2. Why we need motivation in
reading literary books?
• Motivation is essential in language acquisition.
• Is it essential in reading Literature in the target language as well?
3. Target student
• 9-10 grader
• Level B2 of Cerf (usually in the 3rd year of the
language)
• Usually motivated and interested in using the
language in various contests
• Able to speak, enjoying it
• Good interaction with the local community Motivation
• Motivation usually high or easy to maintain
4. Reading literature in the target
language: the ideal scenario
• Students use literature as a window to culture,
history, life and, of course, language.
5. Reading literature in the target
language: the (usual)scary scenario
Students not interested
in reading, bored to
death.
6. Classic literary unit
• Raising motivation
• First reading Critical
m •The motivation, usually
point
• Focused reading o high, drops during the first
t reading
• Put it in a context i •Students seem to have no
• Connections-links v interest in reading
•The following activities
a are difficult for them to
• Critical reading/ thinking t follow
• Creating personal links i •Lack of interest, frequent
• Synthesis and reflection o requests to change activity
n •Lack of comprehension
• Assessment
7. The problem: my experience
• A problem of • A problem of
motivation comprehension
Lack of
comprehensio
n
Lack of Lack of
motivation attention
8. The problem
• If the problem is not • It has to be in
in the language… literature!
But why?
9. Literature
• A common cultural need
• Part of communication
• A pleasure to learn, not to
be taken for granted
10. Goals
• Short term:
maintaining the
motivation
• Long term: raising
students’ love of
literature
11. Understand the problem
Impossibility of using the language
in their daily life What’s
the
I don’t get the point : this Calp level not reached
point?
is boring and I don’t like
it!
Spoken language vs written
language I can’t do
that!
Structure and type of the novel/book
Students’ relationship with literature It’s
boring!
12. Classic literary unit
• Raising motivation •Find a new way to
• First reading Critical approach the text
point •Create something
• Focused reading between the
motivation prompt
• Put it in context and the first reading
•Connect the text
• Connections-links with the students’life
• Critical reading/thinking •Propose something
new and varied
• Creating personal links •Postpone the first
reading after the
• Synthesis and reflection work
• Assessment
13. Suggested literary unit
• Raising motivation
• First reading
• Focused reading
• Put in context
• Connections-links
• Critical reading/thinking
• creating personal links
• Synthesis and reflection
• Assessment
14. First reading
• After
'internalizing’/creating
personal connections
• Faced in a non-
traditional way
• Creating a
communication with the
text, focusing on
comprehension
• Overtaking the distance
between the student and
the text
15. So…how?
• Work with short stories • Challenge the students
or with to produce something
chapters/sequences they will find in the text
• Always give the context • Compare and contrast
• Create an expectation students’ work with the
before the activity text
• After every activity,
students should read the
text in order to find what
they have already
produced
17. Filling in the text
Text any sequence/chapter
Work Individual/ pairs/ small groups
Seating chart small islands
Modality
• Give students the beginning and the ending of the
chapter/sequence
• Invite them to create the text in the middle.
• Create a poster with the real text in the middle, surrounded by
students’ works
18. Comics
Text any sequence/chapter
Work Individual
Seating chart one big desk
Modality
• Give students a title, the basic context and three-four important
sentences from the text.
• Invite them to create some comic strips.
• Read the text allowing student to make changes.
• Create an exhibition with the real text in the middle, surrounded
by students’ works
19.
20.
21.
22.
23.
24. Reading in colours
Text Long dialogues between 4 or more characters.
Work small groups
Seating chart small islands
Modality
• Preparation: cut all the sentences spoken by characters, creating
cards
• Use different coloured cards per character.
• Give students all the cards.
• Each group should try to put the dialogues in order
• Read in colour!
25. Reading in colours
Text A long dialogues between 4 or more characters.
Work small groups
Seating chart small islands
Modality
• Preparation: cut all the sentences spoken by characters, creating
cards
• Use different coloured cards per character.
• Give students all the cards.
• Each group should try to put the dialogues in order
• Read in colour!
26. Sample
Buzzati, Lo sciopero dei telefoni, from Sessanta racconti
" E smettetela, pettegole! " (era una donna). " Pettegola sarà lei, se mai, che ficca il
naso in casa d'altri “Io ficco il naso? Si vergogni! Io non... "
[…]
"Be', siamo sole?... E allora, Franchina, cosa dici che
mi metta domani? ".
Si udì a questo punto una voce d’uomo, nuova, bellissima, giovanilmente aperta e
autoritaria, che stupiva per la sua eccezionale carica di vita: “Clara, se mi permette
glielo dico io, domani si metta la gonna blu dell’anno scorso con il golf viola che ha
appena dato da smacchiare…e il cappellino nero a cloche, intesi?” “Ma lei chi è?” La
voce di Clara era cambiata adesso, e aveva un’incrinatura di spavento. “Mi vuol dire
chi è?” L’altro tacque. Allora la franchina “Clara, Clara, come fa questo qui a sapere?”
“Io molte cose so”.
[…]
Il Marcozzi, intimidito: “Ma lei chi è? Come si permette?” L’altro: “Non se la prenda.
Piuttosto, cerchiamo di stare
27. Play
Text Crucial sequences with dialogues
Work pairs/ small or big groups
Seating chart islands
Modality
• Divide students in pairs/small groups.
• Give the students the situation and invite them to write a script.
• Students will have to perform before the reading.
• They can choose the best performance after the reading
29. Description
Text Sequences describing real or imaginary places
Work Individual /pairs
Seating chart horseshoe
Modality
• Give students a place.
• Ask them to draw the place described in the sequence. They
may also search for images or take pictures
• It is also possible to search for the perfect place to express a
feeling.
• Make a poster with the text in the center surrounded by the
picture.
• Find the best image matching the description in the text
30. .
Sample
Dante “Divina Commedia”
Nel mezzo del cammin di nostra vita
mi ritrovai per una selva oscura,
ché la diritta via era smarrita. 3
Ahi quanto a dir qual era è cosa dura
esta selva selvaggia e aspra e forte
che nel pensier rinova la paura!
[…]
Ma poi ch’i’ fui al piè d’un colle giunto,
là dove terminava quella valle
che m’avea di paura il cor compunto, 15
guardai in alto e vidi le sue spalle
vestite già de’ raggi del pianeta
che mena dritto altrui per ogne calle.
31. .
Sample
V.Hugo “Les Miserables”
La dalle bleue y est remplacée par une
traverse à laquelle s'appuient cinq ou six
difformes tronçons de bois noueux et
ankylosés qui ressemblent à de grands
ossements. Il n'a plus ni seau, ni chaîne, ni
poulie; mais il a encore la cuvette de pierre
qui servait de déversoir. L'eau des pluies s'y
amasse, et de temps en temps un oiseau des
forêts voisines vient y boire et s'envole.
Une maison dans cette ruine, la maison de la
ferme, est encore habitée. La porte de cette
maison donne sur la cour. À côté d'une jolie
plaque de serrure gothique il y a sur cette
porte une poignée de fer à trèfles, posée de
biais.
32. Using colours
Text complex sentences or sequences
Work collective + pairs/ small groups
Seating chart small islands
Modality
• Students have a discussion on what is difficult or important in the
text.
• They choose a colour for each phrase.
• Form small groups, giving each group one or two colours.
• Tell the students to colour the text according to the colour-
meaning.
33. Using colours
Characters
Descriptions
Quotes
Important Different
sentences colours Good
sentences
for
Sentences
I cannot
understand Sequences
Vocabulary-
words
35. A love letter
Text A love letter written by a character
Work Individual/pairs
Seating chart horseshoe
Modality
• Mind maps: write the set for a love letter, exploring parts, places
and feelings.
• Give students some tips if they do not know the characters
• Ask students to reflect on what the character may be writing.
• Ask them to write the letter.
• Put all the letters in a box. Randomly, each student reads a letter.
• Compare the letters with the original one
36. A love letter
Buzzati, Una lettera d’amore, from Sessanta racconti
Love letter
Other
word relevant
info
s
Romantic
purpose who what
sentences
when where
37. A love letter
Buzzati, Una lettera d’amore, from Sessanta racconti
Physical places
• Phisical places •
•Mall Mental places
•Waiting room
Mental places
•Dream
•Imaginary setting
38. A love letter
Buzzati, Una lettera d’amore, from Sessanta racconti
Feelings
Love
•lost
discourage stress
•determination •Passion
determination
•jealousy
39. Diary entry
Text Sequences on main character’s reflection
Work Individual/pairs
Seating chart horseshoe
Modality
• Give students the situation.
• Ask students to reflect on what the character may feel in that
context
• Students have to write a diary entry.
• Find out what the character feels. Is it so different?
41. Raise consciousness in
students’
• Raising students’
consciousness of the
situation, both before
and during the
process
• Ask for cooperation
• Have your students
be part of the
academic process
42. Tools
• Mind maps
• Questionaires
• Interview
• Diary
• Field notes
• Observation form
• Reviewing grids
• Class discussion
• Personal reflection
• Peer coaching
• Graphs
43. Diary
“I liked it when
we tried reading
in different
colours. It made
the lesson more
alive. We should
always do so.”
44. Mind map
Italian
Italian What Reading
I read in is fun
other when
languages
Reading is Reading is When II
Reading is Reading is When The
The
useful
useful boring
boring read it is
read it is teacher
teacher
when
when when
when difficult
difficult should...
should...
What I
I need/I read in
would
my 1st
like
language
45. Desks
• Try to modify your seating chart
regularly.
According to the activity you can arrange
the desks in small islands, one big table,
a horseshoe.
46. Raising students’ love of literature
• Literature is a pleasure to learn
• Have an open window to literature
• Work with the first language teacher
47. Conclusion
“Dietro una lingua ci sta una letteratura, e dietro una
letteratura c'è un gusto, una civiltà.”
“Beyond a language there is a literature, beyond a
literature there is a taste, a culture.”
Luigi Russo (1892 – 1961), Italian literary critic
