Tema16 Childrens literature in English.

Techniques of didactic application to access the listening,

initiating and strengthening reading habits and sensitize in the poetic function of language.
1.- Childrens literature in the English language.
1.1. Literacy language.
1.2. Childrens literature in the English language.
1.3. Analysis of literary language through relevant works.
2.- Didactic application techniques for listening comprehension;
introducing and encouraging reading habits and appreciating the poetic
function of language.

INTRODUCTION
Childrens literature has certain particular features which, apart from the authors
inspiration, are what make it more attractive and interesting for children, namely: it
is a free and happy activity, contains imaginative elements, reflects inner
grievances suffered by the child, uses argumentative techniques and language
suited to children, has a most intuitive presentation, appeals to feelings, affectivity,
transmits moral values, conveys serenity and balance on the part of the author, has
expository clarity and is interesting.
In childrens literature, childrens folklore can also be included, which is a form of
literature that has been passed on by word of mouth. Carmen BravoVillasante states
that an aesthetic education using folklore enhances sensitivity. Children who are not
taught by means of songs, stories or poetry are children with poorness of spirit.
Childrens literature is an inexhaustible fountain of resources for programming all
sorts of language activities.
1.- CHILDRENS LITERATURE IN THE ENGLISH LANGUAGE.
1.1. LITERARY LANGUAGE.
A) LITERARY AND FAMILIAR LANGUAGE.
The language used in literature differs from the language we ordinarily speak. By
and large, literature and speech use the same language with identical sounds and
grammatical procedures, and however, there is a clear separation between them, a
difference in level. In writing there is always an urge to improve which makes the
writer avoid words, sentences or turns of phrases that are used unscrupulously in
informal speech.
The difference begins from the moment that literature acquires enough
development and prestige to impose a select taste for its language. In certain areas,
the literary inflow raises the tone of average speech; in others, while literary
language barely changes, common speech quickly changes, as it occurred with
vulgar Latin.
Literary language broadens and enrichesvocabulary and refines subtleties of
meaning with its incessant creative process. It chooses between certain forms of
expression and others, thus contributing to the lastingness of a language; and it
serves to halt tendencies that hasten the development of a language.
B) QUALITIES OF LITERARY LANGUAGE.
Clarity is achieved by presenting an idea in such a way that it cannot be
interpreted erroneously; it denotes exactly what the author means to say. The
opposite of clarity is ambiguity or amphibology, a sentence, expression, etc.,
capable of double meaning. When amphibology is used intentionally, it is called an
equivocation.
The quality of propriety occurs when the words that are used are those that are
suitable for what is being expressed. Words are not interchangeable, for there are
no true synonyms.
Language has expressive vigour when it expresses with representative force what
the writer or speaker means. If the expressive power is so great that what is stated
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appears in our imagination, with features of sensitive reality, it is said that language
contains plasticity.
Decorum eliminates all that is deemed uncouth, impolite or indecent.
Concreteness requires complying with the language rules in force. The violation of
syntactic rules is called a solecism.
Harmony is achieved by, when choosing words, attending to their sound quality
and arranging sentences in such a way that the musical elements of the language
are enhanced. The opposite of euphony or pleasant sound is cacophony.
Abundance lies in the richness and variety of the vocabulary.
Language is pure when words and constructions are used in accordance with the
particular nature of that language, without the use of unnecessary foreign elements.
Barbarisms or superfluous foreignisms must be repudiated.
The reaction against foreign influences may lead to the extremes of purism and
correction, which insist upon absolute purity in language, based on the servile
imitation of the classics and on strict correctness, which often sacrifices naturalness
and liveliness.
1.2. CHILDRENS LITERATURE IN THE ENGLISH LANGUAGE.
Childrens literature is a branch of the science of books which has been so useful
and charming as any other type of literature.
Childrens literature includes many books that adults enjoy reading even when they
do not read them to or with children. The most famous childrens book is Alices
Adventures in Wonderland, and it is read more by adults than children. The
sameoccurs with Peter Rabbit, one of the books best-known for its humanity.
In the past years, the study of childrens literature has regained popularity.
a) FAIRY TALES.
It is one of the most important divisions of childrens literature. It contains a similar
proportion of wishes and fears, which creates a balance that keeps the attention of
readers and listeners. It can tell lots of meaningful stories in many different ways.
Elliot says that fairy tales are best as bedtime stories for young children, but they
are also valuable for older children.
Bottelheim specifies that they are good for children between the ages of nine and
ten, which is when children are maturing in processes that they are afraid of.
b) ANIMALS
They are the strongest bond between fairy tales and modern childrens literature.
Animals are creatures that speak and act like human beings. They are present in
most old and modern childrens stories and are the most important source of power
in the best childrens literature, a source which other types of literature had
abandoned before the 19th century.
Animals in fairy tales are enchanted and live in a world of human beings, and
human beings play a minor role. Any animal can be used as the enchanted beast in
a fairy tale: a bird in The Juniper Tree, a fox in The Golden Bird, a prince frog, a
cat, a snake in Countess dAulnoy. These animals do not wish to be animals and
while they are under a spell, they are the kindest, most patient and civilized of
beings.
Modern childrens literature contains animal fables and fairy tales. The Three Little
Pigs and The Little Red Hen are examples of stories that young children read.
English childrens literature shows signs of persistence in writing and reading. In
England, childhood was considered the only stage in life in which it was good to
believe in a world of magic and imagination and talking animals. Children were seen
as beings that were capable of enjoying instinctive sympathy for animals and of
establishing an alliance with them against adult human beings.
c) GREAT ENGLISH STORY WRITERS.
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There are many famous English writers of childrens stories, but the two most
famous ones were Lewis Carroll and Beatrix Potter.
Lewis Carroll, an English writer, was born in 1832 and died in 1898. He is the bestknown author of story books, which are read by children and adults.
His main works are Alices Books (the most famous one), Theres Glory for you
and It was the best butter.
Beatrix Potter wrote stories as popular as Peter Rabbit, which everybody has
heard of and which became a film. Others are Taylor of Gloucester and The little
mice star: down to spin. In the latter, the mice were not humanized, although they
did weave mens coats. Another popular story is Jemina Puddle.
Oscar Wilde was an Irish author who wrote all his works in English and became one
of the best renowned writers in English literature. He is famous for his plays and his
popular theory of beauty. His best collection of stories are The Shellfish Giant and
The Canterville Ghost, which is one of the short stories included in his book Lord
Arthur Saviles Crime.
Kenneth Grahame understood childrens tastes very well and invited them to the
enchanted circus he created. His books The Golden Age and Dream Days were
immensely popular among children. The ideal world of this writer seems more
percectible and desirable than the world of Peter Pan.
Rudyard Kipling is known as the writer from India, although he never was an
ardent apologist of the presence of the English there. His main works are The
Jungle Book (1894-95) and Stories (1902). The Jungle Book and Kim are
blithe books about the world of ideas. His most important book is The Jungle Book:
it is the most accomplished expression of Kiplings quality of work.
B. Frank Baum, a German-North American novelist, was born in Vienna in 1896
and died in 1960. He wanted American childrens literature to be free of unpleasant
incidents. He wrote many childrens books: A New Wonderland, The Book of the
Hambergs, His Book, etc.
d) FANTASTIC LITERATURE OF TRAVELS AND ADVENTURES.
The fantastic aspect lies within transcendence and imminence, in other word,
between the truth of facts, the correspondence between discourse and reality, and
internal evidence, which makes a story appeals in its own right to the receptive
reader.
The term fantastic means more than reality; it means strangeness or admiration
and it has replaced the terms formidable and sensational in common speech.
The fantastic aspect is not inferred by understanding, but perceived with
sensibility in the same way as what is funny or tragic and is more similar to the
cerebral notion of the supernatural, with affective notions of brightness and
sacredness, and also appreciates what is rejected by science, moral, religion or
good taste.
In fantastic literature, any adventure story aims to plunge the reader into
uncertainty; the most dramatic episode is generally saved for the end, thus giving
the enigma its own charm.
Fantastic works are usually stories: a ballad, novel, tale or short story. The short
story is the literary form that is best adapted to fantastic literature, chiefly due to its
origins; it deals with extremely interesting extraordinary stories and their
episodes predispose the reader to sense that fatality that is inherent in every
fantastic adventure. These adventures do not occur at random and come to
nothing, for the entire intrigue is conceived on the basis of the denouement; the
victim-hero of a fantastic adventure generally finds himself alone under some kind
of spell of which he is very well aware.
The classic fantastic story derives not from stories but from popular legends. The
difference between a story and a legend is owed to the Grimm brothers; in their
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opinion, a story is more poetic and a legend is more historical. A story tells
adventures that take place in an indefinite past, in an unspecified place; a legend
relates notable events that took place on a given date, in a given place, to a given
person. A difference in function determines these differences in structure: a story
aims to amuse, a legend aims to express and transmit beliefs. The title of a story is
often the heros name; the presence of this character alone guarantees the unity of
an account consisting of several episodes: the hero sets off on an adventure with an
open mind and a light heart, facing all sorts of dangers without fear.
Louis Vax states that a fantastic story generally deals with men who are faced
with the inexplicable.
The story always begins with a stable situation and certain features remain intact
throughout the development of the action. Every story, therefore, contains two
types of episodes:
Those that describe a stage of balance or imbalance.
Those that describe the passage from one to another.
The former are contrary to the latter. Sometimes the reader identifies with the
character; then, in turn, he withdraws from reality.
A misadventure of some kind is the main type of plot. These misadventures can be
of different sorts; by and large, towards the end, evil is transformed into good. The
hero continually feels the contradiction between both worlds: the world of reality
and the world of fantasy; and he is overwhelmed by the extraordinary things that
surround him.
As a general rule, a new person is introduced and the action enters a new phase.
Vladimir Propp sees it as an operation of relative rationalization of a myth and the
struggle against it, and its deep unity and great appeal lie beyond its generalized
use as childrens stories.
Important writers, in the English language, of fantastic literature of travels and
adventure:
In the Tudor era:
Sir Philip Sydney. He was born in 1554 and died in 1586. He wrote The Arcadia,
a long fantastic story about aristocrats castaways on an island; it contains the
grandest principles, the most chivalrous manners and the most beautiful ladies.
Nashe, with his The Unfortunate Traveller, tells a horrifying story full of dialogues,
amazing descriptions and the strangest adventures.
In the Elizabethan era:
Daniel Defoe. He is one of the most important authors of this era in English
literature. His most famous book (Robinson Crusoe) is known all around the world
and has been translated into many languages. Many studies have been done on it:
mans isolation, self-sufficiency, utopia,
Tobias Smollet was born in 1721 and died in 1771. His main adventure and
fantastic stories are Roderick Random and Humphrey Clinker.
Laurence Steine is a contemporary of the aforementioned author. He was born in
1713 and died in 1768; his most important adventure story is Sentimental
Journey.
All the works of this era are not about fantastic stories but about adventures, save
for the work of Jonathan Swift (with Gullivers Travels). This book hides satire in
such a deft manner that children still read it as a fairy tale. The book starts off
laughing about mankind; when Gulliver finds himself in Lilliput, he is a giant
compared to inhabitants there. In the second part of the book, he goes to a land
inhabited by giants and the author criticizes all men thinkers. He then goes to
Laputa, which is a flying island, and Swift examines and criticizes human
institutions. At the end there are horses with rational minds. This book still today is
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a masterpiece, a childrens fairy tale and a serious book for adults, and it has never
lost its attractive nor allusive value.
1.3. ANALYSIS OF LITERARY LANGUAGE THROUGH RELEVANT WORKS.
The work of Walter de la Mare is one of the best works of short fantastic stories.
Out of the Deep is perhaps his most original and exciting short story. Here is a
passage from it:
All that I have to say, he muttered, is just this: I have Mrs. Thripps. I havent
absolutely out of the wire. I wish to be alone. But Im not asking, do you see? In time
I may able to know what I want. But what is important now is that no more than that
accused Pig were your primrose real, my dear. You see, things must be real.
The title of the novel means a number of things: the depths of the house in which
the servants live, the depths of memory, from which remembrances ascend, and
the depths of the misfortunes of the wretch who is seeking help.
The literary language of the above text is bright and eloquent, neither dull nor slow.
The protagonist is Jimmie, who is characterized by his desire to surprise and his
liking for black humour. This passage contains his regards for a girl. He is a timorous
boy who shows Soames cautious sadism and plays bad jokes on the lackeys.
When he is talking to the girl, he realizes that he was forbidden to talk to the
lackeys (you might pull real bells: to pull dubiously genuine pigtails seemed now
a feele jest). The word pigtail here may infer pig, which corresponds to the
beast that appears on the stairs. The gesture of pulling a rope is similar to that of
pulling from a pig.
The word primrose (spring) naturally suggests the line from a famous verse by
Wordsworth: A primrose by a rivers brimm. The thought of spring may have
suggested Lord Beaconsfield, whom Jimmie refers to: All of which is only to say,
dear madam, as Beaconsfield remarked to Old Vic, that Im thanking you now.
In the text he refers to what the girl says, but then he gives it less importance and
highlights what it is really important. The style is loose and clear, with lots of
imagination. The vocabulary is simple, although some words have several
meanings, like primrose. The verb to ask means to call on someone; the author
uses it to mean Do you understand?. The same occurs with in time which means
sooner or later.
We will now look at some texts by the writer Beatrix Potter:
Peter was dreadfully frightened; he rushed all over the garden, for he had forgotten
the way back to the gate. He lost one of his shoes among the cabbages, and the
other shoes amongst the potatoes.
This text is from the book Peter Rabbit.
As there was no money, Ginger and Pickles were obliged to eat their own goods.
Pickles ate biscuits and Ginger ate a dried haddock. They ate them by candlelight
after the shop was closed.
This other text is from Ginger Pickles.
Moppet and Pittens have found up into very good ratcatchers. They go out catcatching in the village, and they find plenty of employment. They charge so much a
dozen and earn their living very comfortably.
This last text belongs to The Poly-Poly Pudding.
The style is clear and bright. Repetition is avoided, which es why in the first text, in
the last line, amongst is used instead of among, which was used in the previous
line. The language is simple, easy to read, so the words need not be explained. The
author avoids allipsis, by writing He had forgotten instead of Hed forgotten, so
that children can clearly understand the text. Another characteristic of this writer,
which is more clearly seen in the first two texts, is her use of many verbs in the past
tense. She does not use description very much.
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2.- DIDACTIC APPLICATION TECHNIQUES FOR LISTENING COMPREHENSION,

INTRODUCING AND ENCOURAGING READING HABITS AND APPRECIATING THE
POETIC FUNCTION OF LANGUAGE.
All of us need stories for our minds in the same way that we all need food for our
bodies; we watch television, go to the theatre and the cinema, read books and
exchange stories with our friends.
Stories are especially important in the lives of our children; they help them to
understand the world and to share it with others. Their craving for stories is
constant. Every time children enter a classroom, they have a yearning for stories.
a) WHY USE STORIES?
Stories that rely heavily on words are a constant and great source of experiences for
the students.
Stories are motivating, rich in language experiences.
Stories should be the main part of the work of Primary teachers, when teaching a
first and a second language.
Reasons:
Motivation. Children have a constant need for stories; that is why they are always
willing to listen or read at the right moment.
Meaning. Children want to find something in a story (meaning) and they listen for
that purpose. If they find what they are looking for, it will be thanks to their ability
to understand the foreign language. If they do not find that meaning, they are
motivated to improve their listening comprehension ability and then find meaning.
Listening and fluency when reading. In a conversation with native speakers, the
most important ability is understanding a substantial flow of the foreign language
which contains new words for the receiver. This ability is only achieved by constant
and ample practice. The child must develop a positive attitude to comprehending
everything and accomplish the ability to search for meaning, predict and guess
(they are experts at this in their native language).
Knowledge of the language. Stories help children to become aware of the general
knowledge and sounds of the foreign language. Stories also introduce students to
several language models and sentence structures which they have not yet used in
oral or written production. This makes up their language stockpile. When the time
comes, those language models will flow within the productive language without any
problems, because the language is not new to them. An obvious example of this is
the use of the simple past.
An incentive for speaking and writing. Experiencing a story can give rise to the
production of written or spoken answers. It is natural to express our likes and
dislikes, exchange ideas and associations about the stories we have just heard. In
this manner, stories should be a part of a set related activities.
Communication. Reading, writing and aswering questions about stories through
writing, speaking, acting and making art develop certain feelings for listening,
sharing and collaborating. Learning a language is useless if we are not able to
communicate, in other words, to use language skills. A story serves to share the
construction of a crucial sense of attention for others.
General curriculum. Most stories can be used to develop attention, analysis and
expression, and to relate them to other subjects in the curriculum, such as
geography, history, social and cultural aspects, mathematics and science.
b) COMPREHENSION TECHNIQUES.
Helping children to predict the contents of a story by telling them beforehand in
their native language, by showing them pictures, or by introducing key vocabulary
from that story.
While they are being told a story, show them pictures, draw on the board, act and
mime, use words that are similar in meaning in both the first and second languages.
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Tell the story more than once. Interrupt the story often and repeat the idea in a
differente manner to make sure that the children do not get lost.
Study the story beforehand and simplify some of the vocabulary, if necessary:
words, expressions, verb tenses, word order and complex sentences.
c) HOW SHOULD READING HABITS BE INTRODUCED AND CHILDREN BE
TAUGHT TO APPRECIATE THE POETIC FUNCTION OF LANGUAGE?
First of all, the stories, in other words, the literary language at this level with
children, must essentially be a source of joy and must meet their interests. If the
teacher uses stories or literary texts merely to teach, the children may reject this
and lose their good, natural disposition for stories, which is an enormous potential.
Reading habits can be developed and the poetic function of language can be taught
by telling and reading the children stories that are suitable for them. This implies a
set of advantages:
Advantages of reading stories to the children:
1. If the teachers language foreign language competence is low.
2. Showing the children pictures that go with the stories.
3. Letting the children read what the teachers have read to them previously.
4. Allowing the children to realize that books are a source of pleasure and interest.
Advantages of telling stories to the children:
1. It can help the children to understand by repeating the story, pointing out
important features, miming, acting, drawing pictures on the board.
2. By having the children in front of him, the teacher can make any special
adaptations at any time.
3. Allowing the children to discover through their experience the magic sense of
listening to a story being told by someone.
d) WHICH CHILDRENS LITERATURE BOOKS TO CHOOSE?
When choosing them, we must ask ourselves the following:
1. Is the first impression about a book valid for us and for our pupils?
2. Does the book meet the pupils interests and hold their attention?
3. Do we accept the values expressed in the book?
4. Can the children understand the story enough to gain something valuable outside
of it?
5. Is the story easy to understand irrespective of their knowledge of its vocabulary?
6. The story should be the source of activities, such as drama, story writing, letter
writing from one protagonist to another, or activities relating to a theme.
e) WHERE CAN THESE BOOKS BE OBTAINED FOR OUR STUDENTS?
There are many types of story books. Each one has its advantages and
disadvantages.
1. Readers.
Advantages: the language has been simplified to make the reading easier. Easily
obtainable.
Disadavantages: they are not authentic books, original works by their author. They
do not introduce the language used by present-day native English-speaking
children.
2. Books published by native English-speaking children.
Advantages: the stories may be more interesting. The language is authentic.
Disadvantages: the children might find it difficult to understand most of the
language on their own.
3. Books in the pupils native language.
Advantages: within everybodys reach.
Disadvantages: it is up to the teacher to translate them.
4. Traditional and personal stories in the native language.
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Advantages: the children are probably familiar with them and enjoy recognizing
them when they are read to them in English.
Disadvantages: the teacher may feel that his English is not good enough to
translate them.
5. Stories invented by the teacher and the pupils.
Advantages: the pupils identify with one of them.
Disadvantages: incorrect English.
f) ACTIVITIES THE TEACHER MUST PLAN. ACTIVITIES FOR CHILDREN
BEFORE, DURING AND LISTENING COMPREHENSION OF BOOKS.
1. Activities prior to the story.
Prepare the students to focus the theme of the book and the language that they will
need to understand it.
2. Activities during the story.
Above all, the children must enjoy the story. Ask them what they think is going to
happen and how they feel about what has happened. They can join the teacher in
repeating, miming or drama exercises, among others. They can be told to put
sentences or pictures in the correct order.
3. Activities after the story.
Traditional comprehension exercises; careful not to spoil the experience that the
story has caused in the child.
4. Other more creative activities.
Drawing a picture and writing a key sentence.
Making a mural or writing a book with other children with illustrations and key
sentences.
Acting out the story.
Writing a letter from one protagonist to another.
Changing the end.
Changing the characters.

BIBLIOGRAFA
ELLIS AND BREWSTER: The Story telling handbook for Primary Teachers. Penguin.
GARVIE: Story as a vehicle. Multilingual matters.
PERRY: Into books: 101 literature activities for the classroom. Oxford University
Press. Madrid.
MORGAN and RINVOLUCRI: Once upon a time. Cambridge University Press.
ROSEN: Shapers and Polishers. Teachers as Storytellers. Mary Glasgow.
WRIGHT: Why stories. Oxford University Press. Madrid.