INTERIM GUIDE

LITERATURE IN ENGLISH
for Secondary Years 3, 4 and 5

Ministry of Education
Brunei Darussalam
2008
Introduction

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

Teachers and students following the 2 + 2 stream may wish to use ideas and texts from the Foundation Year section at the beginning of
Year Three. However, it may be that teachers will prefer to begin teaching the prescribed texts for the ‘O’ level exam from the beginning
of the two-year course, in which case the Foundation Year section can be omitted.

In teaching Literature, it is understood that:

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

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

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

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

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

The initial section, based on the Assessment Objectives laid out in the Cambridge Syllabus, specifies component skills involved in
achieving the learning outcomes. Note, these are not intended to be definitive, but should assist teachers in determining what their
students may need to cover.

The next section consists of a range of suggested teaching activities, in sections according to the three genres – prose, drama and poetry,
which are matched with appropriate learning outcomes.

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The Foundation Year section specifies a recommended textbook and a range of novels and plays and includes a sample of possible
activities for two of the texts.
The Glossary provides the literary terms that teachers and students may find helpful, but again this is not definitive. It is expected that
students will be able to use some basic literary terminology when discussing a text, but some of the terms included here are more
sophisticated than absolutely necessary at ‘O’ Level.

The Ministry of Education would like to express its sincere appreciation to members of the following committee for their fine effort and
commitment in producing this Interim Guide.

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

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

Facilitators: Reena Lim Bee Yew (Curriculum Development Department)

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

Members: Laury McPherson (Sekolah Menengah Sayyidina Hasan)

Hjh Seri Ainey binti Hj Shahri (Sekolah Tinggi Perempuan Raja Isteri)
Hjh Soriana Salwa binti Hj Mornie (Sekolah Menengah Pehin Datu Seri Maharaja)
Peter Boyce (Pusat Tingkatan Enam, Berakas)

Honorary
Member: Josephine Murphy (Sekolah Tinggi Perempuan Raja Isteri)

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 GCE ‘O’ LEVEL LITERATURE IN ENGLISH

AIMS

The aims of the syllabus are the same for all students. The aims are set out below and describe the educational purposes of
a course in Literature for the GCE ‘O’ level examination.

The aims, which are not listed in order of priority, are to develop the ability of students to:
• communicate accurately, appropriately and effectively in speech and writing;
• understand and respond imaginatively to what they hear, read and experience;
• enjoy the reading of literature and appreciate its contribution to aesthetic and imaginative growth;
• explore areas of universal human concern, thus leading to a greater understanding of themselves and others.

ASSESSMENT OBJECTIVES

Candidates should be able to:

(i) demonstrate first-hand knowledge of the content of literary texts;
(ii) demonstrate an understanding of literary texts in ways which may range from a grasp of their surface meaning to a
deeper awareness of their themes and attitudes;
(iii) recognise and appreciate ways in which writers use language;
(iv) recognise and appreciate other ways in which writers achieve their effects (e.g. structure, plot, characterisation,
dramatic tension, imagery, rhythm, setting and mood);
(v) communicate a sensitive and informed personal response to what is read.

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 (GCE Ordinary Level, 2010)

Prescribed Learning Outcomes for GCE ‘O’ Level Literature in English

Content

Students will be able to:

i) demonstrate first-hand knowledge of the content of literary texts:
1 recognise and recall straightforward points in terms of narrative, characters, situation or statement;
2 sequence details and events;
3 summarise the plot or content (e.g. of a poem);
4 comment on plot and characterisation.

Understanding

Students will be able to:

ii) demonstrate an understanding of literary texts in ways which may range from a grasp of their surface meaning to a deeper
awareness of their themes and attitudes:
1 locate, select and interpret relevant details in stories, novels, poetry or drama in response to a range of tasks;
2 discuss a text, share perceptions, and account for differences of view;
3 demonstrate an awareness of the influences of gender, ethnicity, and class on literature if appropriate;
4 assume the voice of a character, i.e. expressing the thoughts, feelings and attitudes of that character in a way that is appropriate for
the character;
5 distinguish and evaluate viewpoints within a text or between texts;

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 6 identify and evaluate writer’s intentions.

Writer’s Craft

Students will be able to:

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

1 identify the distinguishing characteristics of literary genres;
2 identify and evaluate the effect of literary techniques such as metaphor, simile and alliteration;
3 demonstrate an understanding of recurring images, motifs, and symbols by evaluating their purpose and effectiveness;
4 evaluate the purpose and effectiveness of literary devices, forms, and techniques in literary works.

Literary Analysis and Appreciation

Students will be able to:

iv) recognise and appreciate other ways in which writers achieve their effects (e.g. structure, plot, characterisation, dramatic
tension, imagery, rhythm, setting and mood):
1 identify genre;
2 identify elements in a text, e.g. plot, structure, setting, atmosphere and style;
3 identify patterns and relationships (e.g. with respect to characters, events, style and viewpoints) within a text;
4 identify and explore motivation;
5 identify examples of the use of stereotypical characters;
6 identify and explore themes;

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 7 identify the tone of a text;
8 compare and contrast elements (e.g. characters, viewpoints, setting, style) within a text or between texts;
9 analyse the language, form and dramatic impact of texts;
10 use formal language for literary analysis.

Personal Response

Students will be able to:

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

1 demonstrate an appreciation of audio-visual performance of literary works;
2 build meaningful connections between new information and existing knowledge;
3 modify and extend existing ideas and perspectives in the light of new information;
4 demonstrate a willingness to make personal connections with characters and experiences in literary works;
5 articulate and discuss opinions, feelings and attitudes;
6 create personal responses to literature through writing, speech or visual representation;
7 respond sensitively and in detail to the way language works.

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Literary Study Skills and Examination Strategies:

Students will be able to:

• link and organise information for systematic retrieval;

• use efficient note-making and note-taking strategies;

• define and clarify the literary task;

• compose questions to guide their reading and understanding;

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

• observe and / or note relevant details;

• support an argument or opinion with appropriate examples and information;

• integrate apposite quotation and comment.

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

Suggested activity: Students could be asked to keep a book of quotations, divided into sections for characters and themes. They could
include stickers or other graphic material that seem appropriate.

A set of activities for teaching literature by genre, aimed at helping students explore the texts creatively, is included in this Interim Draft.
However, it is expected that in addition to these activities, teachers will also carry out some close analysis of the texts and practice in the
kind of questions the students will face in the examination.

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 ACTIVITIES FOR TEACHING POETRY

ASSESSMENT PRESCRIBED LEARNING SUGGESTED TEACHING AND CLASSROOM ACTIVITIES

AREA OUTCOMES
Students should be able to:

Sequencing activities. (Teacher cuts up stanzas and students put them

CONTENT sequence details and events (narrative in the right order.)
poems);
(i: 2) Comic strip.

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

UNDERSTANDING identify and evaluate writer’s
intentions; Compare drafts of the same poem.
(ii: 6)

Posters / collage.
WRITER’S CRAFT identify and evaluate the effect of
literary techniques such as metaphor, Write own poems using figurative language.
simile and alliteration;
(iii: 2)

Title. Students give a poem a title.

LITERARY identify and explore themes;
ANALYSIS & (iv: 6) Group or pair poems. (Students discover the thematic links for
APPRECIATION themselves)
identify the tone of a text; Reading aloud.
(iv: 7)

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 Collage.

ASSESSMENT PRESCRIBED LEARNING SUGGESTED TEACHING AND CLASSROOM ACTIVITIES

AREA OUTCOMES
Students should be able to:

LITERARY analyse the language, form and Dramatisation.

ANALYSIS & dramatic impact of texts; Choral reading. (Students read the poem aloud in groups, focusing on
APPRECIATION (iv: 9) the sound of the text.)
Gap-fill. (Omit key words from the text and get students to discuss
what the missing words could be.)

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

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

into lines and stanzas.)

Exploded diagram. (See appendix.)

Students write their own poems in the same form – e.g. writing haikus,
sonnets, and ballads.

PERSONAL articulate and discuss opinions, feelings Response sheets. (Like a web discussion: Students write a single
RESPONSE and attitudes; comment on a piece of paper, they then move around to different
(v: 5) posters or pass round sheets or write on different computers,
responding to each other’s comments.)

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 PRESCRIBED LEARNING SUGGESTED TEACHING AND CLASSROOM ACTIVITIES
ASSESSMENT OUTCOMES
AREA
Students should be able to:

PERSONAL create personal responses to literature Perform a prepared reading.

RESPONSE through writing, speech or visual Posters.
representation; Collages.
(v: 6) Exploded diagram.
Powerpoint presentations.

respond sensitively and in detail to the Dramatisation / prepared readings.

way language works.
(v: 7)

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 ACTIVITIES FOR TEACHING PROSE:
NOVELS AND SHORT STORIES

ASSESSMENT PRESCRIBED LEARNING SUGGESTED TEACHING AND CLASSROOM ACTIVITIES

AREA OUTCOMES
Students should be able to:

CONTENT Recognise and recall Sherlock Holmes investigation: Students imagine they have been asked to
straightforward points in terms investigate a character in the manner of Sherlock Holmes.
of narrative, characters,
situation or statement
(i: 1)

sequence details and events; Sequencing activities: students arrange cut-out plot notes in order.
(i: 2)

summarise the plot; Express the plot in pictures, children’s books, comic strip, Reader’s Theatre
(i: 3) format.

comment on plot and Newscast commentaries / talk show format character interviews.
characterization;
(i: 4)

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ASSESSMENT PRESCRIBED LEARNING
AREA OUTCOMES
Students should be able to:
locate, select, and interpret
UNDERSTANDING
relevant details in stories,
novels, poetry or drama in
response to a range of tasks;
(ii: 1)
discuss a text, share perceptions, Letters to friends: students choose an aspect of the story to respond to, and
and account for differences of
view.
(ii: 2)
demonstrate an awareness of
influences of gender, ethnicity,
and class on literature;
(ii: 3)
assume the voice of a character:
i.e. expressing the thoughts,
feelings, and attitudes of that
character in a way that is
appropriate for that character;
(ii: 4)
SUGGESTED TEACHING AND CLASSROOM ACTIVITIES
Literary essay writing, empathic task questions.
Write a school report on the characters in the text e.g. Sir Andrew Aguecheek
in ‘Twelfth Night’. Subjects: sword fighting, languages, dance, etc.
What’s he/she got in his/her pockets? Students discuss what a character might
have in his/her pocket/bag.
write a letter to another student. The recipient then responds, sharing
perceptions and differences in view.
Research and present background information on the attitudes towards
women, various ethnic groups, or various classes during the time and place in
which the story is set.
Character interviews.
Character impersonations: students choose a character to impersonate, and
other students guess who is being portrayed.
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ASSESSMENT PRESCRIBED LEARNING
AREA OUTCOMES
Students should be able to:
UNDERSTANDING distinguish and evaluate
viewpoints within a text or
between texts;
(ii: 5)
identify and evaluate the
writer’s intentions;
(ii: 6)
WRITER’S CRAFT demonstrate an understanding
of recurring images, motifs, and
symbols by evaluating their
purpose and effectiveness.
(iii: 3)
SUGGESTED TEACHING AND CLASSROOM ACTIVITIES
Respond verbally or in writing to themes in the story, from various
viewpoints.
Diary entries: from the point of view of different characters, sharing thoughts
and reactions to the same event.
Debate in pairs the intention of the writer, providing relevant details, and give
opinion as to how well this intention is carried out.
“Literary Archaeology” (Wayne Stagg): groups discuss and evaluate the
significance of concrete symbols and images from the text, and present ideas
to the class for discussion.
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ASSESSMENT PRESCRIBED LEARNING SUGGESTED TEACHING AND CLASSROOM ACTIVITIES
AREA OUTCOMES
Students should be able to:

PERSONAL build meaningful connections Anticipation guides and pre-reading discussions: on issues and themes found
RESPONSE between new information and in story.
existing knowledge;
(v: 2)

modify and extend existing Mini-debate activities of anticipation guide statements.

ideas and perspectives in the
light of new information;
(v: 3)

demonstrate a willingness to Personal response journal writing.

make personal connections with
characters and experiences in
literary works;
(v: 4)

articulate and discuss opinions,

feelings and attitudes.
(v: 5)

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 ACTIVITIES FOR TEACHING DRAMA

ASSESSMENT PRESCRIBED LEARNING SUGGESTED TEACHING AND CLASSROOM ACTIVITIES

AREA OUTCOMES
Students should be able to:

sequence details and events Sequencing activities: Teacher or students write down a number of key
CONTENT
(narrative poems); events/quotations and (other) students put them in the right order.
(i: 2)
Comic strip.
Timeline.

summarise the plot or content; Summary variation: Teacher gives a summary with some incorrect
(i: 3) information and/or writes a biased summary and students decide what is
accurate and what should be changed.

locate, select and interpret
UNDERSTANDING relevant details in stories, novels
poetry or drama in response to a
range of tasks;
(ii: 1)
Character collages: Students create collages on key characters using a
mixture of quotation and visual images.
Tableaux: Students create tableaux of key scenes for other students to
identify.

discuss a text, share perceptions,
and account for differences of
view.
(ii: 2)
Compare versions: Teacher shows class two (or more) film versions of the
same play. Students prepare two different performances of a scene.
Students discuss which they find more powerful.
Response sheets: Like a web discussion: Students write a single comment on
a piece of paper, they then move around to different posters or pass round
sheets or write on different computers, responding to each other’s comments.

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ASSESSMENT PRESCRIBED LEARNING
AREA OUTCOMES
Students should be able to:
UNDERSTANDING assume the voice of a character,
i.e. expressing the thoughts,
feelings and attitudes of that
character in a way that is
appropriate for the character;
(ii: 4)
identify and evaluate writer’s
intentions;
(ii: 6)
identify and evaluate the effect of
WRITER’S CRAFT literary techniques such as
metaphor, simile and alliteration;
(iii: 2)
SUGGESTED TEACHING AND CLASSROOM ACTIVITIES
Diary entries.
Hot-seating: when a character or a person in role sits in the “hot-seat” and
questions are fired at them. They must respond in role.
Role-playing.
Writing a soliloquy. E.g. for a character facing a dilemma.
Police interviews/ mock-trials: prepare questions and answers for characters
within an imagined criminal investigation.
Thought tunnel: when a character from the drama walks slowly between two
rows of students. Students link their hands together in the air to create an
arch. As the character passes each student, they call out what they think the
character is thinking.
Storyboarding: Students create a series of drawings and captions (sometimes
resembling a comic strip) that show the planned shot divisions and camera
movements of a film. Students can add in sound effects, lighting, etc. as part
of an interpretation of a scene.
Expanding summaries: summarise a speech/section of dialogue in 40 words.
Students are then allowed a further 50 words to expand on the summary.
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ASSESSMENT PRESCRIBED LEARNING SUGGESTED TEACHING AND CLASSROOM ACTIVITIES
AREA OUTCOMES
Students should be able to:

demonstrate an understanding of Prop recreation: students recreate the scenes by changing the props. e.g.
WRITER’S CRAFT
recurring images, motifs, and exchange Desdemona’s handkerchief (in Othello) for an expensive ring.
symbols by evaluating their
purpose and effectiveness;
(iii: 3)

demonstrate a willingness to Diary writing.

PERSONAL make personal connections with
RESPONSE Hot-seating.
characters and experiences in
literary works; Writing a soliloquy.
(iv: 4)

identify and explore themes; Theme collages: Students create a collage to include quotations, visual
(iv: 6) images, suggested music, stage effects etc to highlight specific themes.

identify the tone of a text; Reading aloud / performing.

(iv: 7)

compare and contrast elements Dramatisation.

(e.g. characters, viewpoints,
setting, style) within a text or
between texts;
(iv: 8)
Storyboarding.
Casting: Students cast the characters, with rationale for choice of actors.
Cross-casting: Students take a character from one text and imagine them in a
different text. E.g. a scene between Lady Macbeth and Abigail.

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ASSESSMENT PRESCRIBED LEARNING SUGGESTED TEACHING AND CLASSROOM ACTIVITIES
AREA OUTCOMES
Students should be able to:

PERSONAL analyse the language, form and Gap-fill: Omit key words from the text and get Ss to discuss what the
RESPONSE dramatic impact of texts; missing words could be.
(iv: 9)

articulate and discuss opinions, Response sheets: Like a web discussion: Students write a single comment on
feelings and attitudes; a piece of paper, they then move around to different posters or pass round
(v: 5) sheets or write on different computers, responding to each other’s comments.

create personal responses to Performing a prepared reading.

literature through writing, speech
or visual representation; Posters.
(v: 6) Collages.
Programmes: Students make theatre programmes, including a suitable
illustration on the front, a cast list and a few programme notes for the
audience.
Powerpoint presentations.

respond sensitively and in detail Dramatisation/prepared readings: Where possible, record this on audio
to the way language works. and/or video form.
(v: 7)

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 LITERATURE IN ENGLISH: YEAR THREE (FOUNDATION)

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

Prescribed Texts for Year Three

All students should cover a range of poetry and short stories from the book recommended below:
Ed. Lim, C and L. Tan, Federal Literature Companion for Secondary 2, Federal Publications (Second Ed. 1998)
[ISBN 981 01 9120 0]

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

The recommended novels are:

Abdel-Fattah, Randa. (2006) Does my head look big in this? Scholastic Ltd. [ISBN 978 – 0439950589]
Bowler, Tim. (2006) River Boy. OUP. [ISBN 0192754440]
Dahl, Roald. (2000) The Wonderful Story of Henry Sugar. Puffin [ISBN 0141304707, ISBN 9780141304700]
Ihimaera, Witi. (1987) Whale Rider. Robson Books Ltd. [ISBN – 10: 0152050167, ISBN – 13: 978 – 0152050160]
Horowitz, Anthony. (2000) Stormbreaker. Walker Books. [ISBN 074455943X]
Lowry, Lois. (1993) The Giver. Laurel-Leaf. [ISBN 0440237688]
O’Brien, Robert C. (1977) Z for Zachariah. Dell Publ. Co. [ISBN 0440999014 or ISBN 978 – 0440999010]
Park, Linda Sue. (2001) A Single Shard. Yearling. [ISBN 0440-41851-8]
Speare, Elizabeth George. (2003) The Witch of Blackbird Pond. Collins Modern Classic. [ISBN 0-00-714897-6]
Townsend, Sue. (1992) The Secret Diary of Adrian Mole aged 13 ¾. Heinemann New Windmills. [ISBN 0-435-12390-4]

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The plays can be chosen from the following or other sources:
Ed. Broekman, Fabian. (1979) One Act Plays Series. Heinemann Educational Australia [ISBN 978-0858591936]
Davis, Colin. (1990) Exploring Drama 1. Federal Publications. [ISBN 981-01-9042-5]
Davis, Colin. (1990) Exploring Drama 2. Federal Publications. [ISBN 981-01-9043-3]

Other Useful Resources

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

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

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

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

Kooy, M & J. Wells. (1996) Reading Response Logs: Inviting students to explore novels, short stories, plays, poetry and more. Pembroke
Publishers Ltd. [ISBN 0 -435-07208-0]

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

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

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

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

Murphy, Sandra & Mary Ann Smith. (1992) Writing Portfolios: A Bridge from Teaching to Assessment. Pippin Publishing Corporation.
[ISBN 0-88751-044-2]

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

Richardson, Judy S. (1996) An English Teacher’s Survival Guide: Reaching and Teaching Adolescents. Pippin Publishing Corporation.
[ISBN 088751-070-1]

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

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

On-Line Resources

http://www.sparknotes.com
http://gradesaver/classicnotes.com
http://enotes.com/drama-criticism/...
http://www.bookrags.com/criticism/ [names of authors/playwrights]
http://www.dmoz.org/Arts/Literature/Drama
http://www.educyberstor.com
http://www.exploratorium.edu/learning_studio/cool/literature.html
http://www.funtrivia.com/quizzes/literature/shakespeare.html
http://www.funtrivia.com/quizzes/literature/ [name of playwright].html

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 GLOSSARY OF TERMS

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

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

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

Ambiguity The capacity of words or a word to mean two or more different things. In poetry this capacity is valued,
because the meanings of poems are thereby enriched.

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

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

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

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

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

Blank Verse Unrhymed poetry written in iambic pentameter.

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

Chorus An individual or group of actors who comment on the action in a play and help guide the audience’s thinking
on the characters and action.

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

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

Conflict The tension in a situation between characters, or the actual opposition of characters (usually in drama and
fiction but also in narrative poetry).

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

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

Denotation The denotation of a word is the ‘dictionary’ meaning of the words.

Dialogue Two or more characters speaking to each other.

Diction The vocabulary chosen by a writer.

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

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

Figurative Language Language that departs from the literal, ‘dictionary’ meaning of the words used. Creative language used in
writing such as a metaphor and simile.

First Person The use of ‘I’ in speech or writing.

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Foot Basic unit of ‘Metre’.

Foreshadowing The technique of arranging events and information in a narrative in such a way that later events are prepared
for or clues that hint at future events (contributing to narrative suspense).

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

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

Genre A literary type or kind.

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

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

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

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

Irony Saying one thing but meaning the opposite.

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

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

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

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

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Metre The regular rhythm in verse; the measurement of poetry.

Mood The overall feeling generated by a written or spoken piece.

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

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

Motivation Reasons that characters do or say something.

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

Narrator The one who tells a story.

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

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

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

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

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

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

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Point of View Looking at a situation or characters from the perspective of another character. The eyes through which a story
is told e.g. through the first person narration or the omniscient narrator.

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

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

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

Quatrain Four lines of poetry.

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

Rhyme Scheme The distinctive pattern of rhyme in a poem.

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

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

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

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

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

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

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

Stanza Sections of poetry comprising a group of verse lines.

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

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

Symbolism Objects which are used to represent something else. E.g. A flag symbolizes its country; in his poem ‘Time’,
Shelley uses the sea to represent time.

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

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

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

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

Tragic hero A protagonist who begins as a great character and is destroyed by a combination of a fatal flaw in his
character and the workings of fate.

Voice The position of the narrator in relation to his story; thus the outlook from which the events are related.
NB. The term is used in a slightly different way in the ‘O’ level syllabus and Learning Outcomes, (ii 4)
where to assume the voice of a character, is explained as “expressing the thoughts, feelings and
attitudes of that character in a way that is appropriate for the character.”

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BIBLIOGRAPHY

1. O’Neill, Matthew and O’Neill, Jo (2003) Framework Focus ‘Drama’. Letts Educational, London
2. Lockwood, Adrian (2003) Framework Focus ‘Shakespeare’. Letts Educational, London
3. Martin, Christopher (2003) Framework Focus ‘Poetry’. Letts Educational, London
4. Gill, Richard (1985) Mastering English Literature. Macmillan Press Limited, London
5. Cadden, John (1994) Poetry Appreciation for A Level. Hodder and Stoughton, Singapore
6. Wainwright, Jeffrey (2004) The Basics-Poetry’. Routledge, London and New York
7. Cuddon, J.A. (1998) The Penguin Dictionary of Literary Terms and Literary Theory. Penguin, London

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 APPENDIX 1
Lois Lowry, The Giver

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

The idea would be that teachers are free to choose one or two activities from the Before Reading, two or three from the While Reading and
maybe give students options to choose from the After Writing sections.

Before Reading
You should only choose one or two activities from the ‘Before Reading’ section. You will see that a number of these activities assume
that you will return to the same ideas/activities as you read, and after you complete, the novel.

Activity One
To explore the theme of utopias:

1) Ask groups of students to imagine a perfect world. What would there be (e.g. enough food for everyone?) and what would there not
be (e.g. pollution, war?) Groups come up with two lists.

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

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

Activity Two
To explore the theme of community rules:

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

They should also decide on the consequences for students who break the rules.
2) As you read, compare the rules with what you can find out about the school rules/sanctions in the community.

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Activity Three
To explore the theme of decision-making:

1) Ask individuals to think of a decision they made which they now regret. (e.g. choosing or dropping an option subject; buying a
particular make of mobile phone; starting/ending a relationship with a boy/girl.) What factors contributed to them making the
original decision? Ask one or two students to share their decisions and what motivated them.

2) Do students believe there was anything or anyone which/who could have helped them to make a better decision? Discuss what
people can and cannot do to help another person make good choices.

Activity Four
To explore the theme of free choice/Government intervention:

Hold a People’s Forum to debate a topic which focuses on freedom of choice e.g. ‘Children should be forced to study 3 hours a
day in Form Five.’ Or, ‘People who are overweight should be banned from eating fast food.’ (Or any other controversial topic
related to lifestyle choices.)

A People’s Forum (Joy-Hooi Narimas) is different from a normal debate. These are the rules:
i) Anyone can speak.
ii) Anyone who wants to speak must either stand at the Speaker’s Stand (you can make this the teacher’s desk at the front of the
class) or hold onto a symbolic object (cf. the conch in ‘Lord of the Flies’, Joy has used a bunch of keys but if you can get one, a
koosh, is good as it is safer to throw!)
iii) Nobody may speak for longer than three minutes at a time.
iv) Each speaker MUST respond to what the previous speaker said before she/he may introduce a new point.

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

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While Reading

1) Students keep a log in which they record their responses to the community. E.g. things they like, dislike, don’t understand about
the community.
(Learning Outcomes: v2 – 5)

2) Students write diary entries for any of the following characters: Asher, Father, Mother, Lily, the Giver for any of the significant
days. (e.g. the Ceremony days)
(Learning Outcomes: i2, i3, ii1, ii 4, v 4, v 6)

3) Pairs or groups build up a character collage for Jonas. (Start with a fairly large, e.g. A3 sheet, and add quotes or pictures to the
poster as you read. E.g. ‘Careful about language’ as a quote about his character, and a picture of an apple as a reference to his
having taken one home after it ‘changed’ in mid-air.
(Learning Outcomes: i1, ii1, iii3 [this is possibly the step before!], v 6)

After Reading

1) You may want to repeat some of the BEFORE reading activities to see if students have changed their minds about any of these.
(Learning Outcomes: ii1, ii2, v2, v3)

2) Write the next chapter, focusing either on what happens to Jonas or the community.
(Learning Outcomes: ii1, ii2, ii6, iv3, iv4, iv7, v3, v6, v7)

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

(Learning Outcome: v5)

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

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

5) Make a class list of ‘Memories’ that you would want preserved for the future if the Earth as we know it were one day to end, but
human beings were able to survive. (Learning Outcomes: v3, v5)

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 6) Make a collage to represent the contrasting worlds of community and the real world. (Images, colours (lack of), things to indicate
the sounds – such as music.)
(Learning Outcomes: i1, ii1, iv6, v6)

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

On-Line Resources
http://www.sdcoe.k12.ca.us/score/giver/givertg.htm (Assumes access to the internet for the activities for the students.)
The following sites include some really good, useable ideas most of which are not internet-dependent.

http://www.classzone.com/novelguides/litcons/giver/guide.cfm
http://www.randomhouse.com/teachers/catalog/display.pperl?isbn=9780440237686&view=tg
http://www.sparknotes.com/lit/giver/
http://home.earthlink.net/~eduscapes/units/giver/
http://www.ksu.edu/smartbooks/Lesson003.html (This is a lesson based on Probability, for the keen Maths students!)
http://www.csun.edu/~pjs44945/giver.html
http://eolit.hrw.com/hlla/novelguides/ms/Mini-Guide.Lowry.pdf
http://www.bookrags.com/notes/giv/
http://www.tallmania.com/Giver.html (This has links to lots of other activities and information, too.)

There are also numerous websites with information about Lowry and the book, this is just one:
http://www.scils.rutgers.edu/~kvander/lowry.html

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 APPENDIX 2
Roald Dahl, The Wonderful Story of Henry Sugar

N B: The following are only suggestions.

‘The Wonderful Story of Henry Sugar’:

Write Max’s story.
(Learning Outcomes: i1, i2, i3, i4, i5, ii1, ii4, iv4, v4, v6)

Either with ‘Henry Sugar’ or ‘The Boy Who Could Talk to Animals’:
Discuss how Dahl uses realistic detail to make clearly fictitious events seem believable.
(Learning Outcomes: iv2, iv9, iv10, v5, v7)

‘The Hitch-hiker’ - Comic strip. There used to be an example on the net, but all I can find of it now is this one square at:
http://www.howardsmusings.com/2003/01/20/maddog_roald_dahls_the_hitchhiker.html

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

Other ideas at:

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

‘The Mildenhall Treasure’

Write the diary entries of either Gordon Butcher and/or Ford for the day the
treasure was found and the day of the trial.
(Learning Outcomes: i1, i2, i3, ii1, ii2, ii4, ii5, ii6, iv4, iv8, v6)

‘A piece of cake’
Look at http://www.roalddahlfans.com/shortstories/piec.php for some
background information on this story – it might disillusion the students, but it could be good to discuss the issue of reliable narrators!

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‘A lucky break’
Make a board game based on Roald Dahl’s experiences: Create a simple board with a start and end, using counters and dice to move
around the squares. Devise penalties (moving back x places; missing a throw) for things like talking in prep or having dirty shoes, and
rewards (moving forward x places; throwing again) for landing on squares such as English Literature sessions with Mrs O’Connor or
surviving being shot down.

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

There are teaching ideas at:

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

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

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 Wole Soyinka, (Example of Exploded Diagram) APPENDIX 3
‘Telephone Conversation’
The poem begins with a very mundane focus, this is what most people have to consider first when
The price seemed reasonable, looking for accommodation: can they afford it?

The location of the flat or room is not good (although it
is not very bad, either). From the tenant’s point of
view, this means he or she ought to be in a strong
position, as the location of a place is very important
when renting or buying property.
location
Indifferent.
Soyinka’s comment implies he can afford to pay this rent, which might be the main consideration as far
as the landlady is concerned. However, it turns out that Soyinka’s ability to pay the rent is not relevant.
Within the poem, the word ‘indifferent’ carries an additional weigh, however.
It can mean ‘not caring or interested’ which, at first, the landlady appears to
be. But her indifference (lack of interest) changes when Soyinka reveals he
is ‘African’, even though his colour ought to be a matter of ‘indifference’ to a

‘swore’ implies that at this Why ‘warned’? What does this

The landlady swore she lived Her living off premises means that imply about:
point the landlady wants she is unlikely to have to see
Soyinka as a tenant. off premises. a) Soyinka’s
much of her tenant. This might be view of the landlady’s
Therefore it is up to her to
assure him that things are as important later… possible prejudices?
b) Soyinka’s past
We wonder if experience of similar
Up to this point, everything has perhaps largely ‘Confession’ means to admit Soyinka is situations?
gone Soyinka’s way, the negotiations have that you have done something aggressive,
seemingly gone smoothly and the two parties are wrong or something that you apologetic or
feel guilty or bad about. The fact that
ready to come to an agreement. neutral when he Soyinka had to
We wonder if Soyinka really state this must
means that he feels bad or imply something
Nothing remained but self-confession. guilty about being an African. ‘Madam,’ I warned. about his voice
‘I hate a wasted journey – I am African.’ and telephone
manner up to this
pressurize, UK USUALLY pressurise verb Silence. Silenced transmission of point.
[T] (MAINLY US pressure) pressurized good-breeding.
1 : to confine the contents of s/t under a If Soyinka was Clearly he has
pressure greater than that of the outside writing this poem created a good
‘good breeding’ means that the woman was brought up
atmosphere; especially : to maintain near- impression so far,
normal atmospheric pressure in during high-
to be polite and well-mannered. The implication is not today, I think he
that she is necessarily a good person. but he realizes his
altitude or spaceflight (as by means of a would have written
voice may have
supercharger) We ask ourselves in what sense the landlady’s good- ‘black’ instead of
2 : to apply pressure to
deceived the
breeding might be said to be ‘pressurized’ at this point. ‘African’. landlady.
3 : to design to withstand pressure