A study guide for teachers for the development of an English curriculum [1966]

A STUDY GUIDE FOR TEACHERS FOR THE DEVELOPMENT OF AN
ENGLISH CURRICULUM
STATE DEPARTMENT 0F (DUCATION JACK P. NIX ,SUP"ERINTENDENT
ATLANTA GEORGIA

A STUDY GUIDE FOR TEACHERS FOR THE DEVELOPMENT OF AN ENGLISH CURRICULUM
STATE DEP.ARTMENT OF EDUCATION OFFICE OF INSTRUCTIONAL SERVICES DIVISION OF CURRICULUM DEVELOPMENT
JACK P. NIX STATE SUPERINTENDENT OF SCHOOLS
Atlanta, Georgia
1966

STATE BOARD OF EDUCATION

CHAIRMAN: JAhES S. PETERS

VICE-CHAIRMAN: ROBERT BYRD vffiIGHT, JR.

EXECUTIVE SECRETARY:

JACK P. NIX, STATE SUPERINTENDENT OF SCHOOLS

Members FIRST CONGRESSIONAL DISTRICT-------HONORABLE J. B&~NTLEY JOHNSON SECOND CONGRESSIONAL DISTRICT--HONORABLE ROBERT BYRD ffiIGHT, JR. THIRD CONGRESSIONAL DISTRICT--------------------I1RS. RALPH HOBBS FOURTH CONGRESSIONAL DISTRICT---------HONORABLE DONALD E. PAYTON FIFTH CONGRESSIONAL DISTRICT-------------HONORABLE DAVID F. RICE SIXTH CONGRESSIONAL DISTRICT-----------HONORAELE JM~ES S. PETERS SEVENTH CONGRESSIONAL DISTRICT-----------HONORABLE HENRY STEWART EIGHTH CONGRESSIONAL DISTRICT----------HONORABLE LONNIE E. Sv~AT NINTH CONGRESSIONAL DISTRICT------HONORABLE CLIFF C. KILSEY, JR. TENTH CONGRESSIONAL DISTRICT-------HONORABLE r':ILLIAl-'l LEE PRESTON

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TABLE OF CONTENTS State Board of Education ---------------------------- 1 Table of Contents ----------------------------------- 2 English Curriculum Steering Committee --------------- 3 English Curriculum Committee ------------------------ 4 Foreword -------------------------------------------- 5 Introduction ---------------------------------------- 6 The Conceptual Approach to Learning ----------------- 8 The Structure of English as Defined
for the Development of an English Curriculum -- 13 Chart of Concepts ----------------------------------- 16 Language -------------------------------------------- 18 Literature ------------------------------------------ 27 Composition ----------------------------------------- 40 Basic Bibliography ----------------------------~-----52 Bibliography ----------~-----------------------------54
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ENGLISH CURRICULUM STEERING COMMITTEE 1965-66

Dr. Paul Bowdre, Jr. Dr. Paul Blount Mr. William Carter Mrs. Elizabeth Deal Mr. Paul Farmer Dr. Miriam Felder Dr. William Free Dr. Bernice Freeman Mr. James Haman Miss Sara Jones Mrs. Ellanor Pruitt Mrs. Myrtice Taylor Mrs. Wynema Waller Dr. Ramon Veal Dr. Rachel Sutton-General
Consultant Dr. Mary Tingle-Coordinating
Consultant Mrs. Juanita N. Abernathy

West Georgia College Georgia State College Marietta City schools Chatham County Schools Atlanta Fulton County Schools University of Georgia Troup County Schools Georgia Institute of Technology State Department of Education DeKalb County Schoo13 Coweta County Schools Cedartown City Schools University of Georgia
University of Georgia
University of Georgia State Department of Education

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ENGLISH CURRICULUM COMMITTEE 1965-66

Dr. Paul Bowdre, Jr.

west Georgia College

Mrs. Evelyn Booth

Athens City Schools

Mr. William Carter

Marietta City Schools

Mr. Paul Farmer

Atlanta

Dr. Miriam Felder

Fulton County Schools

Dr. William Free

University of Georgia

}irs. Mary Gilchrist

Chatham County Schools

Mr. James B. Haman

Georgia Institute of Technology

Miss Rita Lindsey

Bulloch County Schools

Mrs. Estelle Mahan

Cartersville City Schools

Mr. James hathews

Crisp County Schools

Mrs. Lynette McGraw

Muscogee County Schools

Mr. Ronald Midkiff

Rome City Schools

Miss Esther Parrish

Richmond County Schools

Mr. Robert Seay

Fannin County Schools

Mr. Newsom Summerlin

Chatham County Schools

Mrs. Anna Belle Tabor

Crisp County Schools

Mrs. Helen Taylor

Atlanta City Schools

Mrs. Myrtice Taylor

Coweta County Schools

Dr. RamonVeal

University of Georgia

Dr. Rachel Sutton-General Consultant

University of Georgia

Dr. Mary Tingle-Coordinating Consultant

University of Georgia

l{rs. Juanita N. Abernathy

State Department of Education

Miss Olleen Williams

State Department of Education

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FO REID RD
In 1948, plans for the English curriculum guide were initiated by the Georgia Council for Teachers of English. The publication of a report, The Teaching of English in Georgia, 1952, marked the next step in the development of the plans. In the spring of 1961, the state Department of Education in co-operation with the Georgia Council of Teachers of English appointed a committee to prepare the proposed guide. The first report of this committee, published in 1962, outlined an approach to the teaching of the language arts and the organization of the curriculum guide. The Second Report: Composition stated and discussed the basic concepts underlying the teaching of composition.
This Study Guide for Teachers for the Development of an English Curriculum was developed in 1965 by a committee appointed by the State Department of Education to continue the plans for the development of an English curriculum guide. The Study Guide is to be used experimentally in twenty-five pilot schools during the school year, 1966, and it is anticipated that the completed English Curriculum Guide will be ready for use in all of Georgia's schools by fall, 1966.
The development of an English Language Arts Curriculum Guide follows a pattern begun with the publication of the bulletin, "Curriculum Framework for Georgia Schools," in 1954. The State Department of Education has up to this date publ ished the "School Health Guide", "Science for Georgia Schools", "Looking Toward School", "Teaching Word Recognition Skills in Georgia Schools", "Mathematics for Georgia Schools", and "Social Science for All Grades." The English Curriculum Guide will. ultimately take its place among these.
JACK P. NIX STATE SUPERINTENDENT OF SCHOOLS 5

INTRODUCTION
The Study Guide for Teachers for the Development of ~ English Curriculum is a continuation of the work of curriculum guide committees that have functioned since 1961. This is the fourth in a series of bulletins on the work of these committees. The First Report, 1962, introduced the conceptual approach to the teaching of English; ~ Bibliography For the First Report gave direction in professional reading; The Second Report: Composition stated the philosophy undergirding the teaching of composition, considered the nature and process of composing, and expanded six concepts underlying the teaching of composition.
The study guide defines the structure of English as three major areas-language, literature, and composition-and delineates the basic concepts underlying the three Clrees. This structure of the discipline and the system of basic concel'ls '''ill provide a sense of direction for the teaching of English on all intellectual levels.
Twenty-five pilot schools-elementary, junior high, and senior high-will use the study gUide during 1966 to determine the effectiveness of its use by teachers and the implications for its use in the improvement of instruction in English. Consultants from the universities, colleges, and the State Department of Education will be assigned to the pilot schools to hold regular staff meetings at designated times and to provide guidance and leadership for the schools. The schools will be provided also with suggestive instructional material~ that will be developed to accompany the study guide.
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The basic bibliography of books listed in the study gUide should be available for study for all of the teachers and administrators in the pilot schools. It is highly desirable for each staff member to have all of the nine books.
Teachers in the pilot schools will evaluate the study guide and make suggestions for the continued cevelopment of the English Curriculum Guide.
During the year 1966, the English Curriculum Committee will develop the structure and process of the Fnglish curriculum and suggestive instructional materials to accompany the guide. In the summer of 1966, the committee will complete the curriculum guide and, hopefully, it will be ready for use in all of Georgia's schools in the fall of 1966.
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THE CONCEPTUAL APPROACH TO LEARNING 8

THE CONCEPTUAL APPROACH 'ro LEARNI NG
The conceptual approach to learning assumes that the learner begins to understand and control his environment through the formation of concepts. The \~rking definition of a concept is the nebvork of inferences that are or may be set into play b~' an act of categorization. The concept is a fahric of significant inferences by which one goes beyond the set of observed initial properties of an object or event to class identity and thence to additional inferences about unobserved properties of the object or event in question. Categorizing serves to cut do~m diversity that must be dealt with and makes possible the sorting of functional17 significant groupings.
'rhere is much to indicate that the :young child easily forms . large abstract categories. He uses the term lIanimals" to include
his pets and those of his friends: cats, dogs, hamsters, parakeets, ponies, and the like. He refers to the lIfurniture ll in the play corner rather than naming or labelling the separate objects such as table, chair, bed, dresser, stove, cabinet, and desk. He mentions Ilplay " rather than hop, jump, skip, or run.
Research in concept development does not show how the child manages the discriminations, the inclusions, and exclusions involved in learning the denotative range of certain terms. Nor does it show the kind of abstractions and generalizations that enter into the thinking of a person of any age as he grasps the significance of various terms in a situation of social communication.
Theory and research suggest that the effective strategies for attaining concepts depend upon the use of an initial focus. One learns
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concepts by the association of external stimuli with internal mediating stimuli by a simple law of frequency or contiguity. Concepts of standard meanings are instruments of identification, supplementation, placing an object in a system, and grouping facts so that general
laws or conclusions may be drawn from them. At every stage of
development each experience should lead up to a certain amount of conceptualizing of impressions and ideas. \'~i thout conceptualizing or intellectualizing nothing is gained that can be carried over to a better understanding of new experience. Each experience should leave behind an increment of meaning, a better understanding of a subsequent situation, a clearer future plan and purpose of action. The analysis that results in giving an idea the solidity and definiteness of a concept is emphasis upon that which provides a clue for dealing with the strange and unfamiliar.
There is no set of rules nor timetable for learning conce~Jts. The particular point at which a concept is clear to the learner cannot be set in advance by the curriculum. As the individual matures and develops a capacity for discrimination and definition as exem1.:)lified by his languege behavior, his s~?mbolic ~:)rocesses become less overt.
To the degree that a distant end controls a sequence of inquiries and observations and binds them together as means to an end curiosity assumes a definitely intellectual character. The gro\vth, structure, and dynamic quality of a child I s conceptual frame\AJOrk is not 2 mysteriously revealed body of absolute truth but rather a proces:=. by vmich truth is ap~roached.
An essential condition for concept formation is the association between a common response and a variety of stimuli. Conceptions attain
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a minimum of definite individuality and generality in the degree to

which they show how things depend upon one another or influence one

another. Control of observation, imagination, and memorI so as to

select and give proper weight to data as evidence depends upon the

~ossession of a store of standardized meanings or conceptions. They

2re not ends in themselves but instrumentalities for further under-

standing and aids to the interpretation of the obscure. The ultimate

educative value of all cognitive processes is measured by the degree

to \:hich they become 'florking tools in the creation and development

of new experiences.

Broad ex~)osure to man:'" situations, to varied and coml:.>J.ex idec::s

clnc1 )roLlems, direct1:-c e~~)erienced }:;e'ond the casual sense level,

is 6n im;. ortant foundation for the 2,ttainment of conc8.::>ts. Here

e.'{uosure cannot be C:.ssumed to enhance learning. The learner rna,

visit the juvenile court, sit in the juG.ge l 3 chair, cLttend the cit:.

council, or be ma}or for a dal' without understanding the concei:)t of

ref)resentative government. An active educ2tionaJ. 9rocess is rec:uirec,

to support the integra.'tion of cogni tive ex~)erience through such

~timu12ting connectives ~s similarities 2nd differences, time-sequence,

c~use-effect relations11.i~s, evidence, and judgment.

'1'11.e environment offers the stimulus <'_nd ~)laces value u;)on the

&ction, Lut understanding does not begin unti1 the learner is

.;5Ufficientl-:/ mature to make the required discrimination-differentation

Qnd coordination-integration necessc.r,;;' for concept formation. The

teacher guides the Dartl'" formec. but freel', ex)ressed ieee,S of '..'oung

J..:

....

,.(..

....

min~s through a disci~lined intellectual ?rocess of reading, discussing,

"Tlting, and contemi)lating toward increased clarity and comL)lexi t~/

of understanding.

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The conceptual 2pr,roach to learning anticipates certain develo~mental changes in the behavior of the learner. The naming 2nd labelling activities reflect his mmpriv2te verbal symbols. Ee makes his own discoveries and arrives at insights inde0cndently. a rich, viable vocabulary and formulates clec:.r conceots <:s the basis for clear communication. He controls sentiency, memory, imagination, or iJroblem at hand. His general izations result from the c:::rocess of enlarging and enriching ex.... )erience so thC1t ac1equo.c"l of meanj.ng ma:/ be tested in contexts of expanding comprehensiveness. Fe use.=, good judgment arout what is to be done and left un60ne in the orainar::. affairs of life.
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THE STRUCTURE OF ENGLISH AS DEFINED
FOR THE DEVELOPMENT OF AN ENGLISH CURRICULUM
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THE STRUCTUR.E OF ENGLi SH AS DEFINED
FOR THE DEVELOPlv1ENT OF AN ENGLISH CUR,.'q,ICULUM
In the discipline of English there exists r~th a demonstrable diver:si t::/ of elements and an underly ing inter-relatedness and unity. The diversit::. may be seen in the three separate areas '/,lhich together comprise the discipline: language, literature, 2nd composition. 'the inter-relatedness and unity of the discipline are apparent in the way basic concepts are applicable to the three separate areas and in the tradi tion ....lhich has al Hays assigned these three areas to the province of the ~nglish teacher.
Jerome Bruner in The ~rocess of Educ~tion has pointed out that good teaching lI emphasizes the structure of a subject. 1I The structure of 2 subject is that system of meaningful conce)ts and generalizations 1.rhich .shOHS hO\'J things 'di thin the subj ect are related, and \-,hich relates the subject to other portions of reclity. The goal of the present experimental api--,roach to the curriculum development of the English curriculum has been to isolate and diSpla}' those basic concepts in the areas of language, literature, and composition.
The concepts arrived at provide a sense of direction for teachers of English. They are the crucial matters idhich must be understood b::l one v.,ho iJould master the discipline of English. In language, for example, the concept of the phoneme is a crucial one. In literature, a key concept is that ',hich dec'ls 'with the 'l7a.y a literary work reflects a general ~orld view. Basic to the idea of composition is the concept that all composing involves 9urfose. 1~ese, and other conce'?ts in the three areas, are set forth in this 3tudy guide.
1. mere learning of individual concepts does not convey the true atructure of English as a discipline. lt is necessary to realize
that there is a considerable degree of inter-relatedness i1hich must 14

be taken into account. Concepts dealing with the structure of a sentence are often relevant to the an&lysis of the syntax of a line of poetry. The purpose which moves one toward composition may have its origin in a desire to emulate the structure or mood
of a litera.ry Vlork. Keats ulI de to a Nightingale ll is a unity
whether it be viewed as a model for poetic composition, an exemplification of the romantic view of life, or an interesting study in the use of concrete and suggestive language.
The concepts which make up the structure of English as a discipline will be understood on various intellectual levels. bat the younger student may only sense intuitivel:J:;, the older and more mature student may be able to verbalize and eventu21ly take unto himself as a part of his intellectual equipment. The important thing is that the concepts be set forth, that the structure be made evident. It j_s this "Jhich the present experimental a~Jl.;roc:ch to a curriculum gUide sets out to do.
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CHART OF CONCEPTS 16

CHART OF CONCEPTS
The English program should be organized around a basic structure if learning in this rich and complex discipline is to be usable, lasting, and intellectually exciting. The teaching of English should be a process accomplished through the development of concepts within this structure. The concepts are best developed heuristically and progressively over a long period of time through sequential, intellectual levels extending from the primary grades through the senior high school.

Language

Literature

1. Language is symbolic of thought, action, and feeling.
2. Each language has its own structure.
3. Language changes.
4. Each language is composed of many dialects.
5. Language functions to permit the members of a group to interact.

1. The content of literature is the universal elements of human experience.
2. Literary works have distinctive characteristics of form.
3. The language of literature is uniquely appropriate to contain and re:ease feeling and meaning.
4. Literature has continuity.
5. Literature affects the individual, and through the individual, the culture.

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Composition
1. Composing involves having something to say.
2. Composing involves purpose.
3. Composing involves selection and development of materials.
4. Composing involves arranging selected ma terials into recognizable order.
5. Composing is usually done within recognizable patterns.
6. Composing involves manner of expression.

LANGUAGE 18

LANGUAGE
Knowledge of language encompasses the entire discipline of English. What is composition but the structuring of the units of language into larger meaningful blocks? ~at is literature b~t the product of composition heightened into aesthetic experience? Thus the understanding of language is basic to the understanding of the whole discipline.
Language can best be defined as an arbitrary system of symbolic sounds. It is arbitrary in the sense that its continuum of component sounds are meaningful to a community of people because of a traditional "agreement" among the members of the community that certain sounds symbolize certain fragments of their sensuous, emotional, and intellectual experience. There is no organic relationship between the sounds and the experiences which they sYmbolize. Smoke is an organic sign of fire because it is a by-product of combustion, but the sounds /smok/ have no organic or natural relationship to the thing named.
Because it is arbitrary, the English language has changed over the period of its history and exists in different forms at any given moment of its history. The language of Beowulf, of Chaucer, even of 3hakespeare differs more or less radically from ours in pronunciation, vocabulary, and grammar. The language of a New Englander and a Southerner exhibit differences less radical, but so pronounced that we describe them as two dialects of American English. And the language of the low socio~economic child is strikingly different from that of the middle-class child. The teacher must recognize that one dialect is not intrinsically better than the other, but simply more
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acceptable within its OvID social group. Because language is arbitrary, standards of usage are arbitrary and not organic qualities of language.
Language is also a system of structural signals which help make the individual patterns of sound which we call words meaningful.
Linguist c. C. Fries calls grammar "the devices that signal structural
meaning". The structural meaning of words within an English sentence is indicated by (1) the order of the words in the sentence, (2) by inflectional endings affixed to words to indicate their grammatical use (for example the -s plural), (3) by a class of words (such as articles, prepositions, conjunctions, etc.) vmose chief function is to indicate grammatical relationship, and (4) by intonation or its written substitute, punctuation. utilizing these signals the Fnglish language produces four characteristic structures: predication, complementation, modification, and coordination. Pith these building blocks of structure, it is able to produce a complex variety of individual sentences. Hastery of these structural signals and blocks is necessary to the development of the basic skills of English, redding, '>lriting, speaking, and listening.
The basic concepts for language evolve from its nature as an arbitrary system of s~TIbolic sounds. Only by understanding the implications of the nature of language can the teacher help the stUdent sharpen his own skills in its use and arrive at his o\m understanding of the most important of his human gifts.
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LANGUAGE
concept I. LANGUAGE IS SYMBOLIC OF THOUGHT, ACTION, AND FEELING.
1.1 The spoken word symbolizes thought, actions, and feeling.

Speech is primary

1

---

1.2 The written English word symbolizes the spoken word.
1.3 The English language can symbolize thought, feeling, and action in various degrees of literalness and abstraction.
Denotative and connotative: specific and general: literal and figurative

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concept II. EACH LANGUAGE HAS ITS OWN STRUCTURE.
2.1 The phonemes of English consist of vowels, consonants, and intonation patterns. Vowel and consonant sounds; pitch, stress, and pause
2.2 Morphemes are arrangements of phonemes.
2.3 Words are either single morpheme or combinations of morphemes.
Word building (compound words, prefixes, suffixes, and roots)
2.4 English phrases, clauses, and sentences are the result of a systematic grouping of words. Predication, modification, co-ordination, subordination, and complementation Sentence patterns (word order) Word classes (noun, verb, adjective, and adverb) Structure words (prepositions, etc.)
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concept I I I. LANGUAGE CHANGE S. 3.1 Over a long time the basic structure of English has been changing. Etymology; relic forms; historical events affecting English; from inflections to word order 3.2 English is in the process of continuous change. New 'olords; semantic change; newell iptical forms; syntactic change
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Concept IV. EACH LANGUAGE IS COl-1POSED OF DIALECTS. 4.1 A dialect may be identified by differences in usage and structure. Usage (idiom, vocabulary): structure (phonology, morphology, syntax) 4.2 Dialects contain formal and informal varieties. 4.3 Dialects may be regional or class. Regional: northern, midland, southern Class: cultivated, common, uneducated
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Concept V. LANGUAGE FUNCTIONS TO PERMIT THE HEMBERS OF A SOCIAL GROUP TO INTERACT.
5.1 Language permits declaring, questioning, exclaiming, commanding
5.2 Such functions of language are designed to inform, to persuade, to affect, to entertain, to comply with convention (such as ceremonies, greetings, rituals)
5.3 Varieties of formal and informal language permit choices that are appropriate to the audience and purpose.
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LANGUAGE Allen, Harold B. (Ed.). READINGS IN APPLIED ENGLISH LINGUISTICS.
Second Edition. New York: Appleton-Century-Crofts, Inc., 1964. Francis, W. Nelson. THE ENGLISH LANGUAGE: AN INTRODUCTION. New York: W. W. Norton and Company, Inc 1965. Roberts, Paul. UNDERSTANDING ENGLISH. New York: Harper and Brothers, 1958.
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LITERATURE 27

LITERATURE
Literature, a major part of the discipline of English, is meaning )reserveo. in lcnguage--sometimes oral, more often ~."Titten. rrhe content of literature is the elements of exrerience ahared directl:' or imaginativel: b~' all men, from the sim.). lest of activities and feeling3 to the most com)lex of intellectual and spiritual concerns. A liter2r:;. ':lork is 2 corrununicction beb'Jeen the c.uthor in his time and the rec,der, Hho.s2 life end values can be illuminc:ted 1:.:.: his understanc.:;.nq.
j." ""ark is literature ,,'hen it reveals the significance of the c;elected hum&n experience;.:; and the values men ottc..ch to them; ~.'hen this content is c..rranged and ~)resented in a poetic or ~)rose form thc:t most 2dec~uGtel::. cOffi";?lements or sha.r")ens the s ignif icance; ':7hen thi. s content is ?hrased in language most ap~rofriate to contain and rele~se feeling ane. meaning. A '.1ork becomes great literature 'f?hen :i.n some or ell cs:-,ects it J_S, and continues through time to be, demonstral:::l~
The boo.~i of ,-'arks that is literature has been cumulCltive--for man ~)reserves ':.;hat 2?ceals to him a s sterling and stimulating ex;?ressions of his constant human concerns; and the boo} continues to enlarge &3 men read, cdrnire, and give continuing ap,,:,roval to new \lorks that helve a satisf:;i ing alliance of content, form, and language.
As 2 satisfying alliance of content, form, end language, a literar:' ~:.'ork is an artistic whole, ':Jhether it be brief like a lyri'c or moderately long like an essay or long U.ke a novel or pla1' . The listener or reader should, as nearly as possible, first experience it is an inseparable unit, to get the feel of its '!holeness. For fUller understanding of its im?act and the interrelationships of Content, form, and language, he may then examine analytically one or several Qspects, such as focal idea or metaphoric devices or the
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characteristics that signify its genre. But he should finally come back to it as a whole, with more satisfying perceptions.
The focus for the reader, then, is the work--its content, form, and language. Biographical details about the author, no matter how interesting or respectable or shocking, are useful to him only as they illuminate some aspect of the work. The prestigious evaluation or the curious position of the work in literary history is a prior, extraneous judgment that may block or distort his own response, and thus is a matter better discussed after the reading than before. The reader should experience the work itself rather than study about it.
The reader's response to a literary work is individual and unique. He reads in terms of his own background of experiences, both direct and vicarious; and his understanding of a work depends on his finding in it experience that echoes or extends his ovm. His ovm feelings and ideas can open the door to his perceptions of similar but perhaps more intense or profound feelings and ideas in the literary work. Thus the literary works that he reads should be suitable to his maturity, should be those that he can relate to his own experiences.
Because the reader's honest response is a reflection of what he is-and has imminent value for that reason, he will like one literary work and dislike another, accept or approve one and reject or disapprove another. He will be little convinced by arguments that a certain work has withstood the storm of time or critics and teachers rate it highly. It does not speak to his needs or his tastes. He may never like it; or, at some later t'1me, wh en h e h as ext end e d h1' S range 0 f exper1' ence and when progress toward maturity has altered his needs and tastes, he ~~ corne to it again, more favorably. If he has the freedom of his own
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honest responses, he may from such experiences discover some udeful bases for making discriminating choice~.
Jtudent::l can ond ahould aX[JerLence Utero r" \vorks in every qrade,
rimClry children can listen to and res90nd (Jhytii.cally, emotionally, intellectuclily to some good llOem::3, myths, lel)ends, tEl"les, and ::ioon begin to read simt>ly \>Jritten but good ones. 'I'he ciuantity of good literary work::; apl,ropriate to the skills and understanding of elementary children and early adolescent::l i::l incredsing. 'l'he I.:iUp; 1} of reading material s of 1 i terarj 4.oal i ty L::3 ::luffLciAntly li:1rqe ;;0 tlhJL a 0rogram in literature is pos:iible In each grdde--a program balanced between old and new and among the vctr.Lo\..w qenre. ..nd in [Ill ~le..Jr:J ~tudents can profit from a develol}mental redding l:'rO(Jrdm 3-D 1 j tereJ ture:: .reUiJring for reading program (est<.ibli:3hinq background und introducinq nc~", vocabulary), ,1:,resenting and interoreting the selection (silent and oral reading, discussing the selection) I extendi.ng skills and abilitic::l (:.;tructural analj/sis skills and comprehension skilL;), <lOd extending interests.
Students can r,rof i tably spend some time in group study of one literary ,~'Ork, discovering the range of response::.; und the core of mutual understanding. Uifferences in reading abilities cun be accommodated bjJ a thematic reading unit--each student reads a literary work suitaLle to his reading skills, all works related to a Single theme or idea. ~till other desirable benefits can be produced \:hen a student is permitted free choice of the literary \'lOrk he will reCid, so that he can follow his own interests and tastes. hajor goals for the students in such experiences are to read well what he reads, to
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have honest and valid responses, and to develop an interest in continuing to read.
In viliatever literary work he reads at vJhatever level, the reader can be led to discover the concepts that underlie all literature. fie ',-,ill experience them long before he knows they exist. Gradualll he becomes a'll/are of them and senses the principles the} embody. He recognizes them in discrete \~rl~s and begins to formulate statements, to talk about these matters common to literary works. His growing control of the concepts 2nd his continuing development of reading skills make it possible for him to walk unaided in the green forests of literature.
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LITERATURE
concept I. THE CONTENT OF LITERATURE IS THE UNIVERSAL ELEMENTS OF HUMAN EXPERIENCE
1.1 A literary work presents selected elements of human experience.
Events and problems of human existence, such a birth, death, conflicts
Values, ideas, feelings Reflections of the culture
1.2 A literary work makes particularly significant the subject matter presented.
Significance: theme, focus, motif that unifies Manners or presentation: explicitly stated, implied
1.3 A literary work reflects a general view of the world (mode).
Literary views of the world: romantic (individual viewed as absolute, ideal) comic (individual viewed in his relation to society) tragic (individual viewed in relation to some abstract order, code, system) ironic (individual viewed as bot-h absolute and limited, both independent of and dependent on society, both free from and subject to a universal order)
1.4 A literary work reflects a particular point of view or attitude.
Identification: the author1s own or an assumed attitude
Possible attitudes: objective, approving, disapproving
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concept II. LITERARY V()RJ(S HAVE DISTINCTIVE CHARACTERISTICS OF FORM
2.1 Non-narrative prose - The discursive forms of nonnarrative prose contain orderly presentation of report, comment, analysis, evaluation, argument.
Statements: generalizations, developmental sentences
Divisions: paragraphs, sections Orders of arrangement:
historical- biography, autobiography, history time space
expository- essay (short, book-length) comparison-contrast definition exemplification classification-division process (mechanical, historical, logical) cause-effect
argumentative~ essay, debate, address cause-effect analogy inductive deductive
2.2 Narrative prose - The imaginative forms of narrative prose contain characters in a sequence of motivated incidents progressing toward culminating consequences or termination of conflict.
Drama: tragedy, comedy, history Divisions: scenes or acts Printed script: dialogue of characters, accompanied by brief descriptions of stage setting and hints of actions Oral presentation: characters speaking and acting for themselves in appropriate graphic settings Language evocative
Fiction: tale, short story, novelette, novel Divisions: internal scenes, chapters Printed script: author-presented narration, consisting of descriptions of scene, descriptive narrations of incidents and of characters' actions, and quoted dialogue
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2.3 Poetry - The imaginative forms of poetry are structured in measured rhythmic patterns and expressed concisely through evocative language.
Characteristics: phonemic pattern (alliteration ) line pattern (meter, rhythm, feet, length) stanza pattern (number of lines, rhyme scheme) couplet, quatrain total pattern (number of stanzas, relationship among stanzas) ballad, haiku, sonnet, ode, blank verse, free verse
Categories: storied: narrative, dramatic non-storied: lyric, philosophic
34

~oncept I I I THE L .."JGUi,GE OF LlTER.Z,TURI' IS UNIJUELY MPROPRL,TE TG CONTAIN .\.ND RELEASE FFELING A.ND tEA~I~G

3.1 The rh~'thms of the language of 1 i tera ture emphasize feeling and meaning through movement and melody.

Irose rhythms:

long or short units of phrase, clause, and sentence senteClce movements__balanced, rising, falling repetition of sentence movements

foetry rhythms:

~atterns of accent (meter, fre2 patterns) metrical feel in various line Ipnnth: recurrina patterns of line lengt:.',.:,

3.2 Jound in the lanouage of literature reinforces feeling and meaning through tone.

/0.1 ignrnents of sound: repetition of initial sounds (alliteriltion) imitation of nc.:tural sounds (onomat0l.;oeid) recurrence of similar vowel sounds (assonance) recurrence of similar consonant sounds (consonance) mingling of inharmonious sounds (dissonc.:nce) rhyme: internal, end
Tone color: mood suggested by the quality of the sounds

3.3 jensory languaae in literature vitalizes the feeling and meaning through imagery.
Jensory cutegories: sight (color, size, shape) sound smell taste touch kinesthesia (muscle sense)
35

3.4 The metaphoric language of literature intensifies feeling and meaning through association and suggestion. Means of intensification: simile, metaphor, symbol, personification
3.5 Style is the unified effect produced by a combination of rhythms, sound, sensory language, and metaphoric language.
Occurrence: in a single literary work (the unique combination) in an author's total output (recurring characteristic combinations) in an age or a mode (many instances of similar combinations)
36

Incept V. LITERATURE AFFECTS THE INDIVIDUAL AND, THROUGH THE INDIVIDUAL, THE CULTURE
5.1 The individual's responses to a literary work are unique and personal.
Immediate: pleasure, indifference, displeasure empathy leading to self-identification and perception of others awareness of and insight into the content (idea, values, feeling, the complexity and universality of human personality) evaluation of content testing of content against his own ideas, values, feeling (acceptance, rejection)
Residual: repetition of pleasurable reading experience stimulation of personal thought testing, sharing and applying of idea, values, feeling alteration of personal values and commitment to ideals
5.2 By the responses of an individual or many individuals, literature affects the culture.
Creates or resolves conflicts of values, attitudes, mores,
Affects culture immediately or cumulatively
37

concept IV. LITERATURE HAS CONTINUITY 4.1 The body of literature shows historical Content: attitude and emphasis vary to age Forms: evolve, disappear or stabil:!. Language: changes from age to age 4.2 The body of literature continues to en, Content: reflects contemporary conc(, interests . Forms: reflect contemporary feeling riate structure Language: reflects contemporary usa,,:,
38

\ LITERATURE
Frye, Northrop. ANA'IUMY OF Cm'i'ICISN. Princeton, N. J.a Princeton University Press, 1957.
Perrine, Laurence. SOUND ANI' SENSE: AN INTRODUCTION 'IO ,oSftY,
New York: Harcourt, Brace and 'World, Inc., 1963. Wellek, Rene and Austin Warren, THEORY OF LITERATURE.
Second Edition. New YOr.K: Harcourt, Brace and Worl'~ J~r' 1956.
39

\
COMPOSITION
40

CC~~OSITION: AN INT~ODUCTION
.3ince language is the mediurn of ',oJrjtten and oral expression, its understanding-conscious or unC0:1scii)U'3-1:3 basic. Composition, however, is different from either language or literature. It is neither studied nor learned in the same Hay. It is, basically, a cognitive process, a process that emplo'ys language for eXFlress ion.
Language and literature have materials or facts about which one can generalize. There is, hO'oJever, no body of "composition" information from ~~ich to draw concepts. On the other hand, there are rather basic and stable considerations or procedures thaL characterize the act of composing; and, in part, these consider~tions function as conceptualizations of the process.
In each case these considerations are relative to the time, place, speaker-\vriter, subject, and listener-reader of the comfJosition. ",long with these relative elements, the rrncP5s involves additional considerations or conditions that are constant enough to be termed basIc principles. In short, they define and describe the nature of composition. They include:
1. Composing involves having something to say. 2. Composing involves purpose. 3. Com;.~osing involves tl;e selection and development of material. 4. Composing involves arranging selected material into recognizable
order. 5. Composing is usually done within recognizable patterns. 6. Composing involves manner of expression. These principles describe the process of composing; they do not Outline the order in which it occurs. JI.nd though they can be listed separately to describe the process, they are mutually dependent and operate
4]

simultaneously. In addition, they function at all age and grade levels and for all kinds of composition, oral as well as written. For example, the process involved when elementary school children compose an experience chart parallels that of the high school senior when he composes his valedictory address.
30me distinctions, however, in the forms of composition can be noted. For instance, the writer is more conscious of the process than is the speaker. Thus, the writer's finished product usually reflects more directly the principles of composition. Moreover, since exposition is the most common form of written expression, it is the form of composition for ~~ich the school, and particularly the English teacher, takes primary responsibility~ and, perhaps like no other form, expository writing affords an op~ortunity to focus on these principles of composition.
Composition at different age and grade levels shows varying degrees of sophistication, and these variations reflect a developing understanding and application of the principles of composition. Thus, an increased dwareness or more conscious ap~lication of these principles accounts, in I,art, for the development of skill in composition.
42

COMPOSITION
concept I. COMPOSING INVOLVES HAVING SOMETHING TO SA.Y.
1.1 The composer's personal experiences, in whole or in part, provide a basis for composing as he anticipates or recalls them.
Anticipation: letters of invitation and/or of requests for information, program planning and designing (verbal and graphic) Recall: group experience charts: letters of thanks: retelling (orally or in writing) personally experienced events: reporting for the school paper: formal reports on such activities as field trips, experiments, conferences, and lectures
1.2 The composer's vicarious experiences, in whole or in part, prQ~ide a basis for composing: books, movies, telev::,?<'-;1, newspaper accounts, experiences of friends and contemporaries.
A retelling or summary: characterization: reworking the C~otent into other forms, such as dramatization; critical analyses coordinating material from several sources
1.3 The composer's imagination provides material for composing.
Creation of endings for stories which are partially presented: creation of new stories or situations involving characters in a given story: creation of an entirely original story, skit, or poem . . .
43

1.4 The composer's emotional or intellectual reaction to experiences provides a basis for composing.
An explanation of the way a poem, story, picture, character, or musical selection makes him feel: a description of his attitude toward certain people, events, or ideas: editorial on some aspect of school life
1.5 The composer's ideals and commitments provide a basis for composing.
Discussion of which of two stories is more interesting: explanation of whether the conduct of a fictional character is appropriate to the situation: a brief analysis answering the question why about an experiment, event, or action: critical book review of comparison of a given book with the movie version: direct statement of one's own values or criteria
44

concept II. COMPOSING INVOLVES PURPOSE
2.1 People compose to communicate with an audience-usually a predetermined individual or group. -- to convey information, thought, feeling
"Show and tell" period: a description of how to do or make something: a report on specific information: minutes of a meeting or summary of an event or discussion: compilation of information from various sources to support a thesis statement
-- to influence thought, feeling, action
Letters asking a favor: brief talks to influence classmates to read a book: debates: campaign speeches: editorials
2.2 People compose without intent to communicate with an audience. -- to clarify their thinking and self-satisfaction
Lists to clarify plans: charts to state learnings resulting from an activity; summaries or simple outlines for study purposes: thesis sentence before writing .
to gain the satisfaction of self-expression or just for fun
Creation of sounds and pictures with words; poems, stories, and essays that release inneL feelings; class discussion and/or writing about problems of deep interest to the age group
45

2.3 The individual's purpose, including acquaintance with an intended audience, determines the choice of topics, the selection and ordering of content, the choice of form, point of view, tone, and style.
2.4 Apparent purpose sometimes disguises true purpose. Occasional ironic remark in informal speech or writing; parody, verbal caricature, satire, propaganda
46

concept III. COMPOSING INVOLVES SELECTION AND DEVELOPMENT OF MATERIALS
3.1 Selection involves choosing both topics and materials.
Choices depend on purpose, subject and audience
3.2 Generalizations are expa:ided, clarified, supported by statements of particulars.
Vivid words of description (blue, soft, juicy), manner (slowly, gently, angrily), action (~, scream, sob) ~ comparison and contrast~ supporting details of description, fact, example, reason~ concrete definition of high level abstraction (democracy, justice, honesty) .
3.3 Statements of detail or particulars may be summarized.
Stories re-told in fewer words; summaries of factual materials; brief notes from reading or listening; book summarized in one or two sentences; the precis . . .
3.4 The degree of expansion or condensation is determined by the purpose and audience.
Including related details and omitting the irrelevant (stories, charts, essay test questions, compositions .. ) Determining appropriate proportion of the part to the whole in longer compositions
47

concept IV. COMPOSING INVOLVES ARRANGING SELECTED MATERIAL INTO RECOGNIZABLE ORDER
4.1 Ordering is arranging and expressing ideas to indicate their relationship.
Arranging ideas to help the reader or listener follow the thought: using pitch and pause in speech, punctuation in writing, signal words in both: employing coordination and/or subordination: indicating relationships of ideas by position, structure, and transitional words or groups of words
4.2 Order may be natural or logical.
Natural order: time, space, physical point of view, flashback technique.
Logical orG';:": importance, size, cause-effect, induction (drawing a generalization from many details), deduction (classifying a new idea or work accordi.ng to understood generalizations previously established . . . )
4.3 The order chosen - the placement of word, phrase, sentence, paragraph - will determine emphasis.
3aving an important sentence until last: arranging words in different places in a sentence for different emphasis: arranging sentences in various orders to influence emphasis and meaning: deciding the arrangement of ideas in a longer composition (oral or written) according to relative importance.
4.4 Ordering includes having a recognizable beginning, middle, and end.
3tories, friendly letters, business letters, simple debate, assembly speech, oral or written book report, more complex forms (exposition, argument .)
48

concept V. COMPOSING I S USUALLY DONE WITHIN RECOGNI ZABLE PATTERNS 5.1 Most oral patterns are flexible, but some are rigid.
Formal introductions, debate
5.2 Some written patterns are flexible, some rigid. Formal invitations (engraved still more rigid), resolutions, some poetic forms (sonnet, trio1et, haiku .)
5.3 Some patterns have a definitive framework within which a greater or lesser degree of variation is possible. Drama, short story, ballad, journalistic patterns, business letters, advertising blurbs.
5.4 The same ideas may be expressed in various patterns.
A Story re-told in verse, dramatic form, or summary Feeling expressed in essays or verse Idea or information expressed in informative essay, article, editorial, newspaper column, cartoon, poster
49

concept VI. COMPOSING INVOLVES MANNER OF EXPRESSION
6.1 The composer works within the level of language which he has achieved at a given point.
Influenced by age, associates, home environment, reading habits, acquaintance with a second language or dialect travel
6.2 The composer's manner of expression reflects his individuality.
Sound and color words~ personal idiom~ imagery, sentence form~ choice of words and structure for flow and rhythm of language~ degree of simplicity, directness, exactness, or complexity (personal preference or self-image involved in choices)
6.3 An individual's manner of expression varies with purpose, subject, pattern, and audience.
6.4 The manner of expression indirectly reflects the composer's attitude toward life and his fellowmen as well as toward the immediate subject.
Choosing language for dialogue to represent various nationalities or occupations~ word choice in reference to other individuals or groups (consciously or unconsciously)
50

COMPOSITION Brooks, C1eanth and Robert Penn Warren. MODERN RHETORIC.
Second Edition. New York: Harcourt, Brace and World, Inc., 1958. Jones, Alexander B. and C1audeW. Pau1kner. WRITING GOOD PRO SE : A STRUCTURAL APP ROACH TO WRI TI NG PARAGRAPHS AND THEMES. New York: Charles Scribner's Sons, 1961. 3chwartz, Joseph and John A. Rysenga. THE PROVINCE OF RHETORIC. New York: The Ronald Press Company, 1965.
51

BASIC BIBLIOGRAPHY 52

BASIC BIBLIOGRAPHY
LANGUAGE Allen, Harold B. (Ed.) READINGS IN ~PLIED ENGLISH LINGUISTICS.
Second Edition. New York: Appleton-Century-Crofts, Inc., 1964. Francis, W. Nelson. THE ENGLISH LANGUAGE: AN INTRODUCTION.
New York: ow. W. Norton and company, Inc., 1965.
Roberts, Paul. UNDERSTANDING ENGLISH. New York: Harper and Brothers, 1958.
LITERATURE
Frye, Northrop. ANATOMY OF CRITICISM. Princeton, N. J.: Princeton University Press, 1957.
Perrine, Laurence. SOUND AND SENSE: AN INTRODUCTION TO POETRY. New York: Harcourt, Brace and World, Inc., 1963.
~llek, Rene and Austin ~rren. THEORY OF LITERATURE. Second Edition. New York: Harcourt, Brace and 'World, Inc., 1956.
COMPOSITION
Brooks, Cleanth and Robert Penn Warren. MODERN RHETORIC. Second Edition. New York: Harcourt, Brace and 'World, Inc., 1958.
Jones, Alexander B. and Claude W. Paulkner. 'WRITING GOOD PROSE: A STRUCTURAL ~PROACH TO 'WRITING PARAGRAPHS AND THEMES. New York: Charles Scribner's Sons, 1961.
Schwartz, Joseph and JohnA. Rysenga. THE PROVINCE OF RHETORIC. New York: The Ronald Press Company, 1965.
53

BIELIOGRAPHY 54

LM\JGUAGE LEARNING
Bode, B. H. HOH -:.;E LEARN. 'Boston: D. C. Heath, 1940.
Bruner, Jerome S. ON KNO'm:NG: ESSAYS FOR THE LEFT HAND.
cambridge: Barvard University, 1962.
Bruner, Jerome S. .t'ROCESS OF EDUCATION. Cambridge: Harvard Universit}-, 1963.
Bruner, Jerome 3., Jacqueline J. Goodnow, and George A. Austin. A STUDY OF THI'lKING. New York: John Wiley and .:ions, Inc., 1956.
Carmichael, Leonard. lANUAL OF CHILD PSYCHOLOGY. Ne',r York: Wiley, 1954. ;:;econd Eciition.
Carroll, John E. L.1:..UGUAGE AND THOUGHT. Englevlood Cliffs, ;~. J.: l:rentice-Hall, Inc., 1964.
De"ley, J. H01'~ "lE THDJK. Boston: D. C. Heath, 1933.
Hullfish, H. G., and "':''mith, 2. G. REFLECTIVE THINKING: TflE I-1.ETHOD OF EDUCATION. Hey,' York: Dodd, 1961.
Hunt, Earl B. COi'1CE?T LEl_1.NE1G: l~ INFORj:.ATlml PROCESSING PROELEi New York: John Wiley and 3ons, Inc., 1962.
Hunt, J. l-1cVicker. IN'l'ELLIGENCE l;,~\ID E~{PERIENCE. NeT,\~ York: 'l'he Ronald lress Company, 1961.
i~cCarthy, Dorothea. r..-'>.NGU7.GE DEVELOPLENT 1:-1' CHI LDRE H In L. Carmichael (Ed.), l'Janua1 of Child Fs'/choloq'. ..:iecond Edition.
Ne1>J York: Hiley, 1954.
Osgood, C. E. LETHOD lJ:ID THEORY IN E:~ERIIv.:ENThL PSYCHOLO~r. Ne',v York: Oxford, 1953.
1:- iaget, Jean. THE IJ~NGUAGE AND THOUGHT OF THE CHILD. Ne\\] York: Humanities 2ress, 1959.
fiaget, Jean. THE ORIGINS OF INTELLIGENCE IN CHILDREN. He':.' York: International Universities Fress, Inc., 1952.
Russell, David H. CHILDREN'S THINKING. New York: Ginn and
Com..:. )an;.', 1956.
Vygotsky, L. THOUGHT A~m LAlJGUAGE. (Ed. and trans, by E. Hcinfmann
and G. Vaker). Cambridge, Nass.: H.I.T. f'ress, 1962.
Hatts, H. F. THE LANGUAGE AI\JD LENTAL DEVEWP}.ENT OF CHILDREN. Boston: Heath, 1946.
55

LANGUAGE

Bach, Emmon. AN INTRODUCTION TO TRAt\~SFORi..ATIGNAL GRAI,jlA.RS. New York: Holt, Rinehart and 'i'!inston, Inc., lS64.

Bloomfield, Leonard. Lh"JGUl...GE. Ne1" '~ork: H. Holt and Company, 1933.

Francis, W. Nelson. TBE STRUCTURE OF Al._EHICA~; :S~\1GLISH. j;~ew ':ork: The Ronald Pr:esa Company, 1958.

Fries, Charles C. LIl'IGUISTICS A:'TD R;:.J~ING. Rinehart and Winston, Inc., 1963.

Je'.i 'York: Holt,

Fries, Charles C. THE STRUCTURE CF -C:-JGLISh. ,;~.r ".:ork: Harcourt, Brace and Company, 1952.

Gleason, Henry Allan. Revised Edition. Inc., 1961.

A~~ I NTRODUCTIGc'J 'IV DESC~(~_ TIVE LI~\TGUISTICS. Ne':J York: Eol t, Rinehart a.nd TI;inston,

Hall, Robert A., Jr. LEliVE YOU.:', LR..HGU;~GE A:UONE~ Ithaca, Ne;~ ~,rork: Linguistica, 1950.

Hockett, Charles F. A COURSE Hr ~ CD:';RN LI7:1GUI-STTC.3. Ne',-, York: The Macmillan Compan}, 1958.

Jespersen, otto. GRD:'1!'H AND STRUCTtJ'1E OF THE ENGLISH LANGUAGE. Oxford, England: B. Blackwell, 1948.

Laird, CharI ton Grant. T;-lE ~vlIRACLE OF U ..'IImUAGE. FaNcett Norld Librar:" (~lremier "8ooks), lS57.

Laird, Charlton E. and Robert M. Gorrell (Sds.). F1\1GLI SI-I hS IANGUAGE: BACKGROmmS, :DEVELO.i::1 E,:-rl', U3.AG:.1. ~!e\..: ';~ork: Hc::.rcourt, Brace, and World, Inc., 1961.

lyles, Thomas. OHIGIl.~ AND DEVELOPI...Ei~T OF TI-IE E;:~GLISH LA1\fGUAGE. New York: Random House, 1964.

Roberts, taul. ENGLISH SEN'l".J:i\fCES. ~~eu York: hClrcourt, Brace and World, 1962.

aoberts, raul. ENGLISH ~tNTAj~. Ne'!J York: Harcourt, Drace a.nd i~orld, 1964.

Roberts, taul. [~1.TTERNS OF ::::::,'1GLISI:. '\Ie',! ;"ork: Earcoort, Brace and World, 1956.

Rycenga, John ; ..rthur and Joseph Sch,,rartz. j; E~~ So. EC'I':':VB'S O~~ Ll-.NGUJ.GE: AN ANTHO.LOG':. Ne,\! York: The Ronald 're'')'':' 1 1963.
3tageberg, Norman C. AN INTRODUC'IOH.:~ ENGLISH GfU..J.r.l1-..H. .~e'" York: Holt, Rinehart and Winston, 1965.
Sturtevant, Edgar H. AN INTRODUCTION TO LINGUISTIC SCIENC~. New Haven,
Connecticut. yale University Press, 1960.
56

LITERATURE

Booth, \Tc,yne. THE RI-IE'roRIC OF FICTION. Chicago: University of Chicago ?ress, 1961.

Brooks, Cleanth and R. B. Heilman. UNDERSTi..:'1DING DRAl..'.;.. Ne'1;; York: Holt, Rinehart and Winston, 1960.

Brooks, Cleanth and Robert Fenn 'Narren. UNDE..lST1"NDING FICTION. Ne~7 York: Ay~leton-Century-Crofts, 1960.

Brooks, Cleanth and Robert Venn Warren. ~~ERSTAN.DING POETRY. Third Edition. New Y rk: Holt, Rinehart and '\7inston, Inc.,
1960.

BuriD n, DWight L. LI.TERATURE STUDY IN Tr1E HIGH .:HOOL. 3econd Edition. Ne~..! ~:ork: Holt, Rinehart and 1~iinston, 1964.

FrIe, Northrop. ANA'IOEY OF CRITICISk. Princeton, N. J.: rrinceton University lress, 1957.

Gordon, Edl'lard J. (Ed.). \':rRITI NG AND LI TERA'I'URE IN 'I'HE SEC01W.R:: :3CHOOL. New York: Holt, Rinehart and Ninston, Inc., 1965.

ferrine, Laurence. .30UND AiID SENSE. J.N INTRODUCTION TO POETRY. Ne\\l York: Harcourt, Brace and Norld, Inc., 1963.

2errine, Laurence. ,STORY AND STRUCTURE: AN n~"rRODUCTION TO THE

S1-IO~tT S'IO~y (?Fiction?). Ne\.,r York: Harcourt, Brace and

T'70rld, Inc.,

?



Rosenblatt, Louise. LITEAATUR3 J..S EX::?LORJ..TIu~\)'. i.~ew York: A..'\::;leton-Centur:y-Crofts, Inc., 1936.

:toseheim, Ed'\'lard ~;:., Jr. 17HAT HAPPENS IN LITERATURE. Chicago: University of Chicago Press, 1960.

Schorer, Nark, Josephine Miles, and Gordon LcKenzie. CRITICISL:
THE roUNDATIONS OF hODERN LITERARY JUDG1,:;ENT. Revised Edition. Ne~." 'York: Harcourt, Brace and i"1orld, Inc., 1958.

~rellek, Rene and Austin tiarren. THBORY OF LITERATURE. ~\lew York: Harcourt, Brace and World, Inc., 1956.

57

COMPOSITION

Aristotle. THE RHETORIC OF ARISTOTLE. Trans. Rhys Roberts. ~1odern Library, 1954.

Applegate, Kauree. FREEING CHILDREN 1Iffi.ITE. Ne'., York: Harper and Row, Publishers, 1963.

Bailey, Dudley (Ed.). ESSAYS ON RHETORIC. New York: Oxford, 1965.

Braddock, Richard, R. et.al. RESEARCH IN l'iRITTEN COr.'pOSITION. Champaign, Illinois: National Council of Teachers of English, 1963.

Brooks, Cleanth and Robert Penn i'1arren. IlGDEi:tN RI-:IETORIC. 3econd Edition. New ~ork: Harcourt, Brace c:.nd T7or1d, Inc., 1958.

Burrows, Alvina T. 'l'I-IE"l" ALL l'L\NT TO T1RITE. Ne'," York: IrenticeHall, Inc., 1952.

Cohen, Bernard R. 1~ITING ABOUT LITERATURE. 3cott, Foresman, and Company.

Fogarty, Daniel, S. J. ROOTS FOR A NET; ~mETORIC. ____________, 1959.

New York:

:F'riedman, Norman and Charles A. 1\:cLaugh1j_n. LOGIC, ImETORIC AiID STYLE. Boston: Little, Brmm and Com;;;any, 1963.
Jones, l ..lexander Z. and Claude 17. ~'au1kner. ~''''.nTING GOOD PROSE: A STRUCTURAL APPROACH 'IO 11RITIj;>lG pp..:..~m;;.J: Fd AN"D THEEES. New York: Charles Scribner's Sons, 1961.
Schwartz, Joseph and John A. Rycenga. TI-iE PROVINCE OF RHETORIC. Ne'.\! Yor}c: The Ronald f ress Comf'any, 1965.
strunk, \t\'il1iam and E. B. White. TEZ ELEl..E"J':CS OF ST'.:.-LE. NeT.-! '-"ork: The I,;,c.cmi11an Com:..:)any,

58

A STUDY GU I DE FOR TEACHERS FOR THE DEVELOPMENT OF AN
ENGLISH CURRICULUM
OFFICE OF INSIUCII DIAL SERVI CES DIVISION OF CURRICULUM