APPROACHES TO
TEACHING LITERATURE
Jaira Mae Gabato
Denis Love Jumawan
Renato Oblimar
Learning Targets
At the end of this lesson, you are
expected to:
differentiate the three approaches
for teaching literature;
develop understanding and
appreciation of the approaches; and
engage in activities contextualized to
a particular approach.
Introduction
Approach, according to the MacMillan dictionary, is the
1 “ particular way of thinking about or dealing with
something.”
2 Moody (1983) refers to this as an operational
framework applicable to realities on the ground in the
classroom.
3 Approaches in Teaching
Literature
TRADITIONAL APPROACH
LANGUAGE-BASED APPROACH
READER-RESPONSE APPROACH
Traditional Approach
Traditional teacher-centered
Students has no choice but to listen
approach.
and regurgitate what the teacher
Teacher spells out important terms
says. (Rashid et al., 2010)
and concepts as a necessary part of
the discussion (Pugh, 1988)
Traditional Approach
“thus, the course (of literature) becomes a simple
transposition of the teacher’s impressions and
feelings to the learner toward a literary work, and
not an intellectual exercise for the latter who
should seek and discover meaning by himself with
the means and strategies provide by the teacher.”
(Miliani, 2003:2)
Traditional Approach
Learners read a large number of
Teacher elicits information frm
literary works.
students about the test by asking
comprehension questions.
Laguage-Based
Approach
Miliani (2003:2) affrims Arab (1993:155) also affrims,
“literature rarely seems like an “this is why the language-
opportunity for language use, based approach, which not only
hence, the need for a softens the sudden exposure
language-based approach to to marked texts but also
the teaching of literary text to extends the students’ word
develop knowledge OF repertory, as well as ready and
literature not ABOUT writing skills, seems to be the
literature.” most appropriate.”
Laguage-Based
Approach
In this approach, the students
attention is focused on the way
language is used in the literar Maley and Duff (1990) surmise
text, drawing of the learner to as the primary aim of this
various aspects of the target approach, that is, to engage
language like grammar and learners in language activities
vocabulary among others. via literary texts.
Either improving, increasing, or
enhancing his awareness of
the language.
Laguage-Based
Approach
Learners are engaged in
The learner manipulates the varied language activities:
language alongside learning jigsaw puzzle
literature. fill-in-the-blanks
organizing sentences
creative thinking and
writing
Laguage-Based
Approach
Performance activities: DECONSTRUCTION
drama
Using various aspects of a
poetry recital
language as a means to
teaching literature.
Laguage-Based
Approach
As early as 1991, McRae (1991) and
VOCABULARY (usage and
McRae and Vethamani (1999) were
diction) to SENTENCE (basic
already espousing a language-based
elements of effective writing) to
framewor or context that would
DISCOURSE (expanded
progress accordingly from
discussion of thought).
Laguage-Based
Approach
This framework is also expected to giVe attention to
sounds, visual impact of the text, meaning, dialect or
variations of standard English, language registers,
archaisms or evolution of a languagE, and function of
language.
Reader-Response
Approach
Rosenblatt (1978) is said to be the best
known theorist who espoused the reader-
response approach.
Laguage-Based
Approach
“TRANSACTIONAL THEORY”
UTILITARIAN READING
Rossenblatt clearly distinguishes -reading for a purpose.
between utilitarian reading and
aesthetic reading. AESTHETIC READING
-reading for pleasure and
appreciation.
Laguage-Based
Approach
This is echoed by Parsons (1978), as This process seeks not to control
cited by Pugh (1988), referring to this the reader’s experience but
as “the meeting of two meaning rather to facilitate the reader’s
makers over litera...[which]... produces own structuring of that
changes in both, the author’s text and experience.
the reader’s growth.”
Laguage-Based
Approach
This approach, rich in student- Personal writing and
centered activities, draws out from the journal writing along
learner his/her varied responses while with collaborative
at the same time promotes his/her tasks like
personal development and growth. brainstorming
sessions and small-
group discussions.
Dramatic Responses
1. ORAL INTERPRETATION
is usually done by a single
Dramatic responses to literature offer individual in presenting a
opportunities for individual creativity poem or a story.
and cooperative achievement (Chen,
n.d.).
2. STORY THEATER
is basically a pantomime
where the actors act out the
story read by a narrator.
Dramatic Responses
3. READER’S THEATER 1.5.ORAL INTERPRETATION
ROLE-PLAYING
is all about vocal presentation the is characters
usually done
playby
outaassigned
single
as if one were listening to a rolesindividual
and, oninthepresenting
spot, cook aup
drama on radio. dialogues
poem or and
a story.
actions along the
way of the dramatization.
4. CREATIVE DRAMATICS
2. STORY THEATER
is practically and basically 6. PUPPET THEATER
dramatization using impromptu, a familiar creative drame, a
unrehearsed, spur-of-the- popular version of which i s that
moment dialogues and lines, of Sesame and our own
much like an ad-lib. “Batibot”.
