Literature In Language Teaching Methdologydoc

=== Literature in language teaching methdology ===

CONTENTS

CHAPTER I – THE TURN OF THE 19TH CENTURY……………………………..……..4

1.1. THE ENGLISH SOCIETY: CLASS, CULTURE AND POLITICS………………………5

1.2. LITERATURE BY WOMEN……………………………………………………………..7

1.3. JANE AUSTEN AND HER NOVELS……………………………………………………9

1.4. THE WOMAN STATUS IN THE SOCIETY…………………………………………….9

CHAPTER II – LITERATURE IN LANGUAGE TEACHING METHODOLOGY…..11

2.1. THE RELATIONSHIP BETWEEN LANGUAGE AND LITERATURE………………11

2.1.1. REASONS FOR USING LITERATURE IN CLASS…………………………………13

2.1.2. LITERATURE AND TEACHING LANGUAGE SKILLS ( READING, WRITING, SPEAKING AND LISTENING)……………………………………………………………..17

2.1.3. CHILDREN LITERATURE AS A GENRE……………………………………..……46

2.1.4. YOUNG ADULTS LITERATURE……………………………………………………48

2.2. LEARNERS AND LANGUAGE EDUCATION………………………………………..48

2.2.1. LEARNERS, LANGUAGE AND LITERATURE TEACHING………………………50

2.2.2. MODELS TO TEACHING LITERATURE……………………………………………50

2.2.3. APPROACHES IN TEACHING LITERATURE………………………………..……51

CHAPTER III – TEACHING LITERATURE- TEACHING JANE AUSTEN………….53

3.1. INTRODUCTION……………………………………………………………………….54

3.2. TEACHING JANE AUSTEN THROUGH FILM………………………………………56

A. PRIDE AND PREJUDICE………………………………………………………………57

B. SENSE AND SENSIBILITY……………………………………………….……………62

3.3. METHODOLOGICAL RESEARCH……………………………………………………69

3.3.1 INTRODUCTION………………………………………………………………………69

3.3.2. PROCEDURE AND OBJECTIVES……………………………………………..…….71

3.3.3. CONCLUSIONS………………………………………………………………………..73

CONCLUSIONS……………………………………….……………………………………..74

REFERENCES………………………………………………………………………………..76

Chapter I

The turn of the 19th century

Between 1688-1815 England lived three important events that have marked its performance in the future. These are: the transition from a monarchy to a oligarchic government, made by the accountable cabinet to the Chambers; the second event is the war with France in which England took primacy safety at sea and consequently the opportunity to become a colonial empire; and the third is the agricultural and industrial revolution, which by its consequences, caused a political revolution. The 19th century will be a democratic England due to the ruling class which has kept in touch with the peasants and that state institutions have alleviated some of the injustices and the ruling classes have accepted the power of the Parliament so that the elite of English would not protest against the Parliament.

The transition to democracy has been slow, political rights were without causing disturbances or riots, thus created a prosperous country into a long period of peace which was the Victorian era. Religion has played a major role in politics; during the mid-nineteenth century most of the English were religious, but not belonging to the same confessions, which brought a stabilizing influence in the conflict between parties and classes.

In 1837 Queen Victoria ascended the throne, which would leading to a period known as the Victorian era. Queen Victoria learned from her mentor, as the strength of the British monarchy lied not in intrigues against ministers or in the fight against popular aspirations, which she applied during her reign. She had a liberal viewpoint unbiased thereby releasing the internal affairs of the kings, crown traditions that preceded unfortunate. There are several determinations that underlie the industrial revolution in England, among them there are: money, work, greater demand for consumer goods, well developed transportation. Here, it enrolled overseas trade links, the existence of a cell and the emergence of rural industrial factories, population growth and cheaper production of goods.

The British methods to solve problems in both the empire and at home proved ingenuity and were possible due to the long period of peace, prosperity and security of the nineteenth century England.

Democracy was introduced through the Parliament in schools, churches, municipalities, universities and everything created public and private parties to support and protect it. There were cooperative, cultural societies and charity leagues. The state has initiated aid scheme treasury subsidies given by local parties which had the task of checking the working conditions, educational system, health, hygiene factors. The progress in democracy, in education, in industrial and commercial development has been accompanied throughout the progress of humanity which resulted in a new vision of the place of women in society. Ergo, it changed the position of women in families; they have been given the right to an education comparable to that of men, following naturally granting political rights. All this was possible because all through the nineteenth century, the interest of England was not war, but peace to be able to perform commerce that was constantly growing and could develop a new empire.

The Victorian era was manifested as a period of consolidation both in view of peace, wealth and power, and in terms of literature. Romanticism, the current that is struggling to impose since the late eighteenth century, it was stated fully in a society that gives it a great place to due to the extremes in wealth and poverty due to the rigid division of social classes and the struggle for social and material position.

In literature, the Victorian era was an era of consolidation, one which made an innovative foundation created by the Romantic Movement. The new generation of writers had at hand imagination and poetic expression of writers such as Wordsworth, Byron and Keats to emulate them, to develop them, to modify them.

The Victorian novel was the dominant genre of the nineteenth century; it represents a rich source of information about the era: about aristocracies, politicians, city, labour prisons and houses, schools and courts, the country and squalid slums of new industrial cities.

The romantics, poets, writers, painters, architects, based their work on the individual's right to consider and submit personal verification scale values ​​and moral code, until they existed, the reason for returning to the past, in the ancient world, in childhood, in the fantasy world bringing other mental schemes, presenting them through their work.

1.1. The English society: class, culture and politics

Modern society in Britain, as in all the ‘developed’ societies of East and West, stems directly from that vast increase of natural resources, labour, capital and enterprise which began in Britain in the late eighteenth century and, spreading outwards from there as the ripples on a pond, is still in process of transforming the whole world. The effects of the Industrial Revolution, as it is inadequately called, are still working themselves out, not only on the global stage, but in Britain itself, the first country affected by it and, the one which it has most completely transformed. Much of what we recognize around us as most contemporary, most characteristic of the mid-twentieth century, not merely in the achievements of science and technology but in the most recently recognized trends in social and political organization, is the direct, logistic development of forces set in motion in the Britain of George III. Modern society, no less than its immediate predecessor, the half-way house of Victorian industrial capitalism, has its roots in the Industrial Revolution, and so it is with the Industrial Revolution that we must begin. Contemporaries were aware of the remarkable acceleration of economic growth which began in Britain in the last decades of the eighteenth century. ‘An area has arrived in the affairs of the British Empire, discovering resources which have excited the wonder, the astonishment, and perhaps the envy of the civilized world,’ wrote Patrick Colquhoun in 1814, and went on to describe ‘the accumulation of property, extensive beyond all credibility, and (during a war of unexampled expense) rapid in its growth beyond what the most sanguine mind could have conceived…. It is scarcely necessary to enter into details for the purpose of proving that the prosperity of the British nation has been rapid beyond all examples, particularly within the last sixty years.’ Whether or not we accept all the implications of Rostow’s ‘take-off in to self-sustained economic growth’ between 1783 and 1802, it is clear that these years spanned the central phase of a transition which was to carry the British economy from a lower to a higher plane of productiveness, and create the framework of the modern industrial system. Between 1780 and 1800 British foreign trade, whether measured in shipping tonnage cleared from the ports or in export and import values, nearly trebled. Between 1750 and 1800 coal production doubled, from under five to ten million tons. Between 1788 and 1806 pig iron production, already four times that of 1740, almost quadrupled again, from 68,000 to 250,000 tons. Most spectacular of all was the growth of the pioneer machine industry, cotton: between 1781 and 1800 raw cotton imports quintupled, from 10.9 to 51.6 million pounds. Though other industries were not advancing so rapidly, and the growth industries are perhaps overweighed in the figures, total industrial production in the last twenty years of the century is estimated to have doubled, and the transition to modern industrialism had begun. The acceleration of that transition, let us remind ourselves, was astonishing. During the course of the nineteenth century the British economy grew prodigiously. Exports rose sevenfold (allowing for falling prices, tenfold) from about 40 million to over 280 million a year; imports still faster, from about 30 million to over 500 million a year; while the widening gap between them was filled to overflowing by the growth of the ‘invisibles’—shipping, banking, insurance, and returns on investments—which rewarded the first competitor in the field, and built up an accumulated balance of overseas credit which grew nearly a hundredfold, from 25 million in 1816 to 2,400 million in 1900. Production in the leading industries advanced in step with trade: coal output rose more than twentyfold, from 10 to 225 million tons a year; pig-iron more than thirty-fold, from 250,000 to 9 million tons; raw cotton consumed more than thirtyfold, from 52 to 1,624 million pounds; paper more than forty-fold, from under 15,000 to over 600,000 tons. Older industries—agriculture, wool and worsted, silk and linen grew less fast, but newer ones—engineering, steel, chemicals, gas and electricity—still faster. Total industrial production may have grown as much as four teen-fold during the century—a rough indicator, but one which gives some idea of the unprecedented scale of economic growth which the Industrial Revolution set in motion.

1.2. Literature by women

Feminist literature is identified by several characteristics of the feminist movement. Feminist literature authors understand and explain the difference between sex and gender. They believe that although the sex of a person is predetermined and natural kind is created by society, along with a special perception of gender roles, which, they believe, may change over time. The dominance of a genre over another is a common concept in almost all societies, and that it is not in favour of women, it is a characteristic of feminist literature. It says that any company that does not offer channels of learning and development for both sexes equally is not complete and unbiased in society.

Critics argue that there is no great difference between male and female perpetrators and that it was necessary to identify a separate class called feminist literature or look for traces of feminism in literature. However, if we read any such works , we will realize how critical these writers approach oriented men and how society tries to understand the beliefs and needs of the opposite sex through a subjective approach . If we take , for example , Pride and Prejudice by Jane Austen , starring Elizabeth Bennett – a woman who in her mind that, despite social pressure (exerted by her mother ) to choose a partner and to lead a type of life already established for all women – she decided to go on the road and pick one. But her decision was not addressed by the writer ostensibly. It took a fight visible in order to choose the way in life. The work is subtle and only the clear feature of the protagonist is her decision. And it is a characteristic of the feminist approach to literature.

Women in feminist literature are always presented as protagonists, who most often do not easily accept the traditional role of women established by the company. They are ready to make their own decisions, to express their choice, to decide for themselves and be prepared to face the consequences of those choices, actions and decisions although it is a daughter, a mother, a sister or a wife, every work of feminist literature deals first with a woman. Do these relationships, roles and stereotypes give these characters their feminine identity? Their identity is defined by choices and beliefs which are then associated with these roles. It is important to note that not all works of feminist literature have happy endings, neither the character nor the author. Women were ostracized by society that demanded equality openly and had to face more negative consequences due to their protests.

Women were treated as important topics not only in feminist literature, but also in many literary works written by men. For example, Henrik Ibsen, Norwegian author and playwright, often focused on women, their problems in society and the decisions they have taken on their personal values and beliefs. If you take a look at the pieces of a doll’s house, we see clearly the strong character of the protagonist.

Not all, but some works of feminist literature (especially non – fiction) shows and emphasizes women’s suffrage and demand equality in society, in terms of political, social and economic context. In modern feminist literature, assault against a male-dominated society has become more direct and honest, and women demanded a closer look at the patriarchal and capitalist approach towards feminism.

Because some characters are defined and created by people who live in societies built with various forms of oppression , prejudices and beliefs , each assuming its own ideology , it defines and demonstrates the ‘personality’ of a character , while the creator ’s ability to avoid racist prejudices, social, sexual and other types contained in those ideologies.

In other words, does the creator manages to bring to life real people, believe or rely solely on stereotypes, archetypes or other shortcuts to a character? Most writers will be positioned somewhere in the middle.

Up to a point, the presentation of the characters can be reduced to what happened to the character before: original character, history, personality, identity, and so on and so forth; what happens during the literary character: the evolution of the development of the relationships with other characters, identity transformation, and so on and so forth.

Sex, gender, ethnicity and sexuality are always significant character traits as a result of the significance they have for readers in the real world. In addition they can be listed by age, nationality, social class, other means of identification of the characters, as well as signifying a fictional universe in question (for example, a character who sleeps on its belly versus one who sleeps on the back) and, not least, traits that have a meaning in the universe, but are used as metaphors for various specific problems of the society and time of the author.

The characterization of a specific game and various stereotypes – stereotypes often conflicting – attached to a specific category of features is very hard to gain by the author who must strike a balance to create an authentic character, perceived by readers as such.

1.3. Jane Austen and her novels

Jane Austen’s readers are very complex, there is no stereotype about the teas and dance and so on and so forth. If one would want to put someone in a difficult situation, ask them to read and rank Austen’s six major novels..

Ever fascinated by the world of stories, Jane began to write. During her adolescence, she started to craft her own novels and wrote Love and Friendship. By using that framework, she unveiled her wit and disliked the concept of sensibility, or romantic hysteria, a distinct perspective which would later characterize much of her later writing. She continued with The History of England… resulting to Jane's Juvenilia.

She never stopped writing, developing her style in more ambitious works such as Lady Susan, continued with some of her future major works, the first called Elinor and Marianne, a story told as a series of letters, which would eventually be published as Sense and Sensibility; drafts of First Impressions followed, which would later be published as Pride and Prejudice, and Susan, later published as Northanger Abbey by Jane's brother, Henry.

While Austen received some accolades for her works while still alive, with her first three novels garnering critical attention and increasing financial reward, it was not until after her death that her brother Henry revealed to the public that she was an author.

The popularity of her work is also evident in the many film and TV adaptations of Emma, Mansfield Park, Pride and Prejudice, and Sense and Sensibility, as well as the TV series and film Clueless, which was based on Emma.

1.4. The woman status in society

The references to the feminine nature in different times and spaces are either romantic or puzzling or downright accusatory, resulting in a stigma of sin, of evil potential. Those who have studied with the greatest attention to this strange species, hard to tackle in an attempt to theorise, the systematic knowledge, were those who were placed in the first place away from these ambitious poets, moralists priests. For them, women were strange creatures, namely more different from men and had yet to prove the merits which would allow a chance in society. The concept of women in society is generally built according to two coordinates, on the one part, as a muse for poets and saving those in distress, and on the other, demonizing them in an eternal process of reproduction of the biblical parable about the negative role of Eve. Nineteenth century makes no exception.

In everyday life everyone is talking about the emancipation of women, the elimination of discrimination of women, equal rights between men and women, but the reality is quite different. Women's rights are an integral part of the fundamental human rights. To a large extent the situation of women in society directly influences the education of young generations, a process that is linked not only by training them as human personalities with a seating developed intellectual and moral capacity, and includes itself and a whole range of issues related to the recognition of the important role that women play in the development of humans and its society.

Nowadays the difference in social classes has disappeared. Any woman has the privilege to attend an elementary school but most of them can continue their studies reaching the highest ideals and aspirations of greatness. With the burden of housework relieved by the development of modern technology, today she can afford to study, to have a job, but it's enough time to stay and enjoy the simple pleasures in life, many of them are exemptions even educating and caring for students, leaving it to be done by qualified staff in nurseries, homes, kindergartens and schools. For centuries, women lived in a world of men, having no right, but a duty to be a good wife and mother.

Artists charmingly emphasize the role of women in every age, seeking to highlight the qualities of a mother and wife. Woman is something always present in the surrounding world, without it, life could not continue on this planet.

Chapter II

Literature in language teaching methodology

For an English teacher (but for any other format, generally speaking), it has become effective and it involves a constant effort to achieve flexible processes and products, but quality, core values, and reconfigurations practice dictated that we could work on our own, it challenges this by adopting an attitude of lucid selectivity in achieving its methodological construct while it becomes a requirement clearly defining our contemporary teacher.

Linguists show that there is a certain teaching strategy applied for all the concrete educational activity by being a teacher. Meanwhile, the nature of the strategic decision and the quality of decision is determined by the pedagogical skills of the teacher.

It clearly follows that there is no age limit in continuing to learn, to add gesture to our own specific teaching elements of new models of teaching, giving the opportunity to influence from a professional point of view a larger number of students.

By the looks of linguists, a model has the capacity to possess and communicate certain values, goals, methods of justification and psycho-pedagogical support and clear guidance on how to focus on learning. From model to model this occurs either by an induction discovery by increasing levels of personal awareness through real data and information to be combined to reveal new meanings, or by hierarchical organization of knowledge. What they have in common all these models are that each has to fulfil two goals: to teach a specific content, respectively, to teach a certain mindset required to achieve the proposed route.

The second component enables the teacher to increase the size range of intellectual experiences acquired by students in an organized or semi-organized educational environment.

Other linguists encourages teachers towards specific items in a variety of models, showing that any research which was conducted over the last decade has revealed that any particular model to be superior to others in determining success in learning, as measured by scores on various tests because this is not really their mission, but of teaching students how to learn and how to think in different ways. Also, teachers can turn to several models to harmonize teaching styles preferred by their students’ learning manner, but simultaneously may try to broaden their repertoire beyond their style of learning and thinking.

2.1. The relationship between language and literature

Through the powerful emotional impact of the text, the short stories are a true moral universe of features, creating a favourable environment for the development of language and thought. They produce a strong impression on the imagination and sensitivity of students, and when the “magic satchel’ is open, they see their face and those around the world which is transposed in tabs with a picture or pictures that give a voice to the magnificent and illustrative tales of childhood.

Teaching students to write and speak correctly their native language is proof of patriotism, and learning and practical application of the uniform rules of the language is also a patriotic duty of the students, a sense of love and respect for their national language.

The continuous learning of the Romanian and English language is a duty belonging to every citizen of that respective homeland.

The element of continuation and preservation of the national Romanian and English science thesaurus was inherited from generation to generation and continuously enriched. Without a proper assimilation of the Romanian and English language, one cannot conceive the future intellectual development of students in school and their appropriate training to other disciplines and social work.

We concluded that the teacher is the one who gives life to the methods and the quality of training, depending on the pace and quality of the entire educational renewal, including technological work. Short stories must be presented and used by a wide area of multiple methods and teaching options, it occupies a central place in how to make students vibrate at the beauty in life and art.

The teacher, who is a connoisseur of students, form's methods of education, one individual who loves his job and loves students, has the noble mission to establish mobility and flexibility training and the development of intellectual abilities such as: creative imagination with its variants, creative thinking (flexibility, fluidity), conduciveness to learning through research, discovery through intellectual effort and the creative type.

To combat the errors surrounding students, certain measures must be taken such as: explain the meanings of new words at every age level, vocabulary, using games, specifying the restrictions to use regional terms and phrases.

The school has the noble mission to prepare students, youth for social age. But the social life presupposes the existence of language. As stated by I.D. Lăudat “one cannot participate fully in society without mastering this instrument of liaison and social progress’.

Language serves to acquire theoretical and practical knowledge in the various disciplines, moral formation of the students’ profile, in the moulding and modelling of the consciousness younger generations.

The harnessing content in terms of formative educational lessons is one side of the educational reform surrounding priority. As a means of communication, language is learned in successive stages: first the family, then in institutions for middle school (middle school ), and then in school.

Some students may be accustomed yet with small text narrative technique and adopting a moral attitude to the facts of the civic character. Regarding small students, teachers need help to choose, to decide, to express their ideas freely in a fair and consistent language in terms of lexical and grammar. The emotions and feelings of students at small ages occur spontaneously and alive, the joys and sufferings of students live intensely positive in characters, moving smoothly from one feeling to another.

The teacher should show flexibility in the selection, organization and planning of the learning content as well as the adaptation of the content in the age of the students, their needs and interests.

At the same time you have to be creative and encourage the students' creativity in communicative activities. The image of a loved and esteemed teacher due to his work always remains in the consciousness of students, regardless the age.

2.1.1. Reasons for using literature in class

The education of our mother tongue is the soul of all because the knowledge one will acquire rests upon the notion of what makes a man a useful member of our society. It is for people specifically how the reflection of ordinary reality and proper material for the materialization of thoughts and feelings the main means of communication, influencing and coordinating actions in relationships and their manifestations, the most valuable tool of knowledge. Therefore, the language can be considered one of the most important factors of cohesion in the spiritual development and social progress.

Mastering thorough and correct and acquire an accurate native language is not only a necessity, but also a duty for all those who contribute to the building of a society being one of the essential characteristics of its defining.

Our mother tongue is spontaneously acquired during the first years of life, throughout the social life in the relationships between students and adults, the practice representing the initial stage of language learning. Subsequently, its improvement is achieved by the many and varied contributions of which the most substantial and effective part is taken by the school.

The study of the English language and its literature has a very special significance in shaping the multilateral school youth. Without the proper acquisition of the English language one cannot conceive the future intellectual development of school students and their proper preparation in other disciplines as well as a link to social activity.

The formulating functions and the main objectives of the English language and literature as a school subject in middle ought to be remembered, first just as an instrumental function, which works in all English departments: reading and writing, oral and written communication.

The importance of this function follows from the fact that in order to achieve them, almost half of the total number of hours of the educational framework plan for the affected class is learning, reading, writing, communication. The following classes, even if the number of hours for the English language and literature study is small, it is maintained at about one third of the total hours in the educational framework plan, and a chief objective improving techniques of intellectual work remains.

Under the new curriculum, the central objective regarding the study of the English language and literature in middle education is the development of basic oral skills and written communication with students and their familiarity with literary and non-literary texts significant from the point of view of students. It also aims at structuring the students a set of attitudes and motivations that will encourage and support further study of the English language and literature.

The current syllabus in English Literature replaced the three compartments of the object-reading, reading and communication – with a communicative-functional model suitable not only for this specific subject, but also how to structure itself in child's proficiency communication. Specifically, this model requires the integrated development of capacities of perception and oral expression, respectively receiving written messages – reading / reading – and written expression. Moreover, communication is nothing but the concrete operation in fusion with four skills (receiving oral messages, speaking, receiving text message reading and reading / written expression).

Textbooks were revised and deletions were made, replacements, restructuring texts, passages, and illustrations. Based on the new programs, alternative textbooks (two, three, sometimes four for each compulsory) were developed and are currently used in the classroom.

The development and implementation of the curriculum components will cover a longer period of time, especially since it is the first time that the curriculum suffered major changes. Therefore, it is expected that the implementation will always be accompanied by a discussion of the results, but also some progressive corrections are required from time to time. The initial and on-going training of the teacher will be enhanced so that it does not just accompany in order to precede dynamics in the special curricular process.

In each class the new material is based on knowledge acquired by students in previous classes about the topic. As a result gradual learning process on the one hand exercises and strengthens and systematize knowledge included in previous class programs, on the other hand is extended continuously from one class to another in the sphere of knowledge, developing skills and correcting expression.

The unified vision of compulsory education, basic procurement cycle (at the end of each lesson, each student will have acquired new knowledge regarding the topic in question) and development cycle occupies a well-defined function and specific tasks. Instructional activities – small class teaching activities organically integrated unified system of training and education of school youth and targeting perspective, the formation of the student’s personality, armed with some basic elements of culture, science, art and contemporary art.

For the first four grades, familiarizing students with the tools for intellectual work primarily with reading and writing, is the essential content of the whole business, the basic function. This is the specific role of middle school – considered a prominent contemporary teacher – to provide solid base properties of various cultural tools without which all further development would be doomed.

Learning to read as a main tool for learning and training activities of students is a prime objective of a school. It can be said that the whole development of students, both in school and in life, depends on the extent to which they have mastered the tools of intellectual work, first reading, to the point that they will be self-ways. The training and development of the student’s ability to orient in a text which was read is an essential task of middle education. Establishing the reading technique is subordinate to the task of teaching students how to use the manual generally, in other words, to teach them how to learn.

The greatest number of hours in the framework of middle school education is enshrined in the four years of study, just reading, which is a discipline of education in the curriculum area ‘Language and Communication’, with clearly defined objectives, and the content and an appropriate methodology.

For middle education, it is essentially a harmonious development of every child’s personality, in order to provide students with an education on the natural, cultural, and social aspect of these students with the basics of reading, writing, calculation and perhaps information processing.

The fundamental purpose of teaching the English language and literature in Romanian and English schools is the formation of correct habits of speech, clear and nuanced, oral and written. Their content is widely varied regarding the reading lessons horizon and circle of knowledge of students, they form a large number and a wide variety of ideas and concepts.

The explanatory reading of literary texts containing a child is an important source of knowledge of reality. Literature in general is a form of knowledge of reality through art and image. The distinguishing feature of literary works as forms of knowledge of reality, is that they give us a synthesis of reality and artwork shows us the essential and general materialized particular individual, but typically, influencing, not only thinking but also having feelings of consciousness. The texts of the great classics are valuable, influencing the imagination, feelings and thinking of the students.

The literary reading of textbooks has a great educational influence on pupils. Many literary texts reflect the moral traits of the new man, love of work, courage and ability to overcome any difficulties. Met in some works, in the heroes of their age, students see in these those friends, they are close and they understand them, and whose deeds can be compared with theirs. Students found in such texts answers to questions of interest to them, they put on a place their beloved characters.

One of the main aspects of the student expression is vocabulary. Therefore, the interest in this problem has increased. Throughout elementary school, the language learner develops from one class to another, so that by the end of the fourth grade, it has doubled its vocabulary since enrolling in school. An important role in speech development the pupil plays is offered by others, especially by the teacher. In daily relationships with the students, the teacher must use clear speech, expression and smooth to exert a positive influence on schools.

The contact with the literary work leads to the formation and consolidation of a correct reading, intelligent and expressive, enrichment, activation, and tinting child vocabulary, learning the correct grammatical structure of the language, by improving the manual work as the main tool of individual work. Enriching vocabulary involves progressive enlargement of the sphere of knowledge of students, their experience of life is the acquisition of new acquisitions to help build and develop their verbal behaviour. Since middle school , the child masters broadly, the system that speaks English, but the acquisition of new words and their proper use remain a permanent goal throughout life. At the end of school, based on the study of literature, students will get to the purpose of aesthetic value judgments in general, the works of art that come in contact, and especially on the literary aspect.

The detection criteria correct understanding of the literary content is intertwined with the ability to explain their individual. Throughout the school years, students can acquire the ability to formulate their own opinions, to state preferences and unwritten coordinates of a value system within the confines of artistic ideal that is consistent with social progress.

Focusing on the characteristics of the process of reception of literary and training aimed at value judgment, the study of literature is part of the overall action to optimize education and specifically advocating reunification formative learning, helping thus school to extend their knowledge, enrich spiritual life and life experience by engaging in the process of knowledge affection, feeling enlightened by reason.

From this perspective, taking into account the specific characteristic value of judgment, it is particularly important as the teachers in the teaching of literary texts from different literary genres and species, to have a summative assessment, in teaching English literature to be able to inform on how students move from teacher assessment issued to that the personal preferences of some states argued works. It is equally important to know and how the assessments made by students in the style of various genres indices take into account certain general aesthetics in the light of which express personal preferences and value judgments.

2.1.2. Literature and teaching language skills ( reading, writing, speaking and listening)

Communicative fluency does not imply loss of grammatical accuracy, instead they are interrelated.

The Grammar Translation Method is the classic method considered simple and effective, whose main objectives are the study of grammar, the vocabulary and literature.

The approach is deductive, focusing on conscious learning. Ability to perceive written messages and written expression ability are the most practiced skills.

The teacher’s roles are: manager, coordinator and evaluator of student interaction in class taking place, especially between teacher and students (front approach). Correcting students is very important because the emphasis is on accuracy.

The Audio-Lingual Method was developed in the USA during the Second World War. The main objective is that students learn to use language in a communicative automatically.

Vocabulary and grammar are presented as dialogues that are learned through repetition and imitation. Grammar is taught inductively. Exercises that develop the ability to perceive written messages and the ability to express oneself in writing are based on communicative activities.

The techniques used are: dialogues, role play, rehearse, grammar and vocabulary and the language of the students is not used.

The teacher is the one who controls it offers students and the language model, students are imitators of this model. There is interaction between teacher and students and between students. Errors students are not considered essential. The rating is oral.

Presentation, Practice, Production is the British version of the audio-lingual method, notes. It consists of three stages. In the first step the teacher introduces language elements to be assimilated.

The third stage concerns the use of language and assimilated presented in an original and authentic to students. Just as with audio-lingual vocabulary and grammar is taught inductively. Communication comes first, language being used. The teacher is, he is the one who coordinates. Because it is a method based on communication and assessment is still that way.

The Direct Method: the inventor is C. Berlitz method. Its main objective is to teach students to communicate in a foreign language. No translation is allowed, the teacher using real world images, pantomime to suggest meaning. Language is not used at all, grammar is taught inductively. Students practice vocabulary in context. All four dimensions of teaching are developed: oral expression ability, the ability to perceive oral messages, the ability to perceive written messages and written expression ability. The techniques used are: conversation, reading aloud exercises, compositions, repetitions.

The teacher’s role is to be a partner of the student. Interaction takes place between teacher and students and between students and students. Self-evaluation is often used. There is no formal assessment; it takes the form of an interview and drafting a written text.

The Silent Way is a method introduced by C. Gattengo basic principle stating that teaching should be subordinated to learning. Students have an active role, being responsible for their own learning. They practice a lot, the main areas that the focus is pronunciation and grammar. All four dimensions of teaching are developed: oral expression ability, the ability to perceive oral messages, the ability to perceive written messages and written expression ability. Native Language is used only when necessary.

The teacher’s role is to help students. The teacher is silently but very active; speaks only to give some suggestions. There is interaction between students. Mistakes are considered normal; students are encouraged to be self-correcting. The emphasis is on continuous assessment.

Suggestopedia: the inventor of the method is G. Lozanov. The method consists in applying the study suggested pedagogy developed in order to help students overcome barriers to learning. The main objective is to accelerate the learning process using mental powers. Students stay as comfortable as possible (loose stools, music, a pleasant atmosphere). They get new names and new jobs, along the course and even creating new biography.

There are two stages of the lesson: one receptive and active one. Students participate in various activities: read, interpret dialogues, practice games, dramatizations.

Grammar is not considered very important. Language of students is used if necessary. Mistakes are not corrected immediately, focusing on fluency. There are no formal tests for evaluating the student’s performance in the classroom.

The Community Language Learning method comes from learning advisors, developed by C.A. Curran, who saw teachers as linguistic counsellors. The main objectives are learning the language in a communicative and learning about their own learning. Emphasis is placed on communication, development, pronunciation, the ability to perceive oral messages, the ability to perceive written messages and discussion of grammar elements. Students’ native language is used so that they feel safe. Interaction takes place both between teacher and students and among students. The teacher’s role is similar to that of a counsellor who supports and encourages students. Mistakes are corrected by the teacher. The assessment consists of an oral or written test at the end of the course.

The Total Physical Response Method is introduced by J. Asher. Method attaches great importance to developing the ability to perceive oral messages. One of the most important goals is for students to enjoy the learning experience. The method aims to reduce stress in language learning. The initial part of the lesson lies in modelling the teacher giving orders, making actions with students. In the second phase of the lesson, students demonstrate that they understand the commands.

In the initial stage the teacher talks and the students respond non-verbally; later roles are changing. The mother tongue is used only at the beginning, being the coordinator of student teacher, the students were his imitators. Students will talk when they feel they are ready. The teacher is tolerant of mistakes students. The assessment consists of checking understanding and realizing activities.

Communicative Language Teaching: the main goal is fluency to students. The focus is on communicating the ‘real’. All four dimensions of teaching are developed: oral expression ability, the ability to perceive oral messages, the ability to perceive written messages and written expression ability. Grammar is learned through practice.

The language of the students is not used. The techniques used are: discussions, debates, role plays, written communicative activities, drama etc.

The teacher’s roles are that of a facilitator and a manager of student activity, but also their partner, especially the interaction taking place between students. Materials are authentic and interesting. Errors are tolerated, especially during communicative activities where the emphasis is on fluency. Students are assessed both orally and in writing.

The study of the English language and literature in compulsory education aims to develop oral and written communication skills of students and their familiarity with literary and non-literary texts significant from the point of view of small and medium school ages. It aims also to structure the students a set of attitudes and motivations that will encourage and support the study of English language and literature.

Any act of learning is conducted with good results by employing personal effort of the learner. Note that the instrumental function of reading, as a school subject in middle school, has as main objective the students’ acquisition of knowledge.

Training the students’ ability to orient the text read, according to his specifics can be provided by explanatory lecture. Reading components offer multiple resources for recovery. The explanatory full text content reads, regardless of genre or species to which it belongs.

Most of the texts read textbooks or reading books for middle school falls within a genre and species or literary passages containing replicas of different categories. The texts of the most numerous and accessible to middle school belonging to the genre is epic and generally creates difficulties from a didactic point of view.

The textual approach is necessary to know the relationship between the author and the reality expressed by specific modalities. For middle school, age is suitable for the narrative texts that meet accessibility requirements and develop themes within the knowledge of students. The closest to students are texts with actions in a fantasy world where anything can happen, with twists, which, ultimately, good will overcome evil, whatever form it takes.

Students are familiar with this fairy tale reading class in the fourth grade. Without resorting to a definition, without recourse to notions of literary theory, first reading (which can be repeated until the appropriation summary of the content), it is determined that the text that narrates something (an event, action). Students can ask questions: Who says? (The author). Who commits the acts, incidents recounted by the author? (These are the individual and collective characters).

The student can understand the text, if led, to intuit action, carrying the more or less drama. He seeks the conflict between good and evil in fairy tales, where these two contradictory elements are well defined and honestly enjoyed good success, being always with the favourite hero.

There is thus an active, determined, might say, the innate tendency to want the triumph of good. This natural tendency of students can be used as a starting point for understanding how the author of the fairy tale, gradually organizes running the action, until the climax, which naturally attracts most students and then to the outcome that gives full satisfaction of the triumph of good over evil.

An important role in understanding the epic text has its exposition that provides the natural, and the main characters during the action. The texts of these elements appear clearly from the beginning. Often, time is of no interest, because the facts and characters depicted are generally valid, the manifestations of fundamental human attitude towards life.

Often, though the plot is a brief moment of the subject, which determines the conduct of the action, sometimes even outcome. This time is usually immediately after establishing the place and time of the subject and his determination is meant to guide further the students’ attention on the course of the action.

The texts read by young school students, the activity is often reduced to one or two main ideas. Sometimes it is broader, encompassing many times.

The analysis of involvement shall be directed further to the reception and understanding of the main plot, which is the most exciting part for any reader. The analysis of the main plot offers great educational resources marking the peak moments of emotional experiences. The outcome may include or be supplemented by teaching, a maximum or a proverb, arising from the wisdom of our people, the concept of health on life, it remains the same: reading explanatory. It is a combination of reading along with explanations leading to the understanding of the text message.

An effective strategy must be simple and a dynamic adjustment for specific situations that may arise, to leave room for the creative intervention of the teacher. The activity performed by young school students requires tact and mastery of the didactic skills of the teacher, respect for age and individual peculiarities to blend the three dimensions of learning: instruction, training and education.

School age is the most conducive to accustom the student with books, of an appetite for them, stimulate and develop the imagination, vocabulary, thinking, spontaneity, creativity. The child begins to see the world with the eyes of a primitive man, for that fantastic explanation of the phenomena of nature, life and society is the most accessible. The child inherits fantastic thirst of the first people, and the story gives the first elements with which will make a picture of what is called the world of men.

Many teachers were asked if in an age where science gains far outweigh the Millenary dream of mankind is useless to tell them fairy students. What effect can the “magic carpet’ have on the imagination of a child who knows the plane? What size will his astonishment reach, chasing the hero in his wanderings on the seabed? What effect would that have on the mirror’s magic, you know the TV?

Despite the invasion of modern technology, the story remains in the hearts of the students. Great storytellers themselves have realized its educational potentialities.

Charles Perrault says in the preface to his volume of tales (1695) that those at an early age have not clarified the concepts of good and evil, so it is necessary to coat childhood filled with magic and mystery of the story and fairy tale. They stir up the desire of students to compare with the best and also the fear of evil wicked falling because of their wickedness. Meaning that any method of education is to provide concrete ways of achieving effective operations in detail that rendered them in the act of teaching the teacher and students in the act of learning. This role they have teaching methods that are part of the method. The method could also be defined as a set of organized processes. It describes a method meant to present this series of processes integrated into a single flow of action.

The value and effectiveness of a method lies in the quality and efficiency of processes which it brings it together. In a method, processes can vary in number and position can change places without affecting the purpose intended.

The variety of processes makes the method more attractive, interesting and effective. The relationship between method and process is dynamic. There are situations when a method serves as a method in another method, as well as situations when a process becomes an independent method.

Educational methods and procedures are used in all disciplines, including Romanian and English, neither old nor new. Active methods, may renew to meet the demands of modern education, and modern methods may become the traditional time. Any method rests a degree of activation. No method is universal. Importantly, however, to consider to what extent corresponds to the ontogenetic development and more significantly, to what extent is appropriate content that you submit and purpose which it seeks.

In recent years methods have been criticized reports, showing that it would have made the student in a passive element. Over 90% of school learning activities are conducted orally: teacher story, explanation, demonstration, and the student were forced to listen. Despite these limitations, verbal methods cannot be excluded completely. They can be customized and combined with modern methods, complementing each other.

Next, I will present some traditional and modern methods used in teaching narrative texts, showing their role and importance in the development of small vocabulary, by inspiring them to enjoy reading and stories.

Teaching students to orientate the text read, according to his specifics can be provided by explanatory lecture. Components of reading explanatory offers multiple resources to exploit fully the contents of a text read, regardless of genus or species to which it belongs. General methodological approach to reading comprehension involves the following components: preparatory work for reading; a full reading of the literary text (usually reading model): reading the excerpts and explain unfamiliar words and phrases; analysis of fragments; removing the main ideas (development plan ideas); generalizing conversation; final reading (selective roles); creative activity in connection with reading material (didactic game, motion game song, etc.).

Usually the text's narrative delineates the criteria defined fragments, or their internal structure or the conduct of the action itself. Content (thematic ideas, etc.) can be removed after reading the full text, setting out: What is the main idea of the text? What other ideas is also drawn from the action?

Fragmentation of literary texts work can and must be realized through previous training: Let the main ideas formed either by the teacher or by the authors of the manual; main ideas are given only for a part of text fragments, asking the students to identify suitable fragments for each idea. The rest will be delimited text fragments through personal effort of the students.

A productive form of labour techniques familiarizing students with reading the book is going. The teacher gives each student the task to read the text silently to select words and phrases us (value expressive). It's better to ask students to indicate the synonyms unfamiliar words and phrases (referring to a school dictionary), introducing those to new contexts.

An effective form of self-involve is selective reading, the teacher asking students to read certain passages or passages usually very educational and artistic value. Those involved are used as answers to questions or topics of teaching formats for analysis of texts. Both questions and topics should seek effort thinking from students. Through data themes, aims equally to reading and writing. An effective form of written matter is the copying of certain parts of the text. Any written theme must be preceded by practicing the act of reading.

Conversation is the method of teaching, teaching capitalization consisting of questions and answers. It is a word that means the exposure, but more active than this.

Heuristic conversation is such as to lead to the discovery of a new student. Some contemporary authors even suggest a form of learning through guided discovery. In the form of a series of questions and answers at the end of which result, as a conclusion, the truth or a novelty for the student involved in the learning process.

Conversation examiners (catechetical) whose main function is finding the level at which the student knowledge at a time. It differs from the heuristic in the sense that it is not mandatory formation systems or series of questions and answers.

Conversation in actuality is really active, multi-directional, called conversation-debate. Requirements are addressed on the one hand students, i.e. they can be involved in the discussion only when you have (a) the information involved in the problem, (b) the method should investigate the scope of the debate and (c) the ability to understand the points the views of others.

Storytelling is an expository method in which an oral form of narrative or description which are portrayed through facts, events and happenings distant in time and space, natural phenomena, geographical landscapes, etc., that a student cannot know otherwise. The aim is to provide an amount of intuitive images and representations on which can then be developed certain generalizations. The teacher must be an excellent storyteller using an expressive language, with appropriate intonation and gesture, showing approval and admiration for events organized. The story may be accompanied by photos, drawings staff, power point, making the students to follow the events tense.

Role play or role playing is a method of application and use teaching psychodrama, psychotherapy method created by J.J. Moreno in 1921 and entered into circulation, especially after 1934. Nowadays, role play is considered an active teaching-learning method based on simulating the functions, relationships, activities, events, systems. Students are regarded as some actors of

Social is preparing and forming certain abilities, beliefs, and attitudes. I think that role play can be introduced in the lesson at all times when the teacher deems it necessary: in the introductory part of the lesson, if they are to familiarize students with certain actions; during the lesson, to restore or capture the attention of students; at the end of the lesson, if the game is aimed at verifying or systematize a set of knowledge, skills and abilities.

Role play occupies a special role in active learning enables pupils cognitively and effectively putting them in different situations. They interpret certain roles, imitating characters. Reveal the correct or incorrect behaviour in certain situations. Check the correct behaviour and collapse the wrong format.

Modern methods in addition to traditional ones, helps the student to seek, to search, to find one or group knowledge to appropriate them, to find solutions to problems, process knowledge, to reach reconstructions and re-systematization of knowledge. There are methods that teach the student to learn to work independently and in groups.

Usefulness of education is an essential component of improving the educational process is most closely linked to the personality of the teacher, the teacher’s mastery of his creative spirit of initiative and his commitment. A fundamental orientation to refine the methods of education which consists in understanding the methods must also be a learning tool for teaching the child not only because the current requirement is to equip students not only with knowledge but also methods of knowledge reality with effective learning strategies, techniques specific activity of acquiring knowledge.

Classroom experience, we found that applying these methods may not be effective without relying on traditional methods ignored lately. Many teachers and teachers in their teaching focus on modern methods, active and refuse and refuse to recognize the importance of old classic without which the assets would not be effective.

Approaches, methods and techniques of teaching language skills

1. Behaviourism – Audiolingualism

L is a “taken for granted’ passive process, a mechanical process based on the stimulus (hearing spoken chunks of language) – response pattern (identification and organization of these into sentences, i.e. recognition and discrimination of sounds and words, recognition of intonation patterns, rhythm, rather than understanding of meaningful language stretches). The techniques used mainly consist in repeating, imitating and memorizing of prefabricated language, while totally disregarding cognitive processes.

2. Cognitive – Total Physical Response, The Natural Approach

L is considered a more dynamical process of cognitive nature. Therefore the development of L skills focuses on comprehension (as a cognitive process) premised by the idea that understanding language facilitates learning (rather than acquisition). In point of techniques, learners are exposed to large amounts of listening material while asked to decode meaning and perform simple selection tasks (Audiolingualism); listening is immediately followed by production (The Natural Approach).

3. The Interactions Approach (The Socio-Cultural Turn): CLT, The Post-Communicative Turn

The interactive, social and contextualized perspective of language learning focuses on connected speech (discourse) rather than on isolated pieces. There is also a shift from controlling on formal aspects of language to content and meaning, too communicative intent (purposeful listening). Information processing, while listening (sequential order of input, perception, recognition, and understanding stages) is coupled with a constructivist stance: listeners actively construct meaning according to their own purposes for listening as well as their own prior knowledge and experience. Prior knowledge is identified to schemata, further subdivided into content schemata (topic familiarity, cultural knowledge and previous experience with a particular field) and formal schemata (knowledge about text types – stylistic conventions as well as the structural organization/variety of formats). The socio-cultural context has gained ever increased importance in language learning as the process does not take place in a social vacuum. Admittedly, special attention is paid to the effects that status relationship between participants had on language behaviour (level of formality). In fact, it is pointed out that listeners engaged in face-to- face interaction must pay attention to this variable in order to determine which type of verbal behaviour should be appropriate when delivering a response. Nonverbal language is equally part of the social context in which listening occurs: body postures, body movements, facial expressions, facial gestures, eye contact, and the use of space by the communicators) as well as non-verbal paralinguistic elements: tone, pitch of voice, etc. Consequently, an understanding of all these aspects would provide important clues for interpreting what is being listened to and, in turn, facilitates the whole process of listening comprehension. Besides, there is the question of the cultural load (intercultural pragmatics) – different interpretation of non-verbal language, formulation of different speech acts and politeness issues, such as the directness-indirectness continuum.

To sum up, listening is considered as a middle vehicle for language learning, achieving a status of significant and central importance in both language learning and language teaching fields.

Select a representative scene from a film, brought in by the learners, which shows a given cultural topic. Prepare a series of questions divided into three phases (i.e., pre-listening, while-listening and post-listening) with the aim of activating, developing and reflecting on their cultural knowledge of such a topic while practicing their listening skills.

Visual listening

Pre-listening phase: Do you think the topic of (…) is representative of the target culture and of your own culture? Why or why not? Which ideas come to your mind when thinking about such a topic?

While-listening phase: Can you identify elements such as pauses, changes of intonation, tone of voice or periods of silence that involve cultural meaning? Which is the setting of the scene? Does it involve particular implications for the development of the situation? What is the participants’ relationship in terms of social status and power? Does such a relationship affect their communicative interaction? Would such interaction be different in your own culture? Which non-verbal means of communication can be identified (i.e., body movement, facial expression, eye contact, etc.)? Are they different in your own culture?

Post-listening phase

Reflect on the scene you have just watched and in small groups discuss the cultural differences that would arise if the same situation were to take place in your own culture.

The didactic strategy is a complex and coherent means of approaching methods, materials and other educational resources aimed at achieving goals; it occupies a central place in the teaching activity as lesson planning and organizing is done according to the strategic decision of the teacher; is conceived as a complex teaching scenario, the actors involved teaching – learning, the conditions to achieve the objectives and methods concerned; prefigures the route methodical best, most logical and efficient to address a specific teaching and learning situations (this can prevent errors, risks and adverse events in teaching activities).

Teaching methods are system components forms of organizing and conducting educational activities, methodological system that processes system and teaching methods, educational resources system or resources used, the system operational objectives.

Characteristics of teaching strategy consists in involving the learner in specific learning situations, rationalization and bring the training content / After peculiarities psyche-individual, building the foundation for optimal expression of the interactions between the other components of the training process involves combining contextual original only sometimes elements of the educational process.

Types of teaching strategies:

1. Inductive strategies, whose teaching approach is particular to the general;

2. Deductive strategies (opposite to the inductive): General -> particular law or principles-> examples of their realization;

3. Analogue strategies – teaching and learning is conducted using models;

4. Strategies as explanations transduction through metaphors;

5. Mixed strategies: deductive, inductive, deductive and inductive;

6. Algorithmic strategies: analysis, demonstration, intuitive, expository, imitative, programmed algorithmic itself;

7. Heuristic strategies – the development of knowledge through personal effort of thought, using problem-solving, discovery, modelling, formulating hypotheses, heuristic dialogue experiment investigation brainstorm, resulting creativity.

Teaching strategies are realized by methods of teaching and learning (informative and active-participative, self-study, assessment and verification). Do not confuse strategy with the method or teaching methodology.

The method aims at teaching-learning activity evaluation while the targeting strategy is training process as a whole and not a training sequence.

The educational methods are those ways that students arrive in the learning process, coordinated educators to acquire knowledge, skills, develop intellectual capacities and harnessing specific skills. The method is an action plan, a sequence of operations performed in order to achieve a goal; a tool in business knowledge and skills training; it is a technique that the teacher and students used to perform the act of teaching and learning; It provides practical implementation of activities designed mentally as a teaching strategy.

Functions of educational methods: cognitive – knowledge routing the purpose of acquiring knowledge; normative – methodological aspects, namely, how to teach and how to teach the student teacher; motivational – to stimulate interest in cognitive, supportive of the learning process; formal educational compensatory- of practice, training and development of mental processes.

Characteristics of teaching methods:

They are theoretical approaches to teaching and learning executive act that ensures efficient execution and completion of the educational process

2. They are investigative approaches (scientific knowledge), documentary and experimental applicative contributing to the development of educational theory and practice

3. Comprise theoretical and pedagogical elements energize

4. It is developed and implemented correlated with the degree and profile of education, with specific disciplines, the nature and specifics of teaching activities and the level of preparedness of learners

5. They are developed and implemented in close connection with the other components of the educational process

6. It is developed and applied according to age and individual peculiarities of pedagogical agents act

7. It helps to meet the staff

8. Are dynamic (remove the ‘obsolescence’ and adopt new, open improvement)

9. They contribute to effective teaching and learning (some serve in largely the work of the teacher, in teaching; others serve mainly student learning)

10. They are effective if used properly combine and teacher and creator.

Classification of educational methods:

1. Historically: classical or traditional method: exposure, conversation, exercise, demonstration; more recent and modern method: problem solving, exposure accompanied by technical means, modelling, an algorithm, programmed instruction.

2. Depending on how we present the main insights: report methods – based on A word; intuitive method- based on direct observation, concrete-sensory objects and phenomena of reality or their substitutes. Or:

Through oral communication: expository methods (story, lecture, explanation, description); interrogative methods – heuristic conversation; methods that require discussion and debate – questioning; brainstorming – a method based on contact with reality- demonstration, modelling, experiment.

3. After the employment of students in lesson: expository or passive method, focusing on memory and passive listening; active-participative method – promotes personal exploration and interaction with other colleagues

4. After the organization of the work: individual method- asked each student; teaching and learning in school group method (homogeneous or heterogeneous); frontal method – effectively applied in activities with the entire class; methods combined – alternation / connections between the variants above

5. After the main teaching position: teaching and communication; methods of fixation and consolidation; methods of verification and assessment of the results of school activities

6. Axis, according to learning -> the reception (learning mechanics) – through learning by discovery (learning awareness): methods based on learning by reception (expository nature exposure and demonstration); methods that belong mainly directed discovery: heuristics conversation, observation conducted, programmed instruction, case studies etc.; actual discovery methods: observation independent heuristic exercise, problem solving, brainstorming etc.

The didactic monologue verbal exposure presentation consists of a volume of information, by teacher educators, in accordance with the provisions and requirements of the teaching program of communication

The method of teaching traditional verbal exhibition can take many variations (depending on the age of students and their experience of life): story telling – presenting information in the form of descriptive or narrative, following the ordering in time or in space of objects, phenomena, events; explanation – exposure shape dominated rational argument, making their already occurring problems cleared up, theorems, rules, and scientific laws; school speech – a form of exposure in which information is presented as a sequence of ideas, theories, interpretations of separate acts, in order to merge them into a whole; it has an important role because on the one hand, shortens the appropriation by students of the Millenary culture of mankind, which by methods based on discovery would be much more difficult; on the other hand, it is a permanent opportunity for educators to provide education model ordering, clotting, argumentation, systematization of information in various fields; it must meet minimum requirements: contents presented – authentic and compelling, which requires thorough advance preparation of exposure to the following limitations and program objectives: no simplistic presentation of the contents, or excessive loading elements unrelated to the lesson are not normal processes, the volume of information to be reasonable in relation to age and learning experience for students, compelling logic and logical sequence: exposure to have a central idea in under a few main ideas; in turn, they must be explained and supported by examples and detail ideas or ideas to arise from each other to be only illustrative examples enough, if the story, a special requirement – plastic character, emotional, suggestive of exposure, which is supported even dramatic elements, mimics, gestures, expression: language and style appropriate to the audience level; logical clarity and grammatical correctness, maintaining optimal pace (about 60-70 words per minute).

The didactic conversation in teaching is used through questions and answers (verbal method as well as exposure, but more active than this)

A. The heuristic conversation, it: is designed to lead to the ‘discovery’ of a new student, consists of a series related to questions and answers at the end, which will result, as a conclusion, the truth or novelty for student driven learning, questions and answers take shape compact series, each new question having its seed or starting point in the previous answer, puts up the experience of knowing when a student, which would allow him to give answers to the questions that must be provided.

B. Conversation examiners: its main function is finding the level at which the student knowledge at a time; it differs from the heuristic – not mandatory formation in systems or series of questions and answers (each question along with the answer or make a stand-alone small universe in relation to other questions and answers); it must take into account several requirements on the quality of questions on one side and the answers on the other

Qualities of questions: to be made ​​properly, both in terms of grammar, and logic; to be accurate; convenient and concise question has to refer to limited content; questions are being of sufficient variety: questions that claim dates, names, definitions; explanations posing questions; questions that express problematic situations; the question to be associated with during each time thinking that you require, depending on its difficulty; during the formulation of a response, it does not occur unless the student commits an appropriate action; they are profitable and any questions that require answers given mono-syllabic and even suggest covering the response; the first question is formulated and addressed the whole class, and only after some time of thinking is called one who has to answer; they are given questions deliberately misleading

The quality of the response must always have correct spelling and logic required, regardless of school material in which it formulates; response to cover the entire scope of the question; response to target precisely the essential content of the question, while having the most convenient brevity; for small classes – the answer to be given in a sentence or phrase ending; the student will be instructed to avoid fragmentation formulations, jerky, possibly with elements that ‘parasite’ and mistreat the speech.

C. The conversation in actuality

Requirements for students: they can be engaged in debate only when available: the information involved in the problem, the method required to investigate the scope of the debate, the ability to understand the views of others.

Requirements for teachers: socio-emotional climate created necessary based primarily on group cohesion; to organize the group discussion in a reasonable number (15-20) to give everyone the opportunity to express their views; to care for the best arrangement in the space group; to avoid as much as possible imposing his own opinion, assuming only the role of moderator; to care for an approximate allocation of time to treat each issue included in the debate.

The demonstration method is the method of teaching – learning in which the student is sent the message includes a concrete object, a concrete action or their substitutes.

Forms of demonstration (depending on which is based the middle of each): proof of objects in nature; demonstration activities; demonstration of substitutes objects, phenomena, actions; proof of combined; demonstration of technology.

The proof in objects: the main power student information consists of natural objects (rocks, seeds, plants, chemicals) as much as possible within the context of their existence (for example, certain plants or animals).

Advantages -> print learning, particularly compelling rate

Demonstration in actions: source of knowledge for the student teacher is an action that shows him and the target to achieve is to make that action a habit; educational requirements to comply: layout, grouping, prior training of students, a practice enough prior to action by the instructor, demonstration to be done effectively, consist of real action and not the 'imitation' or mere verbalization, to weave in the shortest time with exercise, that action be taken by the student, to be supported by explanations from the instructor

Proof of substitutes is very highly extensible (substitutes or materials made ​​or prepared easily at hand Educator): plan, maps in various fields, pictures and paintings, the three-dimensional material.

Advantages of this method:

1. The distance in time and space does not permit, in many cases, appeal directly to concrete objects or phenomena;

2. Too complicated composition of objects and phenomena of reality – through substitutes, can simplify or by viewing either the schematic;

3. Impossibility existing use of natural

4. Substitutes can stay available indefinitely educated

5. Financial effort lower compared with the original

Combined proof: proof of experience, drawing demonstration by teachers.

Proof by experience – a combination of demonstration and the objects of actions.

Demonstration by teaching drawing – drawing performance by the teacher in front of students, the latter drawing along with him (demonstration that combines action with substitute)

Demonstration of technical means: is supported by technical means: audio; video means; audio-visual advantages:

1. Play with great fidelity, both in the sound and vision;

2. Can capture aspects that another way would be impossible or at least very difficult to play;

3. Due to different techniques of trick, can separate, decompose and invisible phenomena play in another way;

4. Allow rapid resumption, whenever needed, thus avoiding embarrassing time consuming;

5. Because of novelty it contains and even aesthetic appearance of which it implies they are more attractive to students and more productive.

Requirements: organizing special space where demonstrations are of this type (opaque curtains, desks, etc.); judicious choice when using demonstrations of this kind, not ‘jam student work’, preparing special educators for the use and maintenance of the functional state of devices, materials, equipment contained in this endeavour.

4. The method of observation consists in following systematic observation of the student objects and phenomena that are learning content in order to grasp their material qualities, the method of learning through research and discovery, according formatted supposes several stages: -organizing observation (own observation, processing the collected data, recovery observation).

5. Working with the manual is a method of teaching is based on reading the textbook and explains, in class, under strict guidance of the educator. It has a specific development, from reading full, continuing with analysis and ending with parts or aspects of the entire play trying and related applications.

6. The method of exercise consists in performing repeated exercise and awareness of an action in order to acquire practical action of a given model or an improved performance not limited to skills training, target while consolidating knowledge, is compatible with any content education, exercises can be grouped according to at least two criteria:

a. Following form: oral exercises, written exercises, practical exercises.

b. Following order and complexity – exercise input in a given model or introductory exercise: students are explained first activity, which they apply in parallel with teacher explanations; of acquiring or strengthening exercises given model, also called basic exercises -> student resumes the lesson and is repeatedly explained what action; binding exercise knowledge and skills old and new, known and parallel exercises, with the aim of integrating skills in systems becoming larger; creative exercises or heuristic.

Requests: pupils are aware of the purpose of the exercise and to understand better the action of the learned model, exercises have sufficient variety, otherwise risking forming only partial proposed learning aim, exercises observe a certain gradation of difficulty in their application. More complex skills are formed by the successive integration of simple skills, exercises have, continuity in time, otherwise gaps can occur that prevents the student to form normally targeted skills, exercises have the best rate and optimal duration, practising be always accompanied by correction and auto-correction.

7. The algorithmic process is a  teaching-learning method consisting in the use and exploitation algorithms. Algorithmic means finding the teacher chained operations each activity necessary to learn and student chalks on an algorithmic way, knowledge or techniques work by simply traversing a path already established, while in the learning of heuristic learning occurs based on their searches.

8. Modelling teaching is the teaching-learning method in the following message sent is contained in a module (the model is a simplified reproduction of an original, so that it is highlighted item of interest). It can be done in several ways: enlarge or reduce the scale of similar replicas (replicas, casts); materialization (figurative play of numbers or groups of numbers); abstraction (play by certain formulas or numerical literal whole series of objects, processes, shares); analogue (imagining a new object or device, whose operation will be designed compared to another object or structure or use existing device, similar). Using the model involves activation of the student.

9. Problem-solving is known as teaching through problem solving or, more specifically, teaching through problem solving productive is a teaching method that consists of placing the student in front of deliberately created difficulties in overcoming which, by its own effort. The student learns something new.

Types of problematic situations: when there is a disagreement between the ancient knowledge of the student and the requirements of solving a new situation; the student must choose a chain or system of knowledge, even incomplete, only those necessary to solve a given situation, and will complete unknown data; the student is faced with a conflict between how to resolve possible theoretically, and the difficulty of applying it in practice; the student is required to notify the dynamics of movement, even in a seemingly static scheme; when the student is required to apply the new conditions previously assimilated knowledge; favours formative aspect of education (student participates effectively sustain and develop their interests knowledge)

Requirements: the existence of a fundamentally sufficient perceptive student; dosing difficulties in a certain gradation; choose the right moment to place the problem in the lesson; the existence of a genuine interest in solving the problem; providing a relatively homogeneous class, the upper level; a fact not much in every classroom; avoid overloading curricula.

10. The training program is a multifunctional method, including a chain of algorithms, but also solved the problems presented mainly in the form of verbal, but with the inclusion of intuitive aspects.

Principles of training programs: the principle of small steps – matter is divided into fragments, to the understanding of students(the size of these steps may vary depending on the level at which they are learners); the effective principle response – according to him, in order to move forward, no gaps allowed response or ’jumps’. (Usually each answer is based on solving other people's past); the immediate confirmation principle – after each reply, the student confront list or 'key' accurate responses. (This acknowledgment informs the student whether or not to continue with the next sequence); the principle of individual pace – Each student can provide learning program, which we go through according to its possibilities.

Types: branched programming and programming combined

The methods used in the training program: programmed textbooks, programmed learning machines (computers – besides displaying on screen, performs and learning management)

Advantages: increased possibility of understanding the division of matter; the inconvenient removal rate of learning, given the individualization; the many fine gradual independence of the student, where at least partially mitigate the effect of the lack of teachers, lack of teaching assistants in family or student; it saves time.

11. The case study is the method which consists in confronting the student with a real-life situation, through whose observation, understanding, and interpretation, are to make progress in knowledge

Stages of the case study: choice of case and outlining the significant elements; the state of the case, which can occur in many forms, among them launching a problematic situation; the acquisition of information about the case; the systematization of the material by use of various methods; the discussion of information gathered, which can occur through various methods;establishing and capitalizing own conclusions: a paper communication, a series of hypotheses tested in the future, a decision to make.

Advantages: location of the pupil in the middle of concrete reality => understanding their essence and retaining sustainable truths and application in real contexts; the active excellence of the method – all students can engage in solving the case; foster a spirit of responsibility and capacity initiative group; promotes student socialization and collaboration capability.

12. The simulation methods (role playing) game is a method is presented in two categories: the one hand the teaching or educational games, on the other hand category of simulation games. Educational games have a degree and at a time, empirical imitative character (are their age and pre-school education). Simulation games – have another record and another meaning, being genuine training opportunities for real fulfilment in life roles (school age and older shows mostly in the form of role play). Teach simulators – all a composite method – combines many of the methods mentioned above and presented.

Role play is an active teaching-learning method, based on simulation of functions, relationships, activities, events, systems, etc.; follows the formation of human behaviour from the simulation of real situations

Advantages: activates students cognitively, emotionally driven, putting them in a position to interact; the dramatization, provide problem solving, increase understanding and active participation of students; interaction of participants provides effective self-behaviours and acquisitions; highlight the correct or incorrect behaviour in certain situations; is one of the effective methods for training fast and accurate beliefs, attitudes and behaviours.

Disadvantages or difficulties related to the use of the method: it is an impractical method (involves not only teaching skills, but also skills in directing and the acting head of the game); although work based on the relatively little role play lasts an hour -about – designing and preparing to take time and effort from the teacher; the risk of devaluing the role play as a result of consideration of it as something childish, facilitated by students; it is possible emotional jams and taking their roles by some students.

Stages of preparation and use role play

a. Identifying human situation that lends itself to simulation through role play – it is a very important situation to be simulated to be relevant objective, behaviours learned by students in the interpretation of roles.

b. Modelling situation and scenario planning – simulated situation is analyzed in terms of statuses and categories of interactions involved. In real situation scenario are retained only essential aspects: the status and roles of the major sites that serve up an instructional model. Next is to develop the script itself that the new structure of statuses and roles, which course is much simplified compared to the real situation.

c. Choice of partners and their training requirements relative to specific and role-play – it's casting and familiarize the participants with the tasks done. Statuses and roles are described in detail for each participant on a sheet; distribution can be predetermined by the leader election or activities.

d. Learning individual role of each participant in the study sheet – required that participants be allowed 15-20 minutes to and internalize the role and to devise its own way of interpretation.

e. Debate with all participants of the interpretation and replay sequences that have not achieved the expected behaviour. To attend and observers debate. It is necessary to give them priority interpreters to communicate what they felt.

Types of role play: game representation structures (e.g. An organization of companies or institutions can be reproduced in a dance hall, the corresponding spatial distribution of furniture, the status and roles fulfilled sites); game decision (students are distributed statuses and roles designed to simulate the structure of a decision-making body, dealing with the important decision-making situation, the students themselves are put in a position to make decisions); competitive Game (for obtaining performance). This game type is aimed to obtain the simulation performance Defeat an opponent, real or imagined

13. Learning by discovery refers to a situation where learning material is presented in a final form of the teacher (as happens in learning by reception), but requires a certain mental activity prior final outcome in cognitive structure.

Education means represent all objects, tools, products, equipment and technical systems that support and facilitate the transmission of knowledge, training, skills, assessment of acquisitions and development of applications in the educational process. The technical means of instruction are a set of educational resources to support that claim compliance with technical rules to use special devices that machinery, equipment, machines, tools, plants used in the teaching process.

Classification by means of training (depending on the requested analyses and systemic and dynamic nature of the set): visual technical means: overhead projector, maps, worksheets; technical means hearing: radio, recorder, etc.; audio-visual media: video player, TV, computer.

Educational purposes (for the use of these methods); raising students for the activity of teaching; supporting new perception by students; communication, transmission, demonstrate / illustrate the new; understanding of new students; applying and practicing new theoretical and practical knowledge; establishing and strengthening of new knowledge and skills; checking and assessing students' knowledge and skills.

Characteristics of technical means of instruction; flexibility or adaptability – refers to the possibility of adapting them to the needs of the moment; generality (is a property associated flexibility) – refers to the ability to encode in different forms, information messages transmitted to the human receptor; parallelism – is the possibility of simultaneous use of the same means many purposes or multiple users in the same unit of time; availability – a property of technical means determined by their complexity and the ease with which they can be used (as a technical means is more complex, the user, access depends to a greater extent by special training programs for knowledge and handling apparatus); safety and operation – is a feature of correlated with the reliability and maintenance and refer to that certain rules and operations to commission the use and stopping devices.

Pedagogical functions of educational resources: feature training; feature learning, motivation and guidance at the professional interests of students; feature demonstration; formative function and aesthetics; substitute functions tuition or education achievement to / from remote; feature student performance assessment

Educational resources can be grouped into two categories:

a) Means for education that include the teaching message: natural objects, original – live animals or preserved herbarium, dioramas, aquariums, materials; figurative and graphic media – maps, charts, albums, panels; symbolic-rational means – tables with formulas or symbols, drawings of letters, words, structural or functional schemes; audio-visual technical means – slides, films, media, audio and / or video.

b) Means of education that facilitates messaging staff: instruments, laboratory equipment and systems; technical equipment for workshops; musical instruments and sports equipment; trained machines, computers and computer equipment; educational game object, electrical or electronic; simulation teaching laboratory equipment noise.

Ways of organizing teaching activities (depending on the way of development); frontal activities, group activities, individual activities, frontal activities include: lesson, seminar, lab, in the cabinets specialties, visit, trip, show etc.

Teaching is based on the treatment front undifferentiated labour equal to all students in the same class; teacher's role, organizes, leads and directs the work of students is called masterly; teacher is the predominant activity – based solely on exposure, the transmission of knowledge to a whole class of students => reduce learning passive acquisition of knowledge and greatly limits the collective work itself; students performed at the same time and in the same system, the same tasks, but each works strictly individual, without establishing interdependent connections between them. => Communication between colleagues and possible cooperative learning are minimized, which occurred just outside of teaching, during breaks and free time; is still preferred when aiming exposure to fundamental concepts, synthesizing a more comprehensive, conducting demonstrations, awareness and gaining adherence to an idea, or when looking shaping opinions and attitudes by address profoundly emotional and educational themes.

c.) Guided group activities include: counselling, tutoring, independent exercises, visit in small groups, the circle of students, meetings with experts (scientists, writers), contests and debates school, communication sessions and reports, school magazines.

The traditional type remains, and teaching group classes conventional, with a staff of about 30 students. It can also be used to organize groups of students work => teacher guide and direct the subdivisions / micro-collectively (called groups) consisting of students to a class and watch some educational objectives identical or different from one group to another. These groups (3-8 students) can be homogeneous formal –micro-collectively or made ​​by well-established criteria in advance and precise structure (e.g., students with the same level of training in the subject, with the same educational needs with the same interests or motivation) or homogeneous / heterogeneous – micro-collectively informal or spontaneous initiatives established by the individual after the preferences of the students and have a coordinator

Organizing the binomial (pairs) made ​​either by the teacher or students randomly after certain preferences or better specification criteria. The student work combined organization refers to the combination of the above, depending on the operational objectives and concrete characteristics in an educational context.

d.) Individual activities include independent study, doing their homework, study libraries, further reading and completing the preparation of projects, papers, designs, drawings and other works written scientific communication, practical projects:

Focus on work independently without direct supervision and advice from the teacher

More than one individual, organization activity: training tasks common to all students, with themes differentiated level groups with different themes for each student. In the latter case, the activity is called individualized or customized to take into account the physical and mental peculiarities of each student, the level of his training, his skills, and his educational needs.

The teacher will organize teaching activities so as to increase the chances of success of achieving goals, adopting a variety of activities to its specificity and potential students.

The strategy is linked to operational objectives and contents of school and has direct implications for school performance because school results are dependent on the application and routing of interactions between the teacher teaching strategies and learning objectives.

A teaching strategy prescribes how the student is contacted with the content of learning, i.e. the path that's going to be driven learning effort. It gives solutions on procedural structural design and combining different methods, means and forms of teaching and learning resources for students to reach desired acquisitions and educational objectives to be achieved.

Content-related objectives in the training school strategy express the algorithm to be followed in developing the design staff:

• Are established at the beginning of the framework objectives (general), then the referee and operational specifying learning activities (Annexes);

• Follows the analysis of human resources (classroom), taking into account the level of intelligence of students learning motivation and their skills. It will take into account the gaps in knowledge, the knowledge of students, learning skills and how;

• Contents of the teaching – learning objectives are established based on existing human and material resources;

• Teaching strategies and methods of teaching – learning – assessment is determined according to the educational objectives and content;

• Depending on the objectives, contents, strategies specifying the forms of teaching activities, i.e. the types of lessons and other educational activities;

• All this is done by the teacher in teaching his behaviour.

To make an informed choice of learning strategies in order to be prepared for designing lessons, the teacher needs to know: What teaching methods exist. What are the strengths and weaknesses of these methods .What each serves for. Are they properly implemented?

Choosing learning activities do not depend entirely on your goals. It is essential to take into account the students, the environment, and classroom equipment available and emotional climate.

Following a survey of 11-18 students, researchers found that students like action: to discuss with the group, to produce something to be created. It is wrong to cultivate one or two methods of teaching and remain faithful to it. A variety of methods that enhance the students’ attention and interest offer flexibility for the teacher.

The activities with the best storage rates are those that require learners to actively apply what they have learned, rather than passive receivers; require the student to form mental constructs; workloads involving higher order; require students to process information in more parts of the brain and to use multiple senses and learning styles.

Sometimes passive methods are also useful, but not sufficiently. For example, the teacher demonstrates a complicated theorem and then students apply it to solve a problem.

In preparing the lesson, the teacher should take into account the students’ learning styles. Not all students learn the same way and certainly not all do as the teacher.

It is tempting to teach by methods that have been useful in the process of learning, but that does not mean they are appropriate for all students. Just a variety of activities provide intervention on the strengths and preferences of each student, at least occasionally.

As the representation of the ideas is more varied, the better students will understand the concept taught. It is the concept of multiple representations.

The learning styles of students can be classified in various ways, but the conclusion is that each student, according to specialists, can learn all existing styles and learn better the more they are varied.

The left hemisphere learning (verbal, sequential or surrealist) prefers to teach step by step, organized, orderly, break it into categories and analyze them separately, good at deductive thinking, cause and effect, working on new ideas rather than dreaming new details. Those who learn by doing well in the left hemisphere of the evaluation process are more successful.

The right hemisphere learning (visual, holistic) prefer to see the whole in context, picture, meaning, relevance and purpose of what they learn, has similarities, patterns and connections regarding they have learned previously, they are intuitive, have creative and imaginative ideas, prefer group work.

Teaching through the left hemisphere consists in breaking the subject into logical sub-units and their teaching time. For the right hemisphere teaching should focus on the effect on the big picture, to highlight the connections and relationships between concepts in a better structure of information, making it easily accessible for long-term memory.

The environment: students may prefer different brightness, background music, various special locations, etc. The type of personality: activities, flexible theorists, pragmatists.

Exposure represents communication with the teacher of certain new knowledge systematically in the form of oral presentations and sustained congealed. It can take three forms: lectures, storytelling and explanation. Of these, the teaching of literature, storytelling is mostly used. Now, however certain features of the lecture, even if it is more frequently found in high school because the advice given below are more for efficiency regarding this method which can be applied for shorter periods in which the teacher explains certain concepts or expose students a method of demonstration.

Exposure occurs through storytelling only for the presentation of items of literary history. These historical insights are welcome to increase learning, motivation chapters (there may be funny happenings that led to the discovery of concepts). You can enter through the storytelling process some famous periods and biographical dates of  the authors who have dealt with their development. Teachers with experience, consider questions an extremely important factor. Teaching by questions teaches the  students to think for themselves. The students are actively involved by asking and style tends to stimulate the students’ curiosity. They are encouraged to think in the style of the lesson. The logic of the discipline is exposed, and the students are encouraged to use it.

The focus of the lesson is based on the questions which tend to be on understanding the phenomenon and it’s not simple knowledge. In a frontal lesson, students are transmitted what they should know, but do not insist on understanding or remembering what they were taught. As a result regarding the questions, however, the students formulate their own assumptions and prior knowledge is challenged and corrected.

The incorrect misconception process is called unlearning. Corrections are a vital part of the learning process. Last but not least, the teacher who uses questions immediately receives feedback about the level of understanding in students, even during class.

Another important aspect is that every student needs to know that his learning is successful. Nothing motivates more than one student who received immediate praise from the teacher, as a correct answer. Psychologists who have studied learning based on stimulus and response have found that an immediate reward encourages learning.

The content of the middle education, included in the syllabi and textbooks, as well as numerous readings, which students have special hours either reading or as a private activity outside the classroom and the school provides a rich information material with great educational resources is the main goal to follow in order to teach students. In the work carried out, some supported the idea of ​​moving from information to moral behaviour towards the training and education of feelings, beliefs. Feelings are formed gradually through examples and exercises, they live by the contribution of education and with age.

Harnessing the educational potential of this informational content requires firstly the disclosure of educational resources, the delimitation and formulation of their goals whose purpose is to target a specific behavioural act. Dissecting the real content in order to determine educational values ​​occurs in during the preparation of each lesson. This time can be determined not only by high ground targets to be studied, but also by operational, educational objectives drawn not only from the general content of the lesson (text), but also sequences.

Formulating educational goals, however correct it may be, cannot ensure the maximum exploitation of the educational potential of the knowledge embedded in a text. This depends largely, as it has been said, the way they are used are known methods that we also referred to the right place to ensure both the acquisition of new information and in achieving educational, emotional stability.

The recovery of educational content knowledge is both a matter of content and especially methods. From the point of view of the teacher, the content is designed to process information in set programs and textbooks in order to formulate general and specific objectives, including education, the different methods used, everything depends on the ability to choose and usage of methods which encourages a better understanding of knowledge, to provide a wide field of exploitation of their educational resources.

Formulating educational goals and their operation in terms of behaviour is a complex activity, it can be accomplished with relative ease if it is considered, for example, that a feeling especially a patriotic one, ultimately assumes an attitude, a feeling, and this is actually a simple form of manifestation of behaviour. Seen this way, the purpose of the information regarding educational values ​​not only has to be determined for each sequence of content which also implies educational resources and the results vary in experience, feelings, and attitudes.

Verifications of such ends are made taking into account the specific training said regarding feelings. These, of course, are not verified by questionnaire or by other means as in the case of concepts, but in states which any teacher can find in his/her pupils. These feelings may be troubled by questions which, in fact, one cannot find the answer through words.

Explanatory reading, as a specific method of teaching should be used depending on the specific text. What determines the adaptation of its use in understanding the peculiarities of the text is the so-called ‘informational message’, but mostly, harnessing this message as an educational report, particularly in view that disclosure of the contents emotional resources generates emotional feelings. Only in this way, one can trigger the appropriate attitudes, which in essence are the simplest forms of behaviour. In such a way we can achieve the transformation of information into acts of conduct. In the whole process of moral formation, patriotic students altogether have the exceptional role of moral sentiments. The cultivation of moral sentiments is not just a matter of content, but also seen from a methodological point of view. Even if specific methods of training and cultivating feelings require a caveat: the formation of feelings is particularly the training of scientific concepts. Experiencing a new feeling is achieved by creating a specific ambience based on the certain knowledge that their content and educational resources that are designed to develop appropriate feelings in the content of some sequence.

Activity characterization characters, underscore chosen traits that ultimately, are decisive in ensuring their victory represents an intuitive way, concrete civic moral education of students. Its value lies precisely in the fact that the behavioural model is not only described, but it is presented live in direct action. A way to exploit practical example of a literary creation is particular to the general, from the analysis of the facts, the data, in a word, to formulate a model analysis rules of moral rules, the chance to transform the beliefs and feelings that will generate facts of conduct to students.

To characterize a character it essentially means, to highlight its moral and physical traits as drawn from the literary work

The characterization is a composite one based on the literary text that has a specific structure, but considering the requirements and general parts of a composition.

In the traditional model, teaching vocabulary was reduced to learners’ having to look words up in the dictionary, write definitions, and use words in more or less conventionalized sentences. Word lists, teacher explanation, discussion, memorization, vocabulary books, and quizzes were often used with a view to facilitating students to learn new words. As a rule, the teaching of vocabulary above elementary levels was mostly incidental, limited to presenting new items encountered in reading or sometimes listening texts. This indirect teaching of vocabulary was premised by the idea that vocabulary expansion would happen through the practice of other language skills, which has been proved not enough to ensure vocabulary expansion.

Inclusive education, after the established definitions, is a strategy that helps build an inclusive society open to all students and adults, regardless of gender, race, and disability, to participate and to fulfil in society.

Differences are valued and respected, and at the policy level, schools and pedagogical practices, have combated discrimination of any kind. This ideal – in fact, mission and definition of inclusive education – can be included in ‘pedagogy of hope’ as a practical and daily exercise, classroom, leisure or other activities

An inclusive system recognizes the right of all students to be educated together and believes that education for all students is equally important. An educational system that separates students from one another and believes that more able pupils are more important and worthy of appreciation will be considered an inclusive system.

Inclusive education means in the school and classroom, innovation, imagination, beauty, everything in the mind and emotions, adding two students deep motivations of being and knowing. Introducing the natural in the surrounding world lessons as a source of miracles and inspiration, to know how people lived in other cultures, how they handled difficult situations, how human communities fought over time difficulties.

Even in a math class or science, to create a … story, introduce the unexpected dimension of creativity to introduce elements of humour and joy of being mean … something else – in fact, which must be – a nice lesson, appropriate and natural as life.

In almost all programs, teacher training, students are told that in planning lessons and units that they must first identify and rank the objectives, then to select the content and materials, and to choose the most appropriate methods and then to decide on the evaluation procedures. Also recognize the guiding principles that dominate the idea that teaching students may go from concrete to abstract, from the known to the unknown, from simple to complex and active handling symbolic conceptualization. This model, the content of objectives, evaluation methods lead to a model mechanical thinking, inadequate teaching and then you have to take into account the child’s imagination which is the most powerful and energetic learning tool.

The organic approach to teaching, which puts to the fore the significance encourages us to see the lessons or units rather as some better stories to tell than that on some sets of objectives to be achieved.

Teachers must use the power of form that has a story to teach any content in a compelling and meaningful manner.

The ‘narrative’ teacher must dominate a strong principle of coherence and a criterion for, what is relevant in any good story. Each item is irrelevant on who carries on the story, leading to the loss of the student’s interest.

A teaching model that draws on the power of the story will provide the idea that establishes a sense of conflict or dramatic tension at the beginning of the lessons and teaching units. So create some expectations that we will meet at the end. The rate of satisfaction expectancy without giving us a principle for selecting the exact content.

Naturally, the interdisciplinary thinking man. Moreover, social practice does not know how to separate problems, on the contrary, it requires – the adequacy of theoretical approaches, and opening and comprehension for all fields of knowledge.

Achieving this goal is even more urgent as the day which cannot be adequately addressed to a problem without considering all sides of the scientific thought, the combination of all fields of knowledge into an unified whole. We can allow, creating a story around each study curriculum content to intersect various curricular areas, to ignore the strict limits of disciplines, looking for common themes of different subjects.

Interdisciplinary involves overcoming borders, eliminating rigid frames as the exclusive domain of a subject, transfer of results from one discipline to another to a deeper explanation of phenomena, thus making coordination of different angles instead prevalence one of them, which may lead to a one-sided picture of education and thus to restrict its role in society.

Teachers, regardless of the discipline they teach, can and must achieve interdisciplinary, have a conception of interrelated phenomena in situations where the band and its further improvement were made based on a shared vision. Only then he can act properly on the line to form a scientific conception of the world and life on the line strengthening instrument, operational and functional knowledge while increasing school performance line.

In this approach, the contents lose importance, the focus is on metacognition and ‘learning to learn’ concept. Complex powers have a generic character, they can be transferred to the context of everyday life outside the classroom.

Cross-curricular themes in support of inclusive education, going beyond the traditional curriculum to explore the complex and interactive world in which we live and to meet the interests and educational needs of young people.

We need to give each student the opportunity to reach their full potential and to give everyone the story that can be actively involved in solving the tasks that take him to another level of knowledge.

2.1.3. Children literature as a genre

The role of children’s literature today it seems reasonable to start from a discussion of children’s reading pattern against the background of the cultural, sociological and psychological conditions. We are living in an age of mass media, constantly differing modes and rapidly advancing modernizations that imply significant changes for children as well as adults. Today, children are granted a higher degree of equal treatment and autonomy due to the new perception of the child as it arose from developmental history and the change in family structures. Contemporary children are exposed to a wealth of leisure activities, especially designed for young people, including TV-programs, internet, computer games, periodicals, children’s sports etc

It suggests the treatment of something new, a matter rather unexplored, or at least not as exhausted as most aspects of the quite popular area of children’s literature tend to be with respect to student’s papers in English literature. ‘Something new’ would imply a book recently published, considering that a new publication is not likely to be exhausted by studies. This would also call for a discussion of the readership, as time changes very fast today and people change with time, so that children living around the turn of the millennium may ‘need’ and expect different things than children of the past. In fact, the present situation for children’s literature is a subject of particular concern, for technological development has influenced the matter of reading to a large extent and voices become audible that fear a decline of reading culture especially with reference to children and youths.

Short stories and fairy tales always have pleased the childhood of all generations. They constitute a major contributor to the child's broadening horizon.

Tales and short stories highlight the features of the characters giving the child the opportunity to learn how to distinguish the beautiful, ugly, and good from evil and follow the positive characters.

Ch. Perrault, talking about the educational role of the short stories that he has created so masterfully said: “No matter how simple and easy it seems, these stories exist, they are born, no doubt, among the children with a desire to be as the good, which end up being happy, also at the same time the soul is born evil with the fear of what they might happen if it would follow the wicked”.

In planning the stories one has in mind the fact that kids are watching and talking with their parents and deduces that some of them perform some actions at the urging of adults and others cannot refrain from certain actions which are prohibited.

The work done to follow and use teaching techniques (illustration, layout, tape recording, using computers, filmstrips, handling puppets, etc.) is designed to activate more children, making them co-participants, acquiring the sensitive and ethical message sent.

The child allows you to step into his world if you know how to support him and if you how to choose what he enjoys.

In my research I realized that what the student wants must be expressive, aesthetic and well done, all of which have been adapted as requirements which are irreplaceable in making the training material. Vivid colours draw the images used in movement and expression and by making the frameworks and characters. Also, the figure which accentuates the expressiveness of the characters in different situations, each array transposes the child into a world of beauty that must be understood and felt.

In addition to the short stories, one must use drawings of postcards and paintings made ​​from fabric, other materials from nature and drawings made ​​by the collage technique, enriching the teacher's portfolio with this “magic satchel”.

Through the powerful emotional impact of the text, the short stories are a true moral universe of features, creating a favourable environment for the development of language and thought. They produce a strong impression on the imagination and sensitivity of children, and when the “magic satchel” is open, they see their face and those around the world which is transposed in tabs with picture or pictures that give a voice to the magnificent and illustrative tales of childhood.

Teaching students to write and speak correctly their native language is proof of patriotism, and learning and practical application of the uniform rules of the language is also a patriotic duty from the students, a sense of love and respect for their national language.

The continuous learning of the Romanian and English language is a duty belonging to every citizen of that respective homeland.

The element of continuation and preservation of the national Romanian science thesaurus was inherited from generation to generation and continuously enriched. Without a proper assimilation of the Romanian language, one cannot conceive the future intellectual development of children in school and their appropriate training to other disciplines and social work.

The teacher is the one who gives life to the methods and the quality of training depending on the pace and quality of the entire educational renewal, including technological work. Short stories must be presented and used by a wide area of multiple methods and teaching options, it occupies a central place in how to make children vibrate at the beauty in life and art.

The teacher, who is a connoisseur of children, forms methods of education, one individual who loves his job and loves children, has the noble mission to establish mobility and flexibility training and the development of intellectual abilities such as: creative imagination with its variants, creative thinking (flexibility, fluidity), conduciveness to learning through research, discovery through intellectual effort and the creative type.

To combat the errors surrounding students, certain measures must be taken such as: explain the meanings of new words at every age level, vocabulary using games, specifying the restrictions to use regional terms and phrases.

2.1.4. Young Adults’ Literature

  Where can we draw the line between literature for children and literature for the young adult reader? True, there are two separate bodies of literature for children and for juveniles with different topics and emphasis, made distinguishable to parents, teachers and librarians by publisher’s designations about the addressed age group. Still, taking into consideration that children’s reading patterns are considerably individual, there cannot be any clear distinction between those two fields.

Adequate literature for children depends to a high degree on the taste of the respective child, his/her ability to comprehend and his/her reading interest. Consequently children of the same age can differ enormously in their reading pattern. While one child might enthusiastically read books particularly intended for children, the other might look for reading material dealing with more complex issues although this may be commonly regarded as an ‘adult book’.

2.2. Learners, Language and Literature Teaching

Different methods of teaching and learning are developed, keeping in mind the needs of the teaching-learning process of the student. An efficient and effective use of methodology and pedagogy requires according to the current generation of students, using new technology and an educational environment continues to change. The challenge is finding new ways to stimulate and motivate creative skills of the generation’s current views on learning that is different from ones we had when we were coming today as them. The teenage stage and secondary education come from a familiar environment; it did not prepare them for the role of student and are increasingly exposed to the current educational system. The theories’ failure places the student at the centre of education and we recommend that we start the centres of interest of the student to be able to get him in a position to learn. These theories mediator tries also to fight boredom in school, which is manifested not only by the lack of interest (one of the main causes of school failure).

The boredom students today comes at the loss of meaning of education in society: the school is not necessarily legitimate.

Today, knowledge is perceived as the first, functional and immediately usable function. School alone cannot restore the social value of education, however, can, however, make sense to the new knowledge received in school.

The rendition approach such as ’chalk – board‘(which had its merits); the student passive participant only seems appropriate for today's generation.

Teachers appeal to a wide range of strategies to encourage active participation of students in classroom activities. Learning by ‘doing ‘ the problems and bring them in real life into the classroom and help the student to find the information required to solve these problems are methods that are part of student-cantered learning approach . The teacher guides and facilitates learning rather than control, helps students interpret, organize knowledge so that they form study skills not only in content but also in their own learning – teaching-learning process.

The use of modern methods and strategies, active teaching and learning is important because they have the greatest impact on students. Books from taking their information until yesterday are today replaced Knowledge technological resources to create a student-cantered interactive learning. Explanation of the use of interactive methods comes from the concept of ‘I do and I understand '(Confucius), i.e., how to consume plenty of energy in an attempt to control the activity, the more students understand and learn from this activity. Another explanation may be that closely model what they will do when students leave school and their teacher continues the work. To choose a place you cannot anticipate specific situations they will face in their lives, students are asked to use their skills. However, we can help them apply these skills at a maximum level. So, to help students become functional means to create them relevant contexts, real, interesting and motivational to be able to put into practice the skills, helping to choose the suitable methods of communication to become independent learners.

Teaching is presenting reality, giving students the opportunity to gain experience in diverse practice a domain. The purpose is to encourage students to demonstrate communication skills and understanding than writing in various contexts and with specific purposes. We must be concerned with the development and recognition of students' ability to apply and transfer skills in ways that are suited to situations where it is located

There is no ideal method or approach as well as there is no perfect teacher. But there are many attempts to develop a good English teaching, making use of different methods, approaches, theories of language, techniques, etc.

The keys for an effective learning are motivation and encouragement, which depend not only on the students but also on the teacher. Motivating and encouraging students are not an easy task, since sometimes even the teacher is not motivated or encouraged owing to the difficulties of the profession and other causes. However, motivation and encouragement is vital to the process of learning, and a way of doing it is by stimulating learners with the study of a different language and a new culture, respecting the students' competences, abilities, skills, and mainly respecting their weaknesses.

The language teaching process is complex and demand both professionalism and commitment to the art of teaching.

2.2.1. Models to Teaching Literature

Group discussions are the best method for teaching. Another reason is that discussion-based teaching most closely resembles our natural way of communicating in every other social environment—work, home, talking to friends—that we participate in.

While both reasons appear straightforward, reasonable even, they don’t explain why less experienced instructors rely more on lecture-based teaching methods. Discussions require experience and confidence on the part of the instructor to allow for his or her ideas, questions, and comments to be openly examined by students.

To make matters worse, teaching via discussions is hard. The method is characterized as “messy, uncontrolled, and far more difficult than lecturing”. Lecture-based instruction imposes an “obvious gulf or barrier” between the instructor and student that less experienced instructors use to maintain control of their.

The idea of teaching through classroom discussions can be summed up with the well-known phrase, the Socratic Method—the method of instruction by which the instructor asks a simple question and then spends classroom time allowing the students the opportunity to orally present opinions and evidence in an attempt to answer the question satisfactorily. Socrates passed this method of instruction down to Plato, who then passed it onto his pupil Aristotle; thus, the philosophical originators of Western Civilization believed that teaching was personal, that there should not be a forced barrier between instructor and student. Because we here at West Point like to think that anything good somehow started in our little corner of the Hudson Valley, we refer to this same method of instruction as the Thayer Method—named after the man considered the Academy’s founding father, Colonel Sylvanius Thayer, the Academy’s Superintendant from 1817 to 1833. So, discussion-based instruction is not a new concept. Academically-researched articles that begin to define the differences between discussions and other forms of oral communication in classrooms, such as recitations, can be traced back to late sixties with a marked spike beginning in the eighties and lasting through the latenineties.

Most of this research was conducted in the social sciences, though its relevance to any teaching discipline did not go unnoticed.

2.2.2. Approaches in Teaching Literature (Language-Based Approach, Paraphrastic Approach, Information-Based Approach, Personal-Response Approach, Moral-Philosophical Approach)

Literature is considered as an authentic medium for introducing students to the specific language and culture. The potential of literary reading across the languages to compare traditions and gain insights into various cultural forms and developments should be stressed.

Reasons and models of teaching of literature: it contributes to the holistic development of an individual; it is a resource for language learning; it manifests valuable language experience; it gives us cultural background and emotional content; literature speaks to the heart and personal experience of the learner encourages imagination, creativity, personal discovery; literature can give us a welcome escape from the classroom situation; it can amuse us, provoke us, and be musically pleasing

The models of teaching literature exhibit the theory as to how the teaching of literature is being viewed.

The Cultural Model views literature as a source of facts or information and therefore, reading tends to be based on obtaining information. In this model, the teacher transmits knowledge and information to the students.

The Language Model seeks a closer integration between language and literature. Students can improve their language proficiency by using literature as a resource in language learning.

The Personal Growth Model seeks the opportunity for students to relate and respond to the themes and issues by making a connection to their personal lives.

Consequently, students' growth in terms of language, emotions and character development are stimulated.

Whitehead (1968) mentions that one factor that goes a long way in determining students' lifelong learning towards reading is how the teacher approaches the teaching of literature.

There are various approaches that can be employed in the teaching of literature, name: information-based approach, language-based approach, personal response approach, paraphrastic approach, moral-philosophical approach, stylistics approach.

Whitehead (1968) says that one of the principles of a successful literature programme is that the teacher must be acquainted with a variety of techniques and activities so as to stimulate and develop students' interest and knowledge of literature.

The most traditional way of treating literature in the classroom goes through some of the stages: the teacher gives background information on the work or the author; there is a reading at home or a reading in class; difficult words are explained either orally or by reference to glossaries, dictionaries, pictures, sounds or mime; there is detailed comprehension work and perhaps some translation and memorisation of key passages; there is some literary criticism or discussion of received opinions on the work. This usually involves discussion and writing.

In this approach the literary work is central and the author’s intention is seen as being very important. Practical principles for teaching literature:

Don’t worry that you are not a literature teacher, enjoy the literature at any level

Start helping SS to enjoy the musical and expressive nature of language

Choose pieces to work on because they are short or funny or SS interest

Use anything you need to for enjoyment and understanding, including pictures, mime, role play, video clips

Make the piece come alive by helping learners to forge connections between themselves and the piece of literature

Allow time for criticism, praise, distaste

Allow time for SS to create work of their own

Chapter III

Teaching Literature – teaching Jane Austen

Since the 1940s, full-length film productions of Jane Austen’s novels have been turned out at a steady rate of three to seven per decade. Today, Austen “mania” is everywhere, from Hollywood features inspired by her life and works, to Jane’s image featured on the cover of Newsweek, to MySpace and YouTube. Her novels and books about her novels crowd the bestseller lists. Nearly two hundred years after the publication of Pride and Prejudice, Jane Austen still has enormous appeal for contemporary readers and viewers. What accounts for the continuing popularity of Jane Austen? Why Jane, and why now? At first glance—particularly for most high school students—Austen’s popularity is hard to fathom. Austen wrote about the problems and pressures of 19th century courtship and marriage. Action and adventure are limited to a walk in a rainstorm or a ride in an open carriage without a chaperone; powerful feelings and desires are expressed indirectly, if at all; conversation is a high art, flavored with ironic wit and the discussion of weather. Her characters’ behavior and life choices are dictated by standards and values that can seem utterly foreign in a world as rapidly changing as our own. Perhaps modern readers and viewers continue to be drawn to Austen’s work because of the very limitations that may make us wary at first.

The physical and social landscape within her work is restricted, but the field of themes, emotions, and even desires she explores there is deep and broad. How, her novels ask, does a person do the hard work of creating a good, happy, balanced life? Catherine Morland is a naïve girl with a fanciful imagination; how will she learn to distinguish reality from fantasy and come of age? What does it feel like to be Anne Elliot, disappointed by life before the age of twenty, and how will she find the courage to redeem the mistakes of her past? And why, we might ask Fanny Price, do love, respect, and affection not go to those who deserve them? Finally, all the novels ask a question that resonates today as powerfully as it did in Austen’s time: What chance do the needs of the heart and mind have in a world dominated by money? The world of Jane Austen’s novels may be small, but it is not simple. Austen’s other great appeal is that spending time in her world is fun. Her world is different from ours, and the films and novels transport us there. We can travel through Regency England (approximately 1800–1820) as tourists, free to enjoy what is glittering and entertaining. Thanks to her deft sense of humor, we delight in her characters, with all their faults. We return home, remembering the pleasures of her world and think about how that world reflects upon our own, with its sharp differences and its subtle and surprising similarities.

Jane Austen first made her way onto standard U.S. high school and college reading lists because she is a great novelist. She remains there because she has proven herself to be a timeless one. Each generation, including the one that you are now teaching, “rediscovers” Austen. Chances are that at the end of the 21st century, we will still be asking “Why Jane? Why Now?”

3.1. Introduction

One of the most interesting aspects of Jane Austen's novels is her use of the various narrative perspectives. Comments on Miss Austen's dirffering viewpoints range from Frank O'Connor's statement that the classic problem of point of view was magnificently solved by Jane Austen, who merely ignored it altogether , to M. St. Francis Wood’s statement in a recent dissertation that it is the skillrul use or the narrative perspective which has largely made Jane Austen's story-telling a great art.

A number or authors have incidentally concerned themselves with Jane Austen's narrative perspective; however, little seems to have been written on the progression or the type or narrative perspective employed throughout Jane Austen's career. It is the purpose of this study to examine her point or view as it reflects the brilliant choice of a dominant narrative perspective best suited to a specific work and as it reflects her maturation as an author.

The progression of the narrative perspective used by Miss Austen throughout her career may be viewed as parallel to the changing viewpoint used by novelists in general from the eighteenth century to the present. That is, the progression of the mode of narration throughout her novels presents in miniature the development from the early type of narration which included an omniscient narrator, many authorial intrusions, and numerous epigrammatic generalizations, through a stage where the omniscient narrator began to disappear as characters were viewed through a number of minds, to the dominant present mode of the unobtrusive, third-person limited narrator.

Concerning this change, Joseph Warren Beach states that in a bird's eye view of the English novel from Fielding to Ford, the most impressive factor is the disappearance of the author. He suggests that the authorial comment of Scott, Thackeray, Trollope, and Meredith scattered throughout the narrative tends to reduce the dramatic tension and the illusion of life, but "the fashion has changed; we like fiction unadulterated; we like the sense of taking part in an actual, a present experience, without the interference of authorial guide.” In The Rhetoric of Fiction, Wayne C. Booth echoes this feeling with the statement that the form of artificial authority has been present in most narrative until recent times but is not generally found in a modern short story or novel.

This change from the use of the artificial authority to the third-person limited narrator may be viewed in Miss Austen's works. In her earliest novels, the strong influences of her predecessors and contemporaries are evident as she follows the mode of presenting as her spokesman an obvious narrator who is superior to the characters.

In her intermediate writing period, Miss Austen curtails the authorial intrusions and begins the transition to a third-person limited narrator. In this transitional stage, Miss Austen limits the use of direct exposition by the narrator and substitutes instead the privilege of seeing into the minds of more than one character. The stage seems to manifest itself in Miss Austen's work as a point of view that shifts between two major characters. Although the presence of the author is less obvious in this stage, the shifting point of view still makes the presence of a superior controlling influence felt.

In her final writing period, Jane Austen goes one step further towards virtually eliminating authorial editorialism by restricting her narration to the mind of one character. Although the story is written from the viewpoint of one character, the "I" of first person is changed to the third person "she." This mode of presentation has the advantages of allowing the reader to feel that he is receiving the information objectively, yet allowing a feeling of immediacy.

From Jane Austen's six major novels Northanger Abbey is generally considered to be her earliest work. Although it was written during the years 1797-1798 following tbe first versions of Sense and Sensibility and Pride and Prejudice, it is believed that the latter two were greatly altered in their revisions in 1809-1810 and 1810-1812, respectively, whereas evidence indicates to the contrary concerning Northanger Abbey. In 1816, when Jane Austen wrote the advertisement by the authoress to Northanger Abbey, she stated: This little work was finished in the year 1803, and intended for immediate publication.The public are entreated to hear in mind that thirteen years have passed since it was finished, many more since it was begun, and that during that period, places, manners,? books, and opinions have undergone considerable changes.

Pride and Prejudice was originally conceived in 1796-1797 and titled First Impressions. It is believed, however, that the novel was substantially rewritten in 1812 before its publishment in 1813. In support of this belief, R. W. Chapman states that Pride and Prejudice had always seemed to him a book of greater maturity than credible if supposed to have been written when Jane Austen was twenty-one. The fact that no apology for parts of the work made obsolete by the passage of time is offered also leads one to feel that the book was revised. Therefore, Pride and Prejudice will be examined as an example of Jane Austen's intermediate writing period.

Jane Austen's final novel, Persuasion, was begun in the summer or autumn of 1815, and the first draft was completed on July 18, 1816. Its publication was announced in December, 1817. This work will then be viewed as a product of Jane Austen's final writing period.

3.2.Teaching Jane Austen through film

The broadcast Emma and other works of Austen opens the door for students to the world of Jane Austen. Using the films can ignite students’ interest in and understanding of all six of Austen’s novels. Try the following suggestions for using Austen novels and films in the English classroom and beyond. Compare the novel to the film. If you traditionally teach an Austen novel, compare it to the Masterpiece film version. If you don’t have time to show an entire film, watch selected scenes and compare them to the text.

The “Art of Adaptation” section has specific suggestions to help you explore the advantages and disadvantages of translating fiction into a film. Mine the films for their interdisciplinary content.

Explore the history of the Napoleonic wars that sets up Persuasion, the culture and sociology of Regency England that limit the freedom of the Dashwood sisters in Sense and Sensibility, or the fashion and design on display in the scenes from Bath in Northanger Abbey. Pair the reading of one novel with the viewing of another. If you don’t have time to teach two Austen novels, you may want to pair a book and a film based on similarities in theme, such as: Coming-of-Age: Northanger Abbey and Persuasion, Wealth and Privilege: Emma and Mansfield Park, Achieving Balance: Sense and Sensibility and Pride and Prejudice.

Compare the viewing of an Austen film with a young adult novel. For younger students, try Polly Shulman’s Enthusiasm, about a pair of friends who go looking for their own Mr. Darcy (Pride and Prejudice) for instance.

A. PRIDE AND PREJUDICE

The BBC/A&E mini series, entitled Pride and Prejudice, is another close adaptation of the Jane Austen novel. It appeared on BBC-1 TV in six parts during September and October of 1995. Simon Langton, who directed the mini-series, is a British television director and producer who has directed many television series. He was nominated for a British Academy Television Award for his directing of Pride and Prejudice. Andrew Davies wrote the screenplay for the film. He is well known for his adaptations of classic works of literature, including Vanity Fair and Sense and Sensibility.

Much like the filmmakers of the 1976 Emma, the filmmakers of the 1995 Pride and Prejudice were concerned with fidelity to the novel. As with Austen’s other novels, it was a challenge when casting actors for the roles of the characters of Pride and Prejudice. Austen very rarely directly describes a character’s physical appearance or personality. Instead, the reader learns about a character through his or her actions and what other characters say about him or her. When casting the many characters of Pride and Prejudice Langton was looking for actors with wit, charm, and charisma, who could also play the Regency period . His first task was to find the actors to play the lead roles of Elizabeth Bennet and Mr. Darcy.

In the novel, there is no direct description of Elizabeth. The reader can get a vague idea of her appearance and manner when reading about her from Mr. Darcy’s perspective. He began to find [her face] was rendered uncommonly intelligent by the beautiful expression of her dark eyes. Though he had detected with a critical eye more than one failure of perfect symmetry in her form, he was forced to acknowledge her figure to be light and pleasing.

Davies wanted to emphasize that Elizabeth is a very attractive, lively girl, not just mentally but also physically. Jennifer Ehle was chosen for the role of Elizabeth Bennet. She was 26 at the time of filming, 6 years older than the character she played. Elle’s portrayal of Elizabeth is equal to Davies’ interpretation of the character. In the film there are many scenes of Elizabeth walking in the woods and fields that surround her. Ehle is very witty and brings the character to life with her playful banter throughout the mini-series. She conveys Elizabeth’s confidence in her own opinions and her willingness to express them.

In the novel, Mr. Darcy is first introduced to the reader and the town at the assembly ball. Mr. Darcy soon drew the attention of the room by his fine, tall person, handsome features, noble mien…and he was looked at with great admiration for about half the evening, till his manners gave a disgust which turned the tide of his popularity; for he was discovered to be proud, to be above his company, and above being pleased.

The casting team envisioned Mr. Darcy as a naughty, arrogant, difficult man who underneath has great charm and sensitivity. Colin Firth, age 35 at the time of filming, was cast for the role of Mr. Darcy. Although playing a character seven years his junior, he is considered by many as the definitive cinematic Mr. Darcy. Firth understood that “what Darcy doesn’t say” is as important as what he says or does. Therefore the viewer learns more about Darcy’s character and changing states by watching subtle changes in his facial expressions and observing the others.

Once Elizabeth and Darcy were cast, Langton could move on to the Bennet family. In the first chapter of the novel, Mrs. Bennet is described as a woman of mean comprehension and unstable temper. Alison Steadman, age 49 at the time of filming, was cast for the role of Mrs. Bennet. In the novel, Mrs. Bennet’s age is never revealed, it is estimated that she is in her forties. Steadman provides an entertaining and lively performance of the character. Throughout the film Steadman gives her best during Mrs. Bennet’s nervous fits when Mr. Bingley first arrives and Lydia runs off with Mr. Wickham.

Another important member of the Bennet family to cast is Jane Bennet. In the novel, she is considered a beautiful angel by Mr. Bingley and a sweet girl by his sisters. She is less sure of her opinions and more reserved than Elizabeth. She always tries to find something good to say about everyone. Susannah Harker was cast for the role of Jane Bennet. She was 30 at the time of filming, eight years older than the character she portrayed. She played the role of the quiet and demure Jane very well. In the novel, Jane is described as the prettiest of the five Bennet daughters. Although Harker is an attractive woman, she does not live up to the expectations of the character’s physical beauty, especially when placed beside Jennifer Ehle.

Lydia Bennet plays a key role in the novel and the film. Her behavior causes great distress to her family and she is totally unashamed of herself. In the novel, she is described as “self-willed and careless… ignorant, idle, and vain.” The casting team envisioned Lydia as very witty, and naughty, attractive, feisty and with knockdown energy. They chose Julia Sawalha for the role of Lydia. Although eleven years older than the 16 year old character she plays, her acting experience allowed her to deliver the powerful performance necessary for the character’s impact in the film. Throughout the film the audience witnesses Lydia’s indecorous behavior culminating at the point when she runs away with Mr. Wickham.

Many scenes throughout the novel help to establish the plot and expand upon the storyline. The goal of the 1995 Pride and Prejudice production was to remain true to the tone and spirit of the novel, but at the same time to exploit the possibilities of visual storytelling. T The BBC/A&E mini-series is quite faithful to the novel in terms of scene selection and order. There are very few instances of omitted scenes/characters or changed elements, with exception to the additional scenes Davies provided to fill out Darcy’s life. I will discuss four scenes that were important in the novel and how Langton chose to represent them in the film.

The first scene is the assembly ball at Meryton. In the novel, this is the first time that the Bennet family is introduced to the Netherfield party. It is at this ball that Jane and Bingley first set eyes on each other and that Darcy is established as a proud and disagreeable man. Although the scene is crucial in setting up the storyline, Austen only allocates three pages of the novel to describe this event. For this reason, the filmmakers decided to substantially build upon the scene in the adaptation.

The TV adaptation expanded this scene in order to introduce and build upon characters, comment on the difference between the social status of the townspeople and the Netherfield party, and to illustrate the exchange between Darcy and Bingley. The only dialogue provided by the novel is of the conversation between Darcy and Bingley. In this conversation, Bingley encourages Darcy to dance, which Darcy refuses to do. He suggests Darcy partner up with Elizabeth; Darcy responds by stating: “She is tolerable; but not handsome enough to tempt me; and I am in no humor at present to give consequence to young ladies who are slighted by other men.”

In the film, the viewer is able to witness Elizabeth listening in on the exchange. Ehle’s facial expressions throughout the scene express the character’s lively, playful disposition. When she goes off to tell the story to her friends, she eyes Darcy in a way as to communicate to him that she has overheard the conversation.

Later on, Darcy experiences a change of heart and realizes that he wishes to marry Elizabeth. It is a surprise that Darcy should propose to Elizabeth after witnessing his initial judgment of her. The first proposal scene takes place at Hunsford where Elizabeth has gone to visit with Charlotte Lucas. In the novel, Elizabeth is alone at the Collins’s when Darcy calls upon her. She is surprised that it is he who has come to visit and they sit in silence for several minutes. He finally breaks the silence by confessing to her: “In vain have I struggled. It will not do. Me feelings will not be repressed. You must allow me to tell you how ardently I admire and love you.”

He proceeds to comment on the inferiority of her birth and the inappropriate behavior of members of her family. Elizabeth immediately rejects his proposal and is angered by its absurdity and his insults.

Elizabeth’s rejection of his proposal comes as a great shock to Darcy because he assumes that “a man in his situation who decides that a woman is desirable is certain of her acceptance.” Both Ehle and Firth perform this scene with such conviction. Ehle expresses Elizabeth’s simmering anger at Darcy because of her understanding of Darcy’s role in causing Bingley to reject Jane. Firth shows the intensity of Darcy’s struggle between his love for Elizabeth and his proud reluctance to ally himself with her family.

Another important scene in the novel and film is Elizabeth’s visit to Pemberley, Darcy’s estate, while on holiday with her aunt and uncle. In the novel, Elizabeth’s aunt, Mrs. Gardiner, suggests they visit Pemberly since they are in the area and since it is a “place with which so many of [Elizabeth’s] acquaintance are connected.” After hearing that Darcy will not be home, Elizabeth decides that she has no problem with the group visiting Pemberly. While there, Elizabeth thinks to herself, “And of this place, I might have been mistress.”

After Elizabeth and the Gardiners complete their tour of the house, Darcy unexpectedly emerges down the road. This scene was challenging for Davies to write since Austen is vague in her description of Darcy during this period. Darcy needs to prove a great deal to Elizabeth in a short space of time. He needs to convince her that the things she disliked about him at their last meeting have changed. Davies believes that Darcy hasn’t suddenly turned into a good man; he has always been a good man underneath his stiff exterior.

The final significant scene is Darcy’s second proposal to Elizabeth. In the novel, Darcy and Bingley call upon the Bennets and Bingley suggests that they all go out for a walk. Jane, Bingley, Kitty, Elizabeth, and Darcy set off on the walk. After a while, Jane and Bingley begin to lag behind the group and Kitty leaves to call upon Maria Lucas, leaving Elizabeth and Darcy to entertain each other. It is now that Darcy expresses to Elizabeth, “If your feelings are still as they were last April, tell me so at once. My affections and wishes are unchanged, but one word from you will silence me on the subject forever.”

The reader learns that, “[Elizabeth’s] sentiments had undergone so material a change, since the period to which he alluded, as to make her receive with gratitude and pleasure his present assurances.”

The adaptation follows very closely to the situation and dialogue of the novel.

The couple is shown looking lovingly at each other, but they do not touch as they confess their feelings. Ehle and Firth perform the scene very well; the audience can feel their controlled joy during this scene. Darcy and Elizabeth continue walking, talking about Lady Catherine’s visit to Longbourn. Darcy explains that Elizabeth’s reply to Lady Catherine gave Darcy him hope that she might love him back.

The scene ends with a long shot from behind Darcy and Elizabeth showing them walking a short distance behind Bingley and Jane. Although this adaptation is considered to be one of the closest adaptations to the novel, Davies deviates from the novel in one area. In the novel, the reader experiences everything through Elizabeth’s eyes. Elizabeth’s encounters with Darcy help shape the reader’s judgments about him. Davies wanted the audience to get a sense fairly early on that there is a lot more to Darcy than what Elizabeth sees. For this reason, Davies added several scenes to give the viewer a sense of Darcy away from Elizabeth and to showcase him as a physically active and sensitive individual.

Davies utilizes the letters that Elizabeth receives from both Darcy and Mrs. Gardiner to reveal to the audience the more amiable qualities of Darcy’s character. Darcy’s letter to Elizabeth explains his actions in breaking Bingley’s attachment to Jane and relates his association with George Wickham. As Elizabeth reads Darcy’s letter, a series of scenes reveal Darcy to be morally superior to Wickham, fair to Wickham, and a loving brother to Georgiana. Mrs. Gardiner’s letter to Elizabeth describes Darcy’s role in discovering Lydia and arranging the marriage. As Elizabeth reads Mrs. Gardiner’s letter, a series of scenes reveal Darcy to be a man of action and authority. Davies wanted to show Darcy as a “physical young man”.

In the opening scene, the audience sees Darcy and Bingley riding on horseback, looking toward Netherfield.

In other scenes Darcy is seen bathing and getting out of a tub, fencing with a fencing master, or jumping into a lake to swim.

The audience sees Darcy sweaty and tired from exercise, far from the formal Darcy that the reader of the novel is used to seeing.

The added scenes help to build the transition from the proud and arrogant Darcy the audience meets at the beginning to the thoughtful and loving Darcy the audience comes to know at the end. In the novel, Darcy’s change of character appears to be sudden and abrupt. It catches the reader off guard because he or she has gotten so used to disliking Darcy that it is jarring the first time his true character is revealed. Davies wants the audience to believe in Darcy’s complete change of character brought on by Elizabeth.

B.SENSE AND SENSIBILITY

Sense and Sensibility, the first novel published in 1811 by Jane Austen, was transposed to the movie in 1995. Emma Thompson’s screenplay for Sense and Sensibility won eleven awards for best adaptation, including the Oscar and the Golden Globe. Her famous Golden Globe’s speech, demonstrates how much knowledge and understanding she has about the author and her work. Emma Thompson’s prized screenplay results from the combination of her own voice with Austen’s voice, a voice that influenced Thompson’s style and view of the world. According to Lindsay Doran, the producer of the movie, Thompson understood that Jane Austen is funny and made sure that her adaptation would keep to that line. It was essential that the movie would reproduce not only the drama, but also the comic aspects we find in Jane Austen. Lindsay Doran decided to invite Emma Thompson to the task because of the satire she found in Thompson, a TV series written by Emma that showed how clever and humorous she could be. The invitation for Emma Thompson to play the leading role in the film, came after Ang Lee became the film director.

Emma Thompson, in her diary, makes several comments on decisions that the crew has made in order to adapt the novel into film language. Those decisions have been taken throughout the process, from the pre-shooting to the editing. Although she concludes her diary notes on the last day of shooting, she comments the work of editing will be going on. Additions, cuts, changes make part of the process of making a film, and happen all the time. In the very first meeting, some members of crew, as for example, the producer, coproducer, the location manager, and the director, went through the whole script adding and cutting scenes, and making a series of decisions, due to, either, the more practical aspect – the cost or the difficulty in finding places, people, and even some animals to actually record those scenes – or the artistic aspect. Emma says that she spent a whole month after this first meeting, and before recordings started, revising and rewriting drafts, making changes in order to fit the budget and the artistic purposes. In the audio commentary Emma Thompson says the scene in which the father fell off his horse and was dying due to the fall had to be cut because of the budget. She mentions they had to take out “that wonderful information”. That was what we call adaptation.

Emma also writes about the hiring of actors to perform each role and rewriting scenes with the actors in her head. One of her choice, which I would like to discuss, is the hiring of male characters, more specifically, Hugh Grant as Edward Ferrars. I believe this is an important discussion since his role was strongly criticized by some intellectuals who find some male characters characterization, and above all, Hugh Grant as Edward Ferrars in Emma Thompson’s adaptation, do not fit Jane Austen’s description in the book. Professor Joan Klingel Ray, Professor of English and President's Teaching Scholar at the University of Colorado, Colorado Springs, and the first professional academic to serve as President of Jane Austen Society has written that: [Emma Thompson] changed Edward, who, the novel tells us, “was not recommended to the Dashwood ladies’ good opinion by any peculiar graces of person or address,” into the cute and charmingly insecure Hugh Grant-persona, complete with floppy hair and stammer; we know this screen persona from Four Weddings and Funeral and Two Weeks’ Notice.(…) To complete Edward’s metamorphosis from charmless to charming, Thompson saw to it that Hugh Grant actually played the role—the role being the Hugh Grant-persona rather than the novel’s actual Edward Ferrars.

Gerald Mast says that in novels and plays the physical existence of a character comes after the psychological characteristics and their narrated actions. In films, the physical precedes and determines the features that the characters will demonstrate in the work. Mast adds that film stars have a narrow range of personalities and usually act themselves. This is positive when making films because the audience soon recognizes the character’s internal traits for resembling to a previous character. The audience’s recognition helps film narratives because it allows them to shorten the parts that delineate the character’s personality and intentions. So, the intelligibility of the actor by the public is a great advantage in films. Well known stars attract audience. Mast also says that to suppose the character in films to conform to our models in literature is to make in another normative literary prejudice on judgment of films.

Emma comments she is glad Hugh Grant accepted the role because she has written Edward for him. Using an actor whose traits would be recognized and understood by the audience, seems exactly what Emma Thompson intended to do. Her purpose was to make a film out of the novel with the characteristics of a film. For Ms Thompson, the cast should be witty. So, Ms Thompson turned the Austen’s impulsive and deceiving Edward Ferrars into Elinor’s quite clumsy romantic pair. Edward Ferras represents Elinor’s opposite personality. Whereas Elinor has sense, Edward has sensibility. In the film, the couple break with the old values and morals of their society by choosing their destiny and, eventually, kissing each other. Thompson comments in her diary: Kissing Hugh was very lovely. “Glad I invented it. Can’t rely on Austen for a snog, that’s for sure.” Although Ms Austen is known as a novelist, whose sharp and sarcastic commentaries about the British society have turned her into one of the most widely-read and best-loved writers in Britain, kisses are never mentioned in her novels. The moral codes of the early nineteen century did not allow public kisses in families of English gentry neither allowed farmers of middling social statues to marry their daughters to someone from a higher position. Austen broke up with the mobility codes; Ms Thompson, in the film, broke with the kissing code. This scene was eventually cut off from the main movie and is only shown in the deleted scenes. This romantic pair finally embarks into the new values of Realism of the second half of the eighteen century and let the contemporary audience delighted with the kissing scene, but only in the deleted scene. Thus, by reading Emma’s diary we understand that even though intelligible actors are important to the movie flow, studying the character is also important. Ang Lee asked the actors to study the background and inner life of the characters they would perform. Knowing the psychological traits help actors incorporate the characters they are performing.

Emma Thompson comments that the language in Sense and Sensibility is complex and more arcane then in the later books. So, she has had to simplify the language, but at the same time keep the elegance and wit of Jane Austen. Jane Austen’s had the ability to express herself in humorous manner when addressing and modifying the lack of mobility in the English society. In fact, she mocked the class division and the falseness of the gentry, as well as the cult of passion which was always related to money. Emma Thompson mentions: “Sense and Sensibility is all about love and money. In the end of the film when the Dashwoods realize all the excitement about Willoughby and Edward Ferrars is gone and they are back to their poor standard of living at Barton Cottage, Elinor takes Marianne for a walk. When they approach the place where Marianne saw Willoughby for the first time she says “He would have had a wife he loved but no money – and might soon have learned to rank the demands of his pocket-book far above the demands of his heart.”

In the book it is Elinor who tells Marianne that [her] marriage would have been poorly supported by affection, on his side, much less certain. Had [she] married [she] must have been always poor. His expensiveness is acknowledge even by himself and his whole conduct declares that self-denial is a word hardly understood by him.” Thompson says “A pithy question. Romantic love teaches us that love conquers all. Elinor disagrees. You need a descent wage, a competence.”

The novel is full of satiric signs. When Emma Thompson and the Director Ang Lee adapted the novel into a film they had to find some strategies to elicit the ironic commentaries of the narrator in the novel. Through out the film the irony is conveyed by misunderstandings. One example is when Lucy Steele tells Fanny about her secret love for Edward Ferrars. Fanny has a nervous breakdown and beats Lucy. This scene is very amusing. On the other hand, in the novel, Fanny gets to know about Lucy`s interest in Edward through Mrs. Jennings. Another humoristic strategy used in the film is Edward Ferrars`s behavior. The character in the film is clumsy, weak, and, in some extend, antisocial. He lacks attitude towards others. There are three moments that we can observe his weak will. The first one is at the stables when he obeys his sister. The second one is when he meets both Elinor and Lucy Steele in London. The last is when he visits the Dashwoods back in Barton Cottage. He hesitates when speaking, he looks extremely confused and stammers during the conversation, and he again acts awkwardly until actually telling them it was Robert who got married to Lucy Steele. The use of some cinematic devices also elicits irony in the film as for example the use of interpolated scenes to show opposite behaviors. One them is the scene of Elinor, before departing from the Norland estate, explaining to Margaret why they have to leave their house as well as telling the servants about the new Lady of the house’s generosity, followed by the scenes where Fanny and her husband John are in the carriage going to Norland and are discussing the provision of extra money to his step-mother and sisters and their prompt removal from the estate.

When adapting a written text into a film, a great deal of written language is changed into movement and action, and body language. Written texts use code systems that can be denotative or connotative . Films use the same code system of written texts, but these code systems are visual. They are sets, actions, continued movement, and special effects. Some elements are framed to signalize the intended atmosphere.

The weather is one of those elements mentioned above. It exerts important functions through out the film. If we analyze Marianne’s feelings, we are able to see that whenever she acts in a desperate way, she does that under a storm, a dark atmosphere, and strong wind. The scenes in which Marianne is recovering from her illness and gaining sense at the Barton cottage are the ones of good weather, clear sky, and mild wind. Emma Thompson makes several comments about the bad weather they had to face while filming and the decisions of shooting scenes under bad weather. She even mentions that Marianne is taken away from a storm twice, while in the book it happens once. Ang Lee grasped the well known British weather and used it as a visual element. Moreover, both Ang Lee and Emma Thompson say that the landscape is very important in the film. If there were lots of close ups the film would be ordinary.

Gestures and body language are other elements used to convey what is narrated in the text. There are some examples of body language that can be mentioned here. Marianne and Willoughby’s attachment always causes impact in the society. If we observe the faces of the people surrounding them we see they show astonishment and disgust. It also happens when Marianne sees Willoughby in the ballroom in London. Her face changes from excitement to deep pain and disillusion when she learns he is with his wife to be, a very rich woman. At the same time the camera shows the society’s expression of scorn while she is being led out of the ballroom by her sister. Elinor’s feelings are also shown by body Language. She is the one who possesses sense. She never expresses her emotions through speech, but the audience sees them through her gestures and faces. Whenever Elinor encounters Edward she acts nervously even though she appears to be confident. Emma comments gesture says much more. Elinor and Edward never touch each other. The scene in which she is telling Edward about the offer Colonel Brandon has made is the one in which body language says a lot. They are sitting close to each other and yet they keep sitting steady but the audience understands it would take a word for them to fall into each other’s arms. When they are walking in Norland gardens, Elinor’s shawl falls off her shoulder and Edward rearranges it on her shoulder. They cannot touch each other, but hetouches her shawl. The way Elinor bursts into tears when she learns Edward is not engaged also gives a strong effect, since it is the first time she exposes herself openly, and it is rather unusual for a lady to lose the absolute control over her feelings. In the end of the film when the Dashwood ladies are told Mr and Mrs Ferrars are in the village, silence says all. According to Emma Thompson, Mrs Dashwood has a moment of realization that she should have paid more attention to Elinor.

Fanny’s disgust and feeling of superiority towards the Dashwoods is also clearly seen. When Edward shows affection to Elinor, she promptly tells Mrs. Dashwood that their mother wants him to get married to a person of the same social level. Her face of disgust and superiority towards the Dashwoods is unmistakably perceived. When Lucy Steele tells Fanny she is fond of Edward, Fanny’s facial expression changes completely from friendly to hostile. Colonel Brandon’s grief by seeing resemblance between Marianne and Eliza, and later, by seeing Marianne dying of love is shown by his facial expression. His face changes completely when Marianne begins to express some contempt for him, back at Barton cottage. In the beginning Marianne looks very immature. Whenever she is with Willoughby, she looks juvenile. In the end of the film, her face has changed completely. She looks more mature. These are some of several examples of body language used in the film which substitute the task of the omniscient narrator in the novel.

Conveying an eighteenth century society in the pictures is also important. The written language describes manners as well as rules of the society. The film shows them through acting. Emma Thompson tells in her diaries they have learned root and meaning of bowls and reverences and have rehearsed them in sessions of historical manners. When Edward Ferrars visits Elinor in London, she does the honours and invites him to sit down, even though the house is not hers. That only happens because the owner is absent and Edward comes to see her. On the other hand, when Edward arrives in Norland, after Mr Dashwood’s death, both Mrs. Dashwood and Fanny invite Edward to sit down. The audience understands the estate does not belong to the Dashwoods anymore, and the new owners are the ones who do the honours. This scene also shows the fastness of which Fanny embodies her right and duty as the landlady, depriving Mrs Dashwood of her property.

Colour is another technique used by the director to convey happiness or sadness. Whenever Marianne is suffering or ill the colours are dark. When Marianne recovers, back at Barton, the Dashwood girls spend long hours outside enjoying sunny days. At Marianne and Colonel Brandon’s wedding, the sun is shinning, and the “coins that spin and bounce catch the sun like jewels.” Colonel Brandon and Marianne look extremely happy.

Music is also an important source of showing feelings. It was specially written for the film by Patrick Doyle. It focuses on Marianne for almost the whole film and develops as her personality unfolds. She shows to be very passionate and immature. Music describes her personality. Most pieces of music are played by Marianne in the piano. When she suffers for Willoughby, music becomes more orchestral and the tune is melancholic. In the end, music becomes calmer as Marianne grows to be more sensible. Also when Edward proposes to Elinor the tune is soft and then becomes very cheerful as it unfolds into the wedding scene. When the Dashwoods leave Norland for Barton cottage a mournful tune is been played while they are on their way to Barton. Nobody in the carriage speaks but a lot is being communicated without words. Despite the fact that music was used to convey meaning, music was little used in the film. According to Emma Thompson there is only twenty minutes of music in the whole film.

There is a good number of scenes that differ from the novel. In the novel Colonel Brandon does not offer his hunting knife to Marianne for her to cut the bulrushes. Nor has he a private conversation with Sir John, for Jane Austen did not know what men talked when they were alone. Marianne does not walk close to Willoughby’s state and says his name or Colonel Brandon fetches her from the rain. Colonel Brandon neither gives a piano to Marianne nor pays frequent visits after she goes back to Barton Cottage. His first visit is mentioned after Edward Ferrars drops in and tells the Dashwoods it was his brother who got married to Lucy Steel. It takes Edward Ferrars some visits and a week in the cottage to resume his relationship with Elinor and to become friends with Colonel Brandon. Besides, in the novel, Marianne gets married to Colonel Brandon two years after Elinor and Edward Ferrars’ wedding. Marianne and Colonel Brandon’s wedding is commented by Emma Thompson. She says this scene makes her feel it would look like a double wedding, but Elinor and Edward are already married in the novel. It is understood that it is necessary to cut long narratives in the written text when adapting it into a film. The time lapse can be conveyed through visual scenes. The time lapse was not conveyed in the wedding scene. Long complex verbal narrative need to be adapted into the film length, and even though this overlap of time had to be done, the general meaning of the novel was kept unchanged. This divergence was made necessary when adapting from one medium to another. According to Paul Schrader, the screenwriter of Taxi Driver, a film scene should be like a party, when you arrive late and leave early.

The analysis of the adaptation of Sense and Sensibility by Emma Thompson and Ang Lee shows that the content of Austen’s literary work has not been changed by both screenwriter and director. The description of morals and codes of the eighteenth century English society as well as the ironies, misunderstandings and contradictions the narrator employs are kept in the film adaptation.

Choice concerning actors with narrow ranges of personalities is validated by the film audience’s recognition of the characters’ profiles. Well known actors help the film become more intelligible to the contemporary film goers, especially the ones who have not had access to the original text.

Besides, the artistic values of literary novels are different from the artistic values of films. The values of literary novels are based on the written words while the values of films are based on actions, sights and sounds. Thus, when adapting a film from a novel, it is necessary to take out words and put sights, sounds and actions. Words to entire narratives were changed to body language, colors, settings and music, but the film still conveyed the meaning of Jane Austen's novel.

Concluding, film is a complex communicative system for making and conveying meaning which differs from the novel verbal language system. It is the product of the screenwriter and director’s artistic interpretation of the original text; thus it becomes an original work of its own right. So, a film adaptation of a literary text should preserve the ideas and central meaning of the novel but, at the same time, should be faithful to the artistic values of the film. This means that the changes the crew have made when adapting Sense and Sensibility to the wide screen were necessary because it is impossible to reproduce the integral text. Film is part of an art with its own values and rights, and a film adaptation of a novel is the manifestation of the creative effort of the director and screenwriter’s artistic interpretation.

3.3.Methodological research

Does biography matter? In the history of critical theory, the pendulum has swung back and forth on the use and relevance of a writer’s biography in reading, appreciating, and understanding a work of fiction. Can you infer biography from the fiction (e.g., Austen must have been in love at some point!), and does knowing the biography make you a better reader of it? Or should the work stand on its own and be experienced without the interference of biographical information and influence? Miss Austen Regrets is one interpretation of Jane Austen’s life, but what else can students find out? After reading one of Austen’s novels or viewing one of the films, students are just as likely to be interested by Austen’s personal story as others have been. How did a sheltered “spinster aunt” come to write so intelligently about society, love, and longing? Was she a staid and quiet woman, a spirited rebel, or something in between? Jane Austen herself is still a riddle, and Miss Austen Regrets offers one possible answer.

3.3.1.Introduction

Jane Austen, a British writer, was one of the best novelists during the Regency period. It is well known that her literary works were written with subtle irony; therefore, she is considered one of the best writers into the English classic novels. Austen was born in a decade where women were always discriminated especially in education and marriage. Nowadays she is an inspiration for many authors who admire her because of her fights against all kind of discrimination. In spite of the time she lived in, she has also been an inspiration for many current authors because her works were based in real life.

During the Regency period there were different social classes. At the top was the Aristocracy. People who belonged to it were considered Royalty because they were wealthy and had a good education. For instance, in Pride and Prejudice Lady Catherine could be qualified as aristocrat. Another social class was The New Gentry in which people got a lot of money through business. An example of this social class was Mr. Bennet whose father made money in industry in England. Also, the Bennet´s family income depended in the breadwinner, Mr. Bennet. (BBC Bitesize) In short, the social rank also depended on the family background, education and wealth.

In Pride and Prejudice movie we can observe that men wore most of the clothing of the Regency period. For example, Mr. Bingley and Mr. Darcy wore tailcoats of wool. Their tailcoats were brown and had buttons on the front part. Also, they wore black or brown leather boots with long socks. On the other hand, women wore the chemise that was made of linen or cotton; it was like a long blouse or short nightgown. Some women wore corset which was similar to a bra that was used to raise their breasts. Therefore, the women who wore corset had a perfect posture. Moreover, women in this time also wore gowns or dresses. They were ankle length and its sleeves could be long or short. The color of the gown was solid white which was the favorite during the period. Women wore a ribbon around their gown or dress which was a decoration to make them fashionable. The socks were made of silk or cotton and came up to thigh level. They wore low shoes which were similar to ballet shoes. Also, women wore hats with feathers that were very popular during that time. The poke bonnet was long and with scoop shaped or they also wore diadems. During this period women wore some accessories such as small purses or a short chain around their necks.

In Pride and Prejudice movie the Bennet siblings wore long dresses with a ribbon around it. They preferred white dresses. Moreover, they wore corsets to have a better posture. They also liked low shoes with socks made of cotton and instead of hats they wore diadems. Their favorite accessory was a short chain around the neck. During the Regency period, dances were important in upper classes. One of them was Country Dance in which couples made figures and moved up and down the set.

In the movie Pride and Prejudice the characters danced Country Dances. They formed two lines of couples, one of women and another of men. They made different figures and enjoyed the dances very much. Many authors around the world have used Jane Austen’s literary works as a resource to make fantastic and interesting films. Some of the authors have not changed the ideas that Jane Austen wrote on her books. In that way they conserve the essence that she used in each one of her literary works. Among these authors, we can mention Joanne Kathleen Rowling who wrote the Harry Potter saga. In this film she uses a bad character from Mansfield Park novel who was converted in a cat into the Harry Potter film. Another author is Stephanie Meyer, writer of the Twilight saga. In this film she uses two important literary works written by Jane Austen, Pride and Prejudice and Sense and Sensibility. During this movie the main character, Bella, is a big admirer of Jane Austen. Amanda Grange has also been inspired by one of Austen’s character, Sir Darcy. For this reason, Amanda wrote a book under the name Sir Darcy Vampire. Other author who has been influenced by Jane Austen is Seth Grahame Smith. He wrote a fun book called Pride and Prejudice and Zombies.

Speaking of the teaching environment, Austen has been an inspiration for many researchers. Pride and Prejudice can be used to help students to learn English Literature in a different way. Also, the teaching of this important literary work inside the classroom will help students to have a clear idea of how she wrote this literary work. Students can understand in a better way the language used by the author. They can also learn how people lived during that period regarding the social and economic aspects. Moreover, students have the opportunity to interpret the literary work in a real manner. Therefore, they will have the chance to improve their knowledge about Pride and Prejudice. In conclusion, students will also be more active and motivated to learn English and some aspects of literature.

3.3.2. Procedure and objectives

Through the research, it is showed how to develop role play through the book Pride and Prejudice by Jane Austen. Students will assimilate the literary work, identify and interpret each character. In this way students will experience how she lived in those times. Therefore, the contribution to English teaching through role play which would help instructors to teach the literary work in a fun way. Students would interpret the characters that are being analyzed in a real way. According to Lee: [Role Play] is an aspect of simulation. A whole situation is simulated in the classroom, and the participants adopt roles which belong to it. Role Playing (i.e. dramatization) helps to bring the language to life and to give the learners some experience of its use as a means of communication.

In this research it is used the Deductive Method because it involves what is already given and applied to a particular case. Thus, it is used a novel in which it is applied a teaching technique, role play.

First, we investigated about the life of Jane Austen. We collected several pieces of information about this topic in order to summarize the most important aspects, and finally we wrote a script for advanced English students. Also, we wrote three important scenes as activities which were based on the movie and the book Pride and Prejudice. It is important to mention that a lot of information was taken from these materials when writing the script and the scenes. However, because of didactic purposes, we did not cite the sources in this last part. We think it will be more valuable and more practical for students to have a script already made without citations. In short, we analyzed, described and produced role play activities, so students can understand and perform that novel in an exciting way.

According to Porter, role play, a technique used in the teaching- learning process, takes place when the students adopt a role which they perform within a scenario. Likewise, when the students act out a particular character, “… [they can create] their own reality by doing and experimenting with their knowledge of the real world and developing their ability to interact with other people.” In addition, Blatner indicates that role play helps students to be more involved in learning because it allows integrating the knowledge into action. In other words, when students learn about a literary work, they can do it more vividly by dramatizing it. Therefore, they can learn in a meaningful way. Furthermore, through role play students can increase the skills of initiative, communication, problem-solving and working cooperatively in teams. Role play used in school setting will allow students to extend their knowledge of a subject by researching a character within a given course of study. In this way, the students become active participants in their education rather than passive observers. In addition, Porter indicates that there are some reasons why role play is used in classrooms.

The students can improve their speaking through role play and develop social skills in the foreign language. Many students think English language limits to small talk because that is what books offer. The teachers should help students in their speaking by giving them some useful expressions so they can communicate with people in an international context. In this way, the students can learn more English through role play because they learn some idiomatic expressions and they experiment with them in a real way.

The objective is to develop role play through the literary work Pride and Prejudice. This could be a motivating tool for teachers and students, they will assimilate the literary work, by identifying, and interpreting the plot, main and secondary characters, places, and experience in a real manner the period in which this literary work was developed. Thus, this technique will allow students to learn in a meaningful way.The General Objective is to analyze the literary work Pride and Prejudice for a setting in scene through Role Play.

3.3.3. Conclusions

At the end of the investigation, students were able to accomplish the former objectives. Therefore, they have described Jane Austen’s period and analyzed one of her most important literary works Pride and Prejudice which was used to design a script and some activities for advanced students. In addition, there are some interesting things that make this novel an important piece of literature.

First, the students found this novel was originally titled First Impressions; however, it wasn’t published because the editor refused it. In spite of this, Austen wasn’t discouraged by her first rejection, so she found the appropriate name for Pride and Prejudice. It was published in 1813.

Second, in this novel Jane Austen described a perfect image of British society in spite of social discrimination she had to face. In her novel, she describes the youth’ lives and society of Eighteenth Century in an ironic and comic way. For instance, Mrs. Bennet wanted her daughters to marry rich men, so they could have a good future. In order to achieve this purpose, Mrs. Bennet behaved in a ridiculous manner most of the time. Other character is Lydia who didn’t take into consideration the circumstance of her marriage, the personality of her husband, or the prospects of her marriage for the future. Otherwise, Elizabeth, the main character, broke all these prejudices because she got married to Darcy, a rich man, because she loved him and had no interest in his money.

Furthermore, this novel contains a lot of details which could give the teacher an opportunity to use them in different ways during the teaching-learning process. For example, students have the opportunity to interpret the literary work in a real way through a role play. Thus, they learn and practice English in a better way. Also, through role play, a communicative technique, students will learn English in an interesting way because they will adopt roles of each character and dramatize them vividly by using their own imagination. Moreover, this technique promotes communication among students because they have to resolve problems with resources such as scenery, clothes, music, etc, making the participants creative and autonomous students. In addition, through this novel the students could develop not only the reading and writing skills; but they could also improve their listening and speaking skills.

Conclusions

The 19th century’s political historiography discovered no position for women’s or gender history. Focusing on the progress of political institutions and on masculine politicians it was assumed that the politics in the nineteenth century owed little to women, separately from a few exceptional examples. Assessments of nineteenth-century gender and politics have endured a series of paradigm turns since the 1970s and the subject is now characterized by contradictory narratives about the model of women in public life in that period. This has tended to similar discussions about identity, men and politics a domain that until now had been viewed as unproblematic. The effect of these theoretical discussions has been to construct a different vision, of the lives of women, men and the entire panorama of nineteenth-century political history.

In 1970, the rise of women’s history, characterized by Rowbotham’s Hidden from History, contributed to foreground women’s model in the politics of the nation.1 Although pioneer women’s historians had various objectives, there was an underlying feminist agenda that distinguished their work as they searched both to reveal the roots of the ideology of patriarchal oppression and to follow the origins of women’s political action as a means of explaining the contemporary fighting for women’s liberation. This conducted to a search to recover past heroines of women’s movements that imitated the men approach of many traditional political historians. There was also a concentration on the early-twentieth-century campaigns of female vote campaigners that concentrated on women’s struggle to obtain the franchise and centred on women’s penetration of the high political territory. A consequence of this research was that many of the early writers assumed there was little female political agency either outside the campaign for the vote or for much of the nineteenth century.

In Britain, the sign of the endependence of women in the nineteenth century was that the female collaboration to literature began to be very important. No longer was women‘s writing regarded as disgraceful and inconvenient for their place in society.

Jane Austen started to speak about morality and social organization, her novels marked the start of the progress of social analysis implemented to the novel, a period during which female writers became equal to male. But women‘s way towards literary independence and celebrity was not that easy. As well as other domains of life, writing was dominated by men in the Victorian period. Accordingly, some female authors used masculine pseudonyms to make certain that their works were accepted by public and publishers. They were frightened that if they signed with their real names, readers would not take them as seriously as their male. For this reason, Mary Ann Evans used the pen name George Eliot and the Brontë sisters, Charlotte, Emily and Anne, signed with the pseudonyms Currer, Ellis and Acton Bell. In spite of these hardships women succeeded in the domain of literature and the reasons for their success is the fact that women‘s writing was very particular.

Literature is a collection of writings on any theme or area of efforts. There are several technical definitions of literature. Therefore, literature is perceived as a unique subject in contents and methodology. The Oxford Concise English Dictionary also defines literature as “written works, especially those whose value lies in beauty of language or in emotional effect”. The definition only describes literature as an expression of ideas, thoughts and feelings with accent on the aesthetic values of language. In another view, literature is perceived as an expression of the cultural experience of a people and language. To understand a people’s language, their literature is necessary. Literature is used to teach language, for example, drama and poetry is utilized for the teaching of speech while prose is used to teach summary and understanding. New words and expressions are taken through literature, vocabulary development being improved.

Jane Austen, a British writer, was one of the best novelists during the Regency period. It is well known that her literary works were written with subtle irony; therefore, she is considered one of the best writers into the English classic novels.

Austen was born in a decade where women were always discriminated especially in education and marriage. Nowadays she is an inspiration for many authors who admire her because of her fights against all kind of discrimination. In spite of the time she lived in, she has also been an inspiration for many current authors because her works were based in real life.

From Jane Austen's six major novels Northanger Abbey is generally considered to be her earliest work. Although it was written during the years 1797-1798 following the first versions of Sense and Sensibility and Pride and Prejudice, it is believed that the latter two were greatly altered in their revisions in 1809-1810 and 1810-1812, respectively, whereas evidence indicates to the contrary concerning Northanger Abbey. Jane Austen's final novel, Persuasion, was begun in the summer or autumn of 1815, and the first draft was completed on July 18, 1816. Its publication was announced in December, 1817. This work will then be viewed as a product of Jane Austen's final writing period.

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