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 1 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 2 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 3 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 4 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. 6 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. 7 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 9 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 10 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. 11 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. 12 THE STRUCTURE OF ENGLISH AS DEFINED FOR THE DEVELOPMENT OF AN ENGLISH CURRICULUM 13 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. 15 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. I7 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 19 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. 20 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 21 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.) 22 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 23 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 24 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. 25 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. 26 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 28 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 29 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;), .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. 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