UNIT 16

LA LITERATURA INFANTIL EN LENGUA INGLESA

TCNICAS DE APLICACIN DIDCTICA PARA ACCEDER A LA
COMPRENSIN ORAL, INICIAR Y POTENCIAR LOS HBITOS
LECTORES Y SENSIBILIZAR EN LA FUNCIN POTICA DEL
LENGUAJE.

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 enriches vocabulary 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 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 same occurs 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.
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 best-known 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 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 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 cat-
catching 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.

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.
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.
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.