacky, funny and collective stories. The characters technique consists of using a character from a legend or myth as a starting point; the pupils have to transform the character by attributing opposite qualities to him/her and transforming aspects of his/her psychology. The random word story is a creative technique that consists of writing a series of random words. All of them are put into a jar and a pupil draws five at random and writes them on the board. Students are asked to make up a story containing these words in the order in which they are written down.
Through these activities and techniques, participation in class is also encouraged. It is preferable to do these activities in group, because more creative ideas can always come out of them.
One key rhetorical element is metaphors, which are based on comparison or analogy.
Myths and legends give rise to different interpretations depending on people's experiences and cultural background. In addition, the fact that myths maintain a high degree of subjectivity means that working with and on them can offer students’ future possibilities (Vecina, 2006).
Another useful technique to teach myths and legends in class is visual literacy. As the integration of images and visual presentations with text in textbooks, instructional manuals, classroom presentations, and computer interfaces expands, addressing visual literacy is becoming more popular in the classroom (Stokes, n.d.). Many classrooms contain touch screens and computers that allow to project all kinds of images and can also help students' cognitive and creative development. In fact, visual literacy helps to make sense of data that may previously see unintelligible. As myths and legends are fantasy and imagination, to develop their visual literacy students can create their own drawing of what they imagine, for example, the character of King Arthur to look like.
Finally, myths and legends are also manifested through the arts such as sculptures, paintings, films, theatre or even songs. The pupils interpret the myth through theatre or even by being the protagonists of a play themselves, giving life to the main characters. Musical perception aims to develop students' capacity for "active listening". But music-mythological listening not only works on perception, but also on representation, identification and expression. The aim of these methods and techniques is to teach myths and legends in an active, creative and participatory way (Stokes, n.d.).
2.1.2 Benefits of using literature in the EFL classroom
The use of literature in the EFL classroom has evident benefits. Literary texts have expressions of feelings or functional and contextualised phrases. The language of novels is easily etched in our mind as novels are full of descriptive and imaginative writing (Katib, 2011). Literature involves a wide range of vocabulary, dialogues and prose and is characterised by its authenticity. Students are exposed to real language intended for native speakers, which allows them to become familiar with the target language forms and communicative functions (Van, 2009). Hence, it is important that the students know a variety of registers, styles and genres.
Literature is full of complex themes and new uses of language that sometimes leave students perplexed. A teacher gets students to be especially motivated when they are exposed to what they like or enjoy (Khatib, 2011). Motivation is key to foster participation in class, imagination or creativity. Students usually feel close to their favourite characters. In fact, it is a good idea to ask them to tell a short story or anecdote about their culture before they read a story in English on a similar topic so that the students feel identified with what they are going to read and their attention is captured from the first moment (Lazard, 1993). Students are more motivated to learn the target language if they believe their own world is portrayed, and literary characters frequently connect with the student's fantasy world (Demetriou & Ruiz Mas, 2009).
The cultural/intercultural awareness and globalisation play a crucial role. Literary works have the magic of creating links between readers and culture. There are social, political and historical aspects that appear in the context of a literary work and through which readers feel familiar (García, 2016). The vital thing about literature is that it deals with universal themes that are common in all languages and cultures such as love, hate, death or nature (Khatib, 2011). The world and culture are better understood through literature.
Khatib (2011) considers that students can have a week to read a novel using the dictionary as little as possible. And this promotes double reading speed and encourages the guessing of meanings using the context in which words appear.
Through literature students develop reading and comprehension skills useful for language learning. Students often learn only through the written text because unfortunately they do not have access to spoken English (Lazard, 1993). Literature provides students with a wide range of vocabulary, although sometimes, depending on the type of literature, they will have to deal with complex grammatical structures.
Literature allows students to develop critical thinking and personal enrichment. They develop the ability to reflect, interpret, imagine or explore. Hence, it can influence their attitudes and thoughts. Through literature, students develop their abilities to discover the meaning of literary works and to express their own opinions and interpretations (Lazard, 1993). Each student is different, so there can be more than one interpretation of the same literary text and this is a positive aspect because they learn to interpret and analyse literary works. As Ghosn (2002, 172) states “literature can also act as a powerful change agent by developing pupil´s intercultural awareness while at the same time nurturing empathy, a tolerance for diversity, and emotional intelligence”.
In addition to all these advantages, Maley (2001) discusses benefits such as universality, related to the common themes addressed literature. Literature is deals with issues that mattered to the author when they wrote them. Personal relevance deals with issues, sensations, ideas or events that affect us and that in a certain way are part of our lives. Literature deals with themes that are part of the human experience and presents them in a way that attracts the attention and interest of readers. In addition, the power of suggestion is considered to be one of the strongest points of literature, with few words this power is able to suggest many ideas, thus obtaining the maximum output with the minimum information. Since literature is highly suggestive, there can be more than one interpretation of the same subject, so it is rare that two readers react the same way to a text.
Thanks to the different interpretations learners may have of a text, an almost infinite pool of interactive discussion and exchange of ideas develops. Furthermore, language use changes from one social group to another, and literature offers the learner a wide range of linguistic varieties (Esakkiammal, 2018).
2.1.3 Drawbacks of using literature in the EFL classroom
Lima (2005) thinks that certain works can cause problems for language learners and Bobkina (2014, 5) adds that syntax, vocabulary and certain grammatical structures make literary reading a very complicated task for students. The main problem is the language in which some works is written. The language of literary texts may be far removed from the conventions of Standard English that students learn in class. Lexis is one of the main problems; because there are no constraints on the use of inventiveness or lexical items, this may obstruct understanding rather than aid it (Lima, 2005). Khatib (2011) considers that literary texts are full of vocabulary that is not currently used in English. There may also be problems with phonetics and phonology.
Some practitioners believe that literature contains instances in which phonological and phonetic systems are not adequately used (Khatib, 2005). Many words have undergone changes in pronunciation over the years, which can lead to misunderstandings.
In addition, there are cultural barriers that students may face. Literature is full of cultural concepts that sometimes, due to cultural differences, the reader does not understand and this can be frustrating McKay (1982). The learners may feel lost and not grasp the main idea of the text. For Duff and Maley (1990) cultural factors can become so difficult that the reader may find it impossible to understand the text.
Moreover, even though a teacher may wish students to have a literary experience, it
may backfire because they lack the necessary linguistic, literary, and cultural skills to interpret and enjoy the work (Lima, 2005).
On the other hand, a number of factors need to be taken into account before choosing a literary text such as language proficiency, age, gender and the previous knowledge of the students (Khatib 2011).
2.1.4 Criteria for selection of literary texts
Criteria for selection of literary texts is one of the greatest challenges for a teacher.
According to Demetriou (2015, 24) “literary characters usually connect well with the students ‘world of fantasy. Students feel more motivated to learn the language if they feel their own world is represented in front of them. Literature stimulates the student's imagination”. When the materials to be used in class are carefully chosen, students feel that what they do in the classroom is relevant and meaningful to their lives and future (Lazar, 1993). Lazar (1993, 48) states that “in choosing a literary text for use with your students, you should think about three main ideas […] the type of course you are teaching, the type of students who are doing the course and certain factors connected with the text itself”. The following are some of the aspects that should be consider when choosing a literary text. In connection with motivation and student’s literary background the text needs to deal with interesting topics in order to capture the attention and motivation of the learners., Any text that teachers choose needs to arouse their interest (Bibby, 2014). Teachers may take into account whether students can understand the texts by themselves (Lazard, 1993). Students’ cultural background and their social and political expectations may help or delay their understanding of the text. The lexis and syntax in many literary works are low- frequency vocabulary that may be unknown to the language learners. There are many students who are used to simple syntactic structures (S-V-O); so, the syntactic complexity of some texts can be daunting (Bibby, 2014).
Lazard (1993 points out some issues that the teachers might consider when they choose a literary text, for instance; make sure that the students have sufficient knowledge about the norms of language use, if the students feel unmotivated by the difficulties of the language presented by the text, or if they find it useful and fun and if there are other factors that motivate the student even if the language is difficult.
Students tend to think that because a text is longer, it will be more difficult. However, the longer the text is, the more likely they are to understand it. However, some practitioners prefer to use short stories in class. Short stories can make the teaching
and learning process easier and more pleasant (Pathan, 2013). The most important thing is knowing how to select the texts and use them wisely. the structure of a short story arouses the reader's interest and encourages him/her to read to the end (Gracía, 2016). Students reinforce skills, increase motivation, begin to appreciate the richness of language, acquire sociocultural competence, and develop critical thinking.
The role of the teacher is essential to help students understand the text through various activities before, during and after reading so that no student is left behind (Pardede, 2011).
Finally, the aforementioned concepts are the foundations for the didactic unit proposed below. The development of core communicative elements is framed within a holistic approach where language, culture and identity play a substantial role in promoting a more equalitarian society.
3. Lesson plan: Let your imagination run wild!
3.1 Justification
The present didactic unit deals with the teaching of popular literature in the EFL classroom through myths and legends. Nowadays, foreign languages are fundamental in science, technology and communication, both for work-related purposes and for personal enjoyment. Thus, one of the aims of this didactic unit is to develop the students' communicative competence following the Order of January 15th 2021 (Orden del 15 de julio de 2021).
The title, “Let your imagination run wild!”, refers to one of the characteristics of myths and legends, which is imagination. The aim is to use a learning methodology that offers the possibility of enhancing the students’ communicative competences and teamwork.
This didactic unit represents the last unit in the Course Pan for the 1st grade of Non- Compulsory Secondary Education in the last term of the course 2021/22. It is included in the School’s Educational Project that adapts the Spanish State Curriculum to the various contextual variables found in each educational institution.
The main objective is to raise cross-cultural and multicultural awareness by exposing students to relevant myths and legends. Moral values and ethics are also exploited in the class to focus on current problems in society. This didactic unit complies with the educational guidelines established by regional, national and European authorities in this matter. Besides, the activities provided follow the Royal Decree 1105/2014 of December 26th (Real Decreto 1105/2014 del 26 de diciembre) published in the Spanish
Official State Bulletin (Boletín Oficial del Estado, BOE), where the basics of the Non- Compulsory Secondary Curriculum is explained:
a) To exercise democratic citizenship and develop a responsible civic conscience inspired by the ideals of the Spanish Constitution as well as human rights, which promotes co-responsibility in the building of a fair and equitable society.
b) To consolidate a personal and social maturity that allows students to act in a responsible and autonomous way and to develop their critical spirit.
d) To strengthen the habits of reading, studying and discipline, as necessary conditions for effective learning and as a means of personal development.
f) To express oneself fluently and correctly in one or more foreign languages.
h) To know and asses the realities of the contemporary world, its historical background and the main factors in its evolution. To participate in an active way in the development and improvement of the students’ social environment.
k) To strengthen the students’ entrepreneurial spirit through attitudes such as creativity, flexibility, initiative, teamwork, self-confidence and critical thinking.
Furthermore, this didactic unit takes into consideration the Decree 111/2016 of June 14th (Decreto 111/2016 del 14 de junio) published in the Regional Government of Andalusia’s Official Bulletin (Boletín Oficial de la Junta de Andalucía, BOJA), which aims to provide students with training, intellectual and human maturity, knowledge and skills that enable them to develop social functions and to live an active life with responsibility and competence. Likewise, the study is geared towards deepening students' acquisition of integrated, coherent and up-to-date knowledge and interpretation of their social and cultural experience through the acquisition of relevant competences according to their perspectives and interests (General dispositions, Chapter 1, p. 3).
Finally, the requirements of the Common European Framework of References for Languages (Council of Europe, 2001) are also considered. This lesson plan focuses on Chapter 2, where students are expected to learn through action. Students use the English language to fulfil tasks in various situations. As a result, students are able to learn additional skills and domains in addition to English. Furthermore, this didactic unit encourages students to collaborate with one another. The Common European Framework of Reference for Languages: Companion Volume with New Descriptors (Council of Europe, 2018) highlights the importance of constant interaction in the
production of meaning as a teaching and learning approach. Hence, collaborative work becomes an important instrument for promoting real-life situations that students may face during various intercultural contacts as well as to bring to the fore the importance of an intercultural and inclusive education (pp. 23/27).
3.2 Contextualisation
The group for which this unit has been developed is composed of 24 students, 14 of them are girls and 10 of them are boys in their 1st year of non-compulsory Secondary Education at Martín Halaja high school, which is a public school located in La Carolina, Jaén.
This education centre offers compulsory and non-compulsory Secondary Education as well as intermediate and advanced studies in administration. The age range of the student body is remarkable, as there are students as young as 13 or even 40 years old.
The high school takes in people from several surrounding villages who do not have, for instance, a baccalaureate and have to travel to La Carolina to continue their education.
As a result, there is a wide variety of students, which allows for interactive and inclusive activities.
All classrooms are equipped with a projector and a touch board. Besides, there is a computer where students can use a secure and restricted Internet connection to do language exchanges with other students from international schools. There is a small garden with flowers, trees and plants, a gymnasium and of course, open spaces for outdoor activities as well as a football pitch, basketball court and athletics track.
The level of English in the L2 class is homogeneous; students supposedly have a B1/B2 level (CEFR). Nevertheless, there are two slow learners and one highly gifted student.
The aim is to place the tables in a circle and divide the class into small groups of 4 in order to make communication more fluid, encourage students to share their ideas or points of view and do the activities in a collaborative way.
This didactic unit comprises 6 sessions of 55 minutes each. Each session contains a pre- task, a task and a post-task for better understanding and to deal with the topic in a more dynamic way. In addition, students dedicate the last minutes of the class to work on their own ladder. The ladder is a self-assessment system by which students are asked to draw a ladder on a piece of paper with five rungs; students draw themselves next to the most suitable rung. Every rung corresponds to one lesson and, at the end of each class students are asked to tick or cross the rung corresponding to that lesson, so as to indicate whether or not they believe they have achieved the goals stated by the teacher at the beginning of the class. In addition, they add next to every rung what
they consider was the most difficult or easiest thing for them Thus, once the 6th session is over, they draw themselves on the rung in which they find themselves, so as to become aware of their progress.
3.3 Competences
As far as key competences are concerned, both the Royal Decree 1105/2014 of December 26th (Real Decreto 1105/2014 del 26th December) and the Decree 111/2016 of June 14th (Decreto 111/2016 del 14 de junio), emphasise the importance of developing key competencies in order for citizens to reach their full potential in terms of personal, professional, and social development. The following core competencies may be strengthened as a result of this didactic unit:
1. Competence in linguistic communication. The English language is used by students as an oral and written communication tool. This is the most important competency in this didactic unit since it allows students to communicate and interact with their partners. Linguistic competence allows people to comprehend, express, and interpret concepts, thoughts, feelings, facts, and views in a variety of situations. Throughout the sessions of this didactic unit, students carry out activities in which they create oral and written messages that allow them to develop communicative competence.
2. Digital competence. This competency refers to the use of technology in a creative and responsible manner to achieve learning objectives. Students develop the skills of looking for and analysing information, creating material, and utilising technological resources to achieve this competency. Furthermore, because the students get input inductively, this usage of technology is beneficial to develop their English competences. Students may also be able to cultivate critical and reflective skills concerning the use of internet platforms.
3. Learning to learn is related to the ability to lead and organise a learning process in which pupils are expected to be creative, self-directed, and motivated. It allows pupils to express themselves, share knowledge, and understand information independently.
As a result, it is vital to have students reflect on their learning process, either individually or in groups, in order to prompt this competency. Students feel more autonomous as a result of this, and they are more motivated to learn. This lesson plan supports the concept of learning to learn since it is based on a student-centred approach in which students are in charge of their own learning.
4. Social and civic competence is acquired when students become empathetic, or being able to imagine themselves in somebody else’s shoes, as well as being tolerant and respecting other people's opinions and ideas. The students work not only individually,
but also in pairs and groups in order to establish interpersonal links, develop cooperative work, and a collaborative mindset. Moreover, social and civic competence entails the skills and abilities to apply their knowledge and attitudes in society in order to solve social problems in various contexts, construct responses, make decisions, and resolve conflicts, as well as interact with other people and groups on the basis of mutual respect and democratic convictions. It is important for students to understand that life in society is built by us; if we respect the beliefs, customs and culture of the people we live with, together we will build a better world.
5. Cultural and artistic competence entails students demonstrating an interest in various cultural and artistic manifestations, together with a critical and positive approach toward diversity, with key characteristics such as respect, dialogue, communication, and personal opinion Students become more aware of the various cultural and aesthetic elements that surround them, and learn to appreciate them.
This learning unit focuses on myths and legends as cultural and literary manifestations, which is an artistic expression.
6. Sense of initiative and entrepreneurship enhances the ability to turn ideas into action. It is perhaps one of the most difficult competences to further as students seem to be memorising information rather than learning by doing. In order to realise this competence, it is necessary for students to learn how to manage and solve problems, the importance of being creative and responsible for their actions or how to cooperate when working in a group. Therefore, students become more autonomous and behave as active learners.
3.4 Objectives
The table below points out how the didactic objectives of this unit are linked to both stage and area objectives, besides key competencies.
Didactic Objectives
Stage Objectives L2 Objectives Key
Competences
