Learner Guide

Interpret a variety of literary texts
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Unit Standard Number 119466
LEARNER GUIDE
US 119466
Interpret a variety of literary
texts
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Contents
DESCRIPTION OF UNIT STANDARD...............................................................4
1
SPECIFIC OUTCOME: Extract meaning from a variety of literary texts...5

1.1
Listening/signing/reading/viewing strategies appropriate to the texts

studied are adopted.........................................................................6
1.2
Key features of literary texts are identified and the role of each is
explained...................................................................................................14
1.3
Own responses are confirmed and/or adapted after interaction with

others when discussing a text.........................................................16
1.4
2
Evidence cited from texts in defence of a position is relevant......16

SPECIFIC OUTCOME: Identify and explain features that influence response
to texts......................................................................................................20
2.1
The human experiences and values in texts are explored and
explained...................................................................................................21
2.2
A variety of texts are explored and explained in terms of social or
personal relevance....................................................................................23
2.3
Responses to points of view in text are imaginative and an

understanding of surface or embedded meaning in the text is reflected
in presentations of own viewpoints..................................................24
2.4
The way in which people respond differently to texts is explored and
discussed...................................................................................................28
3
3.1
SPECIFIC OUTCOME: Produce own texts in response to literary texts..31

Content is outlined and related to theme and character development.
32
3.2
A good grasp of the significant ideas of the texts is demonstrated.33
3.3
Use of certain stylistic devices is identified, and the effects created
are described.............................................................................................34
2
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3.4
Own understanding of characterisation is justified........................35
3.5
Selected literary texts are used as a basis for writing/signing in

different formats and registers........................................................38
Document Revision Record

Date of Revision
Description
Revision
No.
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DESCRIPTION OF UNIT STANDARD

Unit
Standard
Title:
SAQA Number:

119466
Credits:
NQF Level:
Field:
Communication Studies and Language
Sub-Field:
Language
Registration
2012-07-01
Start Date:
Registration
Date:
End
2015-06-30
This Unit Standard will enable learners to discuss the style and purpose of
the text, implied and stated meanings, themes, plot, the author's point of
view and the context in which the text arose. They will be able use literature
as a base to study and make judgements about human and social issues.
They are aware of the drama and power of language.
By the end of this Unit Standard, you will be able to:
1. Extract meaning from a variety of literary texts
2. Identify and explain features that influence response to texts
3. Produce own texts in response to literary texts
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SPECIFIC
OUTCOME
1
1 SPECIFIC OUTCOME: EXTRACT MEANING FROM A
VARIETY OF LITERARY TEXTS.
The purpose of this Outcome is to enable you to extract meaning from a
variety of literary texts.
This Specific Outcome will enable you to ensure:
1. Listening/signing/reading/viewing strategies appropriate to the texts
studied are adopted.
2. Key features of literary texts are identified and the role of each is
explained.
3. Own responses are confirmed and/or adapted after interaction with
others when discussing a text.
4. Evidence cited from texts in defence of a position is relevant.
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1.1 LISTENING/SIGNING/READING/VIEWING STRATEGIES

APPROPRIATE TO THE TEXTS STUDIED ARE ADOPTED.
Test refers to a book or other written or printed work, regarded in
terms of its content rather than its physical form. There are various
strategies that are appropriate to specific texts and it is important to
utilise the best strategy applicable to text type. The strategies
include the following:
1. Listening
2. Signing
3. Reading
4. Viewing
Listening Strategies
Listening strategies are techniques or activities that contribute
directly to the comprehension and recall of listening input. Listening
strategies can be classified by how the listener processes the input.
1.
Top-down strategies are listener based; the listener

taps into background
knowledge of the topic, the situation or context, the type of text,
and the language. This background knowledge activates a set of
expectations that help the listener to interpret what is heard and
anticipate what will come next. Top-down strategies include:
listening for the main idea
predicting
drawing inferences
summarizing
2. Bottom-up strategies are text based; the listener relies on the

language in the message, that is, the combination of sounds,
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words, and grammar that creates meaning. Bottom-up strategies

include
listening for specific details
recognizing cognates
recognizing word-order patterns
Strategic listeners also use metacognitive strategies to plan,

monitor, and evaluate their listening.
They plan by deciding which listening strategies will serve best
in a particular situation.
They monitor their comprehension and the effectiveness of the
selected strategies.
They evaluate by determining whether they have achieved
their listening comprehension goals and whether the
combination of listening strategies selected was an effective
one.
Listening for Meaning
To extract meaning from a listening text, you need to follow four basic
steps:
Figure out the purpose for listening. Activate background knowledge
of the topic in order to predict or anticipate content and identify
appropriate listening strategies.
Attend to the parts of the listening input that are relevant to the
identified purpose and ignore the rest. This selectivity enables you
to focus on specific items in the input and reduces the amount of
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information they have to hold in short-term memory in order to

recognize it.
Select top-down and bottom-up strategies that are appropriate to
the listening task and use them flexibly and interactively. You'
comprehension improves and their confidence increases when they
use top-down and bottom-up strategies simultaneously to construct
meaning.
Check comprehension while listening and when the listening task is
over. Monitoring comprehension helps you detect inconsistencies
and comprehension failures, directing them to use alternate
strategies.
Reading Strategies
Individuals do not automatically transfer the strategies they use when
reading in their native language to reading in a language they are learning.
Instead, they seem to think reading means starting at the beginning and
going word by word, stopping to look up every unknown vocabulary item,
until they reach the end. When they do this, they are relying exclusively on
their linguistic knowledge, a bottom-up strategy. One of the most important
reading strategies is to use top-down strategies as you do in your native
language.
You need to adjust your reading behaviour to deal with a variety of
situations, types of input, and reading purposes. It is important to develop a
set of reading strategies and match appropriate strategies to each reading
situation.
Strategies that can help you read more quickly and effectively
include:
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Previewing: reviewing titles, section headings, and photo captions to

get a sense of the structure and content of a reading selection.
Predicting: using knowledge of the subject matter to make predictions

about content and vocabulary and check comprehension; using
knowledge of the text type and purpose to make predictions about
discourse structure; using knowledge about the author to make
predictions about writing style, vocabulary, and content.
Skimming and scanning: using a quick survey of the text to get the
main idea, identify text structure, confirm or question predictions.
Guessing from context: using prior knowledge of the subject and the
ideas in the text as clues to the meanings of unknown words, instead
of stopping to look them up.
Paraphrasing: stopping at the end of a section to check comprehension

by restating the information and ideas in the text
When and how to use reading strategies in several ways.
By modelling the strategies aloud, talking through the processes of

previewing, predicting, skimming and scanning, and paraphrasing. This
shows how the strategies work and how much they can know about a
text before they begin to read word by word.
By using cloze (fill in the blank) exercises to review vocabulary items.

This helps you learn to guess meaning from context.
By trying out different strategies you think will help you approach a
reading assignment, and then analyse after reading about what
strategies you actually used. This helps you develop flexibility in your
choice of strategies.
When you use reading strategies, you find that you can control the reading
experience, and they gain confidence in your ability to read the language.
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Reading to Learn
Reading is an essential part of language instruction at every level because it
supports learning in multiple ways.
Reading to learn the text: Reading material is text input. By reading a

variety of texts, you are faced with multiple opportunities to absorb
vocabulary, grammar, sentence structure, and discourse structure as
they occur in authentic contexts. You thus gain a more complete
picture of the ways in which the elements of the language work
together to convey meaning.
Reading for content information: Your purpose for reading is often to

obtain information about a subject you are studying. Reading for
content information gives you both authentic reading material and an
authentic purpose for reading.
Reading for cultural knowledge and awareness: Reading everyday

materials that are designed for various speakers can give you insight
into the lifestyles and worldviews of the people whose language they
are studying. When you have access to newspapers, magazines, and
Web sites, you are exposed to culture in all its variety, and monolithic
cultural stereotypes begin to break down.
When reading to learn, you need to follow four basic steps:

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Figure out the purpose for reading. Activate background knowledge of

the topic in order to predict or anticipate content and identify
appropriate reading strategies.
Attend to the parts of the text that are relevant to the identified
purpose and ignore the rest. This selectivity enables you to focus on
specific items in the input and reduces the amount of information they
have to hold in short-term memory.
Select strategies that are appropriate to the reading task and use them
flexibly and interactively. You' comprehension improves and their
confidence increases when they use top-down and bottom-up skills
simultaneously to construct meaning.
Check comprehension while reading and when the reading task is

completed.
Monitoring
comprehension
helps
you
detect
inconsistencies and comprehension failures, helping them learn to use

alternate strategies.
Viewing Strategies
As you view visual texts, you need to use a range of viewing skills and
strategies to make sense of the visual images, and accompanying oral and
print text.
Connect meanings in the messages to their prior knowledge and experiences
Consider the pragmatic issues associated with the images including:
What is the message?
Who is the message for?
What is the purpose of the message?
What have I learned about the topic, about myself, and about others?
Whose point of view is presented?
You need to make sense of it and respond personally, critically, and

creatively.
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The International Reading Association says that, "Being literate in

contemporary society means being active, critical, and creative users not
only of print and spoken language but also of the visual language of film and
television, commercial and political advertising, photography, and more"
Viewing skills and strategies: Guidelines.
Expose yourself to many opportunities for to view daily.
Recognize the different forms visual texts can take including:
Visual
advertisements
(print)
book covers
bulletin boards
brochures
cartoons (print)
computer graphics
diagrams
dioramas
drawings
illustrations
maps
mime presentations
models
paintings
photographs
post cards and
posters
tableaux
Audiovisual/Multime
dia
animation
CD-ROMs
dance creations
dramas
films
Internet sites
multimedia
presentations
newscasts
on-line magazines
oral reports
puppet plays
reader's theatres
skits
sound pieces
television
videos
Viewing Strategies
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1. Picture Book Studies: Select various picture books or illustrations for

viewing. Through
guided discussion, talk about the author or
illustrator's style, art work, and other interesting details. You can learn
to enjoy and appreciate well-crafted visual text and the language that
accompanies it. Read and view other books written or illustrated by the
same authors and illustrators.
2. Gallery Walks: Gallery walks allow you to view others' work,
particularly
displays,
illustrations,
photos,
or
multimedia
representations, and to process the content in preparation for

discussion and reflection. Construct displays or representations about
various aspects of a topic. Record the important points of your
observations and discussion. Review your notes and determine what
you think are the most important observations. Shares your individual
list with someone and negotiate to create a common list.
3. Drama and Puppet Plays: Whether formally structured and presented
by a professional troupe or informally staged by peers, drama and
puppetry are powerful vehicles for developing viewing skills. You can
learn to analyze and appreciate the situations and plots, the dialogue
and characters, and the elements that go into a performing art.
Viewing live theatre and puppetry can be a wonderful means of
encouraging oral communication, writing, and critical listening and
viewing.
4. Videos, Films, Television, CD-ROMs, and the Internet: Using the
contemporary media that reflect a wide variety of cultures and
experiences offers a chance to help you analyze visual texts. These
media can be used to extend your' vocabulary and experiences and to
help you develop lifelong critical thinking and viewing skills.
5. Viewing Centres: Provide a variety of forms and genres (including
magazines, CD-ROMs, videotapes) in a viewing centre. Texts that are
appropriate for display in viewing centres or for use in classroom
viewing activities are listed below.
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Visual
Audio
Technical
Arrangement
Dialogue
Angle of
High vs. low
shots
Color
Loud vs. soft
Camera
Facial
Music
work
expression
Silence
Editing
Gestures
Single vs. multiple
Lighting
Line
sounds
Motion
Point of view
Sound effects
Props
Size
Voice overs
Special
Shape
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effects
Titling
Types of
shots
1.2 KEY FEATURES OF LITERARY TEXTS ARE IDENTIFIED AND THE

ROLE OF EACH IS EXPLAINED.
Literary texts are a variety of spoken, written and visual texts that
promote use
of imagination, thought or emotional response in the reader or
listener. Literary
texts tend to teach the reader some kind of life lesson through the
main
character evolving and changing as the novel or short story
progresses. It utilizes
metaphors and symbols to show and enhance the protagonists (the
main
character, usually the hero) adventure throughout the novel. These
texts are
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usually read to teach rather than for entertainment because literary

texts range
from easy to understand to something that has to be read more
than once and
analyzed. These types of texts always have a reason for being
written rather than
simply on a whim. Literary texts, such as Shakespeare, Faulkner,
Emerson, and
Langston Hughes, bring up large issues of society or flaws in human
nature that
are explored and exposed for the problems that they cause and
some even go a
step beyond this to offer a way to repair them or even futuristic
predictions.
Literary texts are well constructed and take time to compose
creatively and
meaningfully.
Key features of literary texts
An important feature of literary texts which distinguishes

them from other kinds of persuasive discourse is the fact that
they operate not through direct statement and explicit
revelation of their contents but instead through indirect
allusion, understatement, implication, and even concealment.
Literary texts in effect often veil the 'truth' which they seek to
convey in an attempt at enhancing its attractiveness and
endowing it with a sense of mystery and transcendental
value. Literature, much like modern advertisement, is often
an attempt at persuasion which operates on subliminal levels
and artfully instils its message by concealing it under a cover
of fictional situations and devices affecting the audience on
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emotional, intuitive, experiential, and instinctive levels. A

given story for example may seek to promote a particular
view of the world not by flatly stating it but instead by
constructing a set of emotionally charged and seemingly
"realistic" situations leading to the almost unavoidable, but
always unstated, conclusion of the story's intended moral.
Literary texts thus convey meaning to their readers in ways

which go far beyond the mere literal or "surface" level of
signification. Indeed, literary texts distinguish themselves
from other texts by the subtleties and intricacies of their
many levels of meaning and by the common fact that the
actual "meaning" of the text is almost always hidden and
implicit in the fabric of the work's devices.
Meaning in literature is therefore something that needs to be

determined not merely on the basis of a face value
understanding of the words in it but through a complete
evaluation of the signifying complexity of the rhetoric, figures
of
speech,
images,
symbols,
allusions,
connotations,
suggestions, and implications of the entire text.

1.3 OWN RESPONSES ARE CONFIRMED AND/OR ADAPTED AFTER
INTERACTION WITH OTHERS WHEN DISCUSSING A TEXT.
Group discussion is a process where exchange of ideas and opinions
are debated upon whilst discussing texts. When you participate in
group discussions, it important to realize that the other members
may not share the same views on the text as you.
Ask
questions
and give responses
that will
generate good
discussion of the text. Guide the interaction with focused questions

and responses which can have more than one answer. Avoid
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questions that can elicit one-word answers and also one-word

answers.
1.4 EVIDENCE CITED FROM TEXTS IN DEFENCE OF A POSITION IS
RELEVANT.
Evidence is required from the primary text to ensure that your
defence of a
position is relevant and also support your interpretative claims. Your
critical
points must be rooted in the text itself, and not based on conjecture
or
speculation.
Of course, there is a great deal involved in using textual evidence to
defend a
position.
The key point to remember is that your use of other texts is not
limited to
quoting from authors with whom you agree (though this will be the
most
common use). You can cite evidence from texts as:
Sources of evidence
Objects of analysis
Sources of data or information
Authorities to support your claims
Representatives of opposing points of view
There are three main ways to use evidence or examples from a text to
defend your position and also illustrate your own points. They are:
1. Making a reference to the author or the text.
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2. Paraphrasing/summarizing the author by telling about the ideas or

story in your own words.
3. Directly quoting from the text
When you first refer to, paraphrase/summarize or quote from another
work you should try to incorporate into your sentence the full name of the
author and the title of the text.
Subsequent references to the same work and author can use the last
name of the author or the title of the text
A Few Cautions
There are a few points to remember when using text to illustrate your
point:
While someone elses words can really help you make your point,
the reader is most interested in your words, so make your
references, paraphrases and quotes relatively brief.
Integrate direct quotes into the language (i.e. grammar and verb
tense) of your writing.
Choose what you want to use carefully. Make sure you need it to
illustrate your point, and then make sure that you provide the
context necessary for the reader to understand how the material
illustrates that point.
Always cite the text and author you are using. Failure, even if
unintentional, to properly acknowledge someone elses words or
ideas is plagiarism.
Always introduce the author and text. Make sure it is clear to the
reader who is speaking and whose
ideas you are showing. Tell us why we should care about who this person
is and what this person has to say. Once you have introduced the author,
refer to the author by the authors last name.
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If the grammar (especially verb tense and pronouns) of the quotation

does not fit the grammar of your writing, change it to fit the grammar of
your writing, putting the changed word(s) in brackets.
Assessment 1 Checkpoints
1. Explain the importance of being competent in the following skills in

your current job:
i. Listening
ii.
Reading
iii.
Viewing skills.
Assessment 1 Checkpoint Answer Key
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SPECIFIC
OUTCOME
2
2 SPECIFIC OUTCOME: IDENTIFY AND EXPLAIN FEATURES
THAT INFLUENCE RESPONSE TO TEXTS.
The purpose of this Outcome is to enable you to identify and explain
features that influence response to texts.
1. The human experiences and values in texts are explored and
explained.
2. Clues in the text about experiences and beliefs of the author are
found and explained.
3. A variety of texts are explored and explained in terms of social or
personal relevance.
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4. Responses to points of view in text are imaginative and an

understanding of surface or embedded meaning in the text is
reflected in presentations of own viewpoints.
5. The way in which people respond differently to texts is explored and
discussed.
2.1 THE HUMAN EXPERIENCES AND VALUES IN TEXTS ARE

EXPLORED AND EXPLAINED.
When putting together text based on human experiences and
values one has to
be aware of the audience that will have access to the text. Human
experiences
and values can offend certain readers.
When you go through texts you know just who the writer is talking
to. One of
the fundamentals of good writing is tailoring writing to those who
will be
reading text that is, the audience. For those with the skills to do
this,
success abounds. For others, who are unable to connect writing to
audience or
who are unaware of this need, failure looms. You can end up bored.
You might not understand the message or may become confused
over
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the meaning. The writer might be attempting to convey one thing

and you may
comprehend something else. Clues in the text about experiences
and beliefs of
the author are found and explained.
There are three types of audiences. You need to work out which one
you are
writing for before you begin the writing process. These three
categories include:
lay; managerial; and experts.
The layperson does not possess expert knowledge and

requires contextual information and additional descriptions.
The managerial audience could possess increased familiarity

with the topic; however, they require background data and
statistics in order to arrive at conclusions and important
decisions.
The final audience category suggested by Muraski (2009) is

the expert. This audience requires a completely different
approach. Vocabulary is often specialized. References are
required and need to be current. The actual writing format in
itself is often complex.
It is essential that you examine the medium you are going to be

writing in. Have a
look at how it is laid out and the type of vocabulary used. Apart
from this,
research your target audience. How knowledgeable are they on a
particular
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subject? If you were to write jargon specific to that topic, would the
audience
understand the meaning of the communication?
There are two main writing styles: formal and informal. These
writing styles are
fundamental to deciding how to write for different audiences and
purposes.
Formal refers to a more proper style of writing that is governed by
rules and
regulations; while informal denotes a writing style that is more
relaxed and is not
presided over by strict guidelines.
The target audience and publications where you most often see
formal writing is
in academic, business, and official government publications.
Informal writing is often seen in web content, in popular magazines,
and in letter
and email correspondence to friends and family.
When writing, it is also necessary to consider what is typical for that
type of
publication and target audience. In terms of formalities, you should
consider if
citation and references are common in that type of writing
(Colorado State
University, 2009). Do you need to define core terms or does the
audience
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possess knowledge of those terms? Consider whether it is

appropriate to write in
the first or in third person (Colorado State University, 2009).
Another consideration is the structure of the writing. Perhaps there
is an
expected way of presenting the communication? Any type of
deviation from this
could look unprofessional.
Writing for different audiences can be a learning experience. There
are times in
our lives, especially professionals, where we are called upon to
write for an array
of audiences. Not only do you need to work out the expected
structure and
guidelines of the actual writing itself, but you also need to work out
who your
target audience is. The aim of writing is to get the message across.
It is not to
impress and bamboozle with big words. You will achieve writing
success if you
keep this in mind.
2.2 A VARIETY OF TEXTS ARE EXPLORED AND EXPLAINED IN
TERMS OF SOCIAL OR PERSONAL RELEVANCE.
Texts play an important role in terms of social and personal
relevance. Different
people experience the same media message differently. Audiences
play a role in
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interpreting media texts because each audience member brings to

the media
text a unique set of life experiences (age, gender, education,
cultural upbringing,
etc.) which, when applied to the text-- or combined with the text-create unique
interpretations. A World War II veteran, for example, brings a
different set of
experiences to a movie like Saving Private Ryan than any other
audience
member--resulting in a different reaction to the film as well as,
perhaps, greater
insight.
Even parents and children watching TV together do not see the
same program.
This concept turns the tables on the idea of TV viewers as just
passive couch
potatoes. We may not be conscious of it but each of us, even
toddlers, are
constantly trying to make sense of what we see, hear or read. The
more
questions we can ask about what we are experiencing around us,
the more alert
we can be about accepting or rejecting messages. Research
indicates that, over
time, children of all ages can learn age-appropriate skills that give
them a new set
of glasses with which they can read and interpret their media
culture.
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2.3 RESPONSES TO POINTS OF VIEW IN TEXT ARE IMAGINATIVE

AND AN UNDERSTANDING OF SURFACE OR EMBEDDED
MEANING IN THE TEXT IS REFLECTED IN PRESENTATIONS OF
OWN VIEWPOINTS.
Whereas many discuss literary texts objectively, absolutely and
with respect to
how the author developed the ideas on the page, reader response
criticism
focuses on the reader and how she or he receives the literary text.
In a sense,
this moves the text from existing on its own on, for example, the
physical
pages of a book and instead assumes that the text exists only
when it is read.
This theory makes literary texts more like performance art where
the reader's act
of reading and interpreting the text is the performance. Critical
theorists
continue to develop this approach, considering the nature of the
reader and
what he or she brings to the text, along with the different "lenses"
through which
the text can be viewed.
1. Foundational Beliefs
The act of deriving surface or embedded meaning in texts is like a
dialogue
between you and the text that has meaning only when the two of
you are joined
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in conversation. It redefines the role of the text from an

independent object into
something that can only exist when it is read and interacts with
your mind. In this
way, you are not a passive recipient of what the text says, but
rather you take an
active role. The text then serves as a catalyst to spur memories and
thoughts
within you the reader allowing you to link the text to personal
experiences and thereby fill in the spaces left by the text. This
allows theorists to
explain
why
people
can
have
different
responses
to
and
interpretations of the
same text.
This form of criticism even goes so far as to examine the role that
individual
words and phrases in the text play when interacting with you. The
sounds and
shapes that words make or even how they are pronounced or
spoken you can
essentially alter the meaning of the text, it is suggested. Some
reader response
critics go so far as to analyse a text phrase by phrase in order to
determine how
much of the experience of reading it is predetermined and then
analyse how
each reader's experience changes that initial meaning.
2. Approaches Within Reader Response Criticism
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Reader response criticism starts with what formalist literary

criticism called the
"affective
fallacy"
that
your
response
is
relevant
to
understanding a text
and uses it as the focus of approaching a work of literature. There
are different
approaches within this school of critical theory, however; some look
at the work
from the individual reader's point of view, while others focus on how
groups or
communities view the text. For these schools of criticism, it's what
the text does
to you the reader that's important, and not necessarily the work
itself, the
author's intent, or the social, political, or cultural context in which it
was written.
The label "reader-oriented criticism" has become popular since your
experiences and expectations often change as time passes. In
addition, you may
approach the text with different points of view, or lenses. That is,
you may
be able to see the value in his or her own personal response while
also analysing
the text based on another critical approach.
3. Individual Readers
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Your experience and interaction with the text creates the true
meaning. This idea
Is known as Transactional Reader Response Criticism. While you are
guided by
the ideas and words that the author laid out, it is ultimately your
individual
r experience in reading the work that actually gives it meaning.
Since each person
brings unique knowledge and beliefs to the reading transaction, the
text will
mean different things to different people. It is that meaning your
meaning that should be assessed, as opposed to solely looking at
the author's
text in a vacuum.
Other critics focus on how your mind relates to the text, in what is
known as
Psychological Reader Response Criticism. You are seen as a
psychological subject
who can be studied based on your unconscious drives brought to
the surface by
his or her reaction to a text. Reading the text can become almost a
therapeutic
experience for you, as the connections that you makes reveal truths
about your
personality.
Psychological Reader Response Criticism in many ways fuelled
another similar
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theory Subjective Reader Response Criticism which takes the

personal,
psychological
component
even
further.
In
this
theory,
your
by
personal
and
interpretation of a
text
is
thought
to
be
deeply
influenced
psychological needs first,

rather than being guided by the text. Each reading is thought to
bring
psychological symptoms to the surface, from which you can your
own unconscious motives.
4. The Uniform Reader

Other schools of reader response criticism look not at you the
reader as an
individual, but as a theoretical reader. The "implied reader," for
example, an idea
introduced by Wolfgang Iser, is the reader who is required for the
text the
reader who the author imagines when writing, and who he or she is
writing for.
You are guided by the text, which contains gaps meant for you to
fill, explaining
and making connections within the text. You ultimately create
meaning based
not only on what is in the text, but what the text has provoked
inside you.
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Theorist Stanley Fish introduced what he called the "informed

reader," who
brings prior, shared knowledge to the experience of reading.
5. Social Reader Response
Social
Reader
Response
Criticism
focuses
on
"interpretive
communities"
groups that have shared beliefs and values and how these groups
use
particular strategies that affect both the text and their reading
behaviours. It is the
group that then determines what an acceptable interpretation of
the text is, with
the meaning being whatever the group says that it is. A book club
or a group of
college students for example, based on their own cultural and group
beliefs, will
generally agree on the ultimate meaning on a text.
As an extension of the social theory, these like-minded groups can
also approach
and view the text from different lenses. If the group finds certain
elements to be
more significant than others, it might examine the text from this
particular
viewpoint, or lens. For example, feminist literary critics may find
focus on the
female elements of a writing, whereas new historicists might focus
on the culture
and era in which the text is read.
31
6. Arguments
Against
Reader
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Response
Criticism
Generally
It is often argued that reader response criticism allows for any
interpretation of a
text to be considered valid, and can devalue the content of the text
as a result.
Others argue that the text is being ignored completely or that it is
impossible to
properly interpret a text without taking into consideration the
culture or era in
which it is written. In addition, a larger complaint is that these
theories do not
allow for the readers knowledge and experience to be expanded by
the text at
all.
2.4 THE WAY IN WHICH PEOPLE RESPOND DIFFERENTLY TO
TEXTS IS EXPLORED AND DISCUSSED.
When responding to a text (e.g. novels, plays, poetry and film) you
are aiming to
show that you:
can analyse and understand the topic;
can answer the question, i.e. discuss the topic;
do know the plot and characters;
do know the themes, messages, issues well;
understand the topic in relation to the text, the characters,

themes;
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can draw upon appropriate evidence from the text and use brief
quotations which can support your argument.
In responding to text people prove that they are capable of:
Writing a sustained interpretation (an argument that develops);
Developing a point of view (has something to say about the
text);
Supporting that view through close textual references and
analysis (quotes
and examples from the text are included to prove points you're
making).
Your response should show that you have developed a clear understanding
of:
'tag' words that frame the topic: Discuss, Do you agree? How? Why?
Do? Does?
planning and structuring an essay;
how to incorporate quotations into you essay; how to modify

quotations;
writing strong introductions that engage with the topic;
using topic sentences that relate to the topic;
explaining and justifying each argument;
using specific evidence and explaining (qualifying) the evidence;
linking evidence to the topic and to the next paragraph;
reaching strong and firm conclusions;
developing vocabulary (metalanguage) with which to discuss the text;
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planning by composing at least five main arguments relevant to the

topic that will serve as the topic sentences for each paragraph of the
essay.
1. As a person tasked to write communicative texts at your workplace,

explain the importance of considering human experiences and
values in the texts you write.
2. Explain
how
written
texts
can
offend
certain
individuals
if
misinterpreted at workplaces.
1
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SPECIFIC
OUTCOME
3
3 SPECIFIC OUTCOME: PRODUCE OWN TEXTS IN
RESPONSE TO LITERARY TEXTS.
The purpose of this Outcome is to enable you to produce own texts in
response to literary texts.
1. Content
is
outlined
and
related
to
theme
and
character
development.
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2. A good grasp of the significant ideas of the texts is demonstrated.

3. Use of certain stylistic devices is identified, and the effects created
are described.
4. Own understanding of characterisation is justified.
5. Selected literary texts are used as a basis for writing/signing in
different formats and registers.
3.1 CONTENT IS OUTLINED AND RELATED TO THEME AND

CHARACTER DEVELOPMENT.
Theme refers to the central, underlying idea or insight of a work of
literal texts a universal truth or revelation about the world, society,
or human nature. On the other hand, character development relates
to the process by which a writer makes a character seem real; also
refers to character growth and change. Character development is
two-fold:
i.
Direct author tells reader about character.
ii.Indirect author shows reader characters qualities through

dialogue, actions , description (including imagery)
When you are producing own texts in response to literary texts you
have to
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ensure the content is related to the theme of the text and also how
the different
characters were developed by the author. Content should be related
to the
theme and character otherwise the outlined content will not give a
correct view
of the text.
This content outlining is also known as literary criticism. In this
context,
"criticism" means a close reading and interpretation of a literary
text, such as a
poem, a short story, a play, a novel, or even a movie. The elements
that make up
literary works are closely examined for their meaning and
significance. Some of
these elements are theme, character, and plot. Regardless of what
aspect you
choose to write about, your essay will focus on one controlling idea
that can be
stated in one direct sentence. For example: "Although most critics
regard
Shakespeare's Antony and Cleopatra as a great love tragedy, it is
actually a
mockery of a tragedy, for Cleopatra is incapable of love, and Antony
is interested
only in sex."
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3.2 A GOOD GRASP OF THE SIGNIFICANT IDEAS OF THE TEXTS IS

DEMONSTRATED.
When you have analysed texts it is important to understand and
grasp the
significant ideas of the texts.
Good grasp of significant ideas is
demonstrated by
identifying the following:
1. What kind of person is the character being analysed? This is
an inference you make based on the following:
2. What the person says (what he or she says need not be taken
at face value; the person may be hypocritical, or selfdeceived, or biased)
3. What the person does.
4. What others (including the narrator of the story) say about
the person?
5. What others do (their actions may help to indicate what the
person could do but does not do)
6. What the person looks like - face, body, clothes (these may
help to convey the personality, or they may in some measure
help to disguise it)
7. Determine the character's appearance, personality, and
ethical qualities.
8. Use
descriptions
of
other
characters
sparingly
(comparison/contrast) to make your point about the main

character(s). Sometimes the environment (setting) even
functions as a character.
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3.3 USE OF CERTAIN STYLISTIC DEVICES IS IDENTIFIED, AND THE

EFFECTS CREATED ARE DESCRIBED.
In literature and writing, a figure of speech (also called stylistic
device or rhetorical device) is the use of any of a variety of
techniques to give an auxiliary meaning, idea, or feeling.
Sometimes a word diverges from its normal meaning, or a phrase
has a specialized meaning not based on the literal meaning of the
words in it. Examples are metaphor, simile, or personification.
Stylistic devices often provide emphasis, freshness of expression, or
clarity.
The following is a list of literary devices that writers use to make
their writing
more interesting and vivid. I like to directly explain each device to
students, draw attention to the device while reading in any readaloud novel, and incorporate using those devices in writing
assignments. These devices can be used no matter which reading
program or literature-based reading list you are using!
i.
SimilesCompares 2 things, uses like or as "The sun was like a

spotlight on the
world."
ii.
MetaphorsCompares 2 things as if they are the same item
"The
clouds were
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marshmallows."
iii.
IdiomsPhrases that say one thing but mean another You hit the
nail on the head."
iv.
AlliterationUsing the same beginning letter in a phrase for

emphasis He made his special spicy salami sandwich."
v.
PersonificationWriting about inanimate objects as IF they were a

PERSON.
Stories with talking animals or talking trees, such as
fables or the Wizard of Oz are the most common examples.

vi.
ForeshadowingGiving a hint that something is coming up in the

story. "Little did I know I'd be in for the adventure of my life."
vii.
FlashbackTelling a story of a previous experience inside a story in

present tense. "I'll never forget when I was a child and I got my
first dog."
viii.
SymbolismUsing something to represent and give meaning or a

message about something else. "What does the apple in the story
represent?"
ix.
IronySomething in a story happens in the opposite way than was

expected.
x.
SatireMaking fun of something or making a statement about

something in another genre. Gulliver's Travels is a political satire.
xi.
OnomatopoeiaUsing "sound" words. "Bang!" "Crunch"
3.4 OWN UNDERSTANDING OF CHARACTERISATION IS JUSTIFIED.

Characterisation is simply the way the author paints a picture of
what a certain
character
is
like.
Details
of
characterisation
might
include
descriptions of what a
certain character wears, looks like, does, speaks like, smells like,
walks like, eats,
where he/she lives... and so on.
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As an example, let me refer you to Dickens (a master of vivid

characterisation)
and "Oliver Twist" - this is the first time Fagin appears in the novel.
Read the
extract and consider how each carefully-chosen little
detail
suggests something
about Fagin himself.
There are two types of characterization: direct and indirect. Direct
characterization explicitly tells the reader what a character's
qualities are.
Indirect characterization uses five different methods that combine
different
elements to reveal a character's personality. To remember these
five elements,
simply remember the acronym STEAL, which stands for speech,
thoughts, effect
on others, actions and looks.
1. Speech
Characters' personalities can be greatly defined by the words they
say and how
they say them. The words they use can point to intelligence or a
lack thereof,
which also reveals their educational background. The speed in
which characters
speak can describe if they are generally nervous or laid back.
Specific accents can
set up where a character grew up. If the speech is overly hesitant,
the character
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may be shy or unsure about something. Think about the people you
know in real
life, and how the way they communicate with you sets up their
personalities. It's
the same for fictional characters.
2. Thoughts
Looking into the minds of characters in written stories is a privilege
often given to
readers. When we know the inner thoughts and feelings of a
character, we are
seeing a glimpse of their true personality and how they really view
the world.
Seeing these thoughts shows us if the characters are rational or
irrational,
confident or insecure, happy or sad and many other important
personal
characteristics. The emotions the character feels points to the way
the characters
let people and events affect them, which displays the basic inner
structure of
how the character thinks.
3. Effect On Others
How do the characters affect other people? And how do these
people react to
the character? The answers to these two questions shows the
characters'
personality qualities as viewed by the people that know them. This
information
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describes how the characters handle themselves socially, and the

relationships
they are able--or unable--to form with fellow characters. Does the
character
make other characters feel happy, uneasy, repulsed, excited,
anxious, angry or
scared? This will tell a reader what explicit aspects of the
characters'
personalities are put forth to all the other characters in a story, and
helps us to
better understand how to view the character.
4. Actions
The actions and behaviours of the characters show what truly drives
and
motivates the characters. How they physically or verbally interact
with other
characters in the story shows their overall position as good-natured
or meanspirited, sympathetic or selfish. The behaviour that the characters
show is just a
product of how they feel inside, which is why how the character acts
is such a
great indicator of personality.
5. Looks
The look and appearance of characters can tell a lot about them.
The dress of
characters also provide a look into their personalities. For example,
if the
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characters are constantly dressed up in expensive clothing, this

could point to
great education and money, while the characters dressed in clothes
with holes in
them
could
appear
less
well-off.
However,
since
outward
appearances can be
deceiving, it's also important to take expression and body language
into
consideration.
3.5 SELECTED LITERARY TEXTS ARE USED AS A BASIS FOR

WRITING/SIGNING IN DIFFERENT FORMATS AND REGISTERS.
Literature is a broad term that refers to almost any widely available
written work
that centres on a common theme. All literary texts can be sorted
into one of two categories: nonfiction, which describes writing based
on facts, and fiction, which is fabricated to some degree. Literary
texts are broken down further into several other types of literature
depending on the degree to which they mimic reality, as well as
their structural and thematic characteristics.
1. Nonfiction
Nonfiction literature refers to a variety of texts that strive to depict
information that is 100 percent factually accurate. Like fictitious
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works, a work of nonfiction may tell a story; however, the facts are
of utmost importance, and may be presented using storytelling
elements. Good nonfiction literature is void of stereotypes or biases,
and organized in a manner that is easy to follow and understand.
Some examples of nonfiction literature include biographies and
autobiographies, scientific journals and most textbooks.
2. Realistic Fiction
Realistic fiction depicts stories that never occurred in real life, but
nonetheless, could exist within the bounds of the world in which we
live. The made-up characters in realistic fiction confront obstacles,
engage in pleasures, have interests and partake in relationships
similar to those that we -- or people we know -- experience in our
lifetimes. These characters exist in a setting that readers can
realistically envision in the world as they know it. Good realistic
fiction features a conflict that could exist in the real world, a theme
that readers can relate to their own lives, settings that could be
found in the real world, believable dialogue and convincing
characters. The Nicholas Sparks novel, "The Notebook," is an
example of realistic fiction because the story is made up, yet still
deals with believable characters and obstacles such as Alzheimer's
disease, which occur in the real world.
3. Fantasy
Literary fantasy, unlike realistic fiction, is a type of fiction containing
elements that cannot possibly exist in the real world. Works of fantasy
do not abide by the scientific and natural laws of Earth. They may
possess characters with supernatural abilities and/or settings that
readers cannot relate to because the environments can never exist in
the real world. Thus, readers must be able to suspend their disbelief in
order to enjoy a work of literary fantasy. Good fantasy stories are able
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to captivate readers' interest, have a well-developed plot and

characters and possess some sort of identifiable theme. J.K. Rowling's
"Harry Potter" series is a well-known example of literary fantasy. Its
characters possess supernatural abilities and inhabit magical settings
that could never exist in the world as we know it.
4. Poetry
Poetry is usually a fictitious -- though sometimes no fictitious -- type of
literature that seeks to use the written word in a more condensed and
artistic manner than everyday prose. It is known for its often
metaphoric and figurative use of language to appeal to the senses,
oftentimes while employing rhythmic patterns and rhymed words. No
single, comprehensive definition of poetry is possible because there
are so many types, each with their own set of structural rules.
Limericks, for example, are humorous, nonsensical poems comprised
of five lines in which the first, second and fifth lines rhyme with one
another and have three beats each, while the third and fourth lines
rhyme separately and have two beats each. Conversely, free verse
poetry is void of intentional rhyming and similar to everyday speech in
rhythm. Other common types of poems include ballads, Japanese
haikus and sonnets.
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The table below shows how different literary texts are used as a basis for writing in different formats and
registers.
Text type
Report
Recount
(factual or
literary)
Narrative
Procedure
Explanatio
n
(factual or
literary)
Exposition
Purpose
To
classify
and/or
describe
To
retell
a
series of
events
General structure
General statement or
classification.
Description
Orientation
Series
of
events
sequenced in time
General language features

technical language
simple present tense
generalised terms
descriptive language
past tense
time words to connect events
words which tell us where, when, with whom, how
usually specific participants
time words used to connect events
action words predominate in complication and
resolution
noun groups important in describing characters
and settings
verbs usually at the beginning of each instruction
words or groups of words
which tell us how, when, where, with whom
To entertain,
amuse
or
instruct
Orientation
Complication
Evaluation
Resolution
Coda (optional)
To instruct
someone
on
how
to
do
something
To explain how
or
why something
occurs
To persuade by
Goal
Steps
Phenomenon
identification
Explanation
sequence
Thesis
technical language
use of words such as because, as a result, to
establish cause/effect sequences
words that qualify, e.g. usually, probably
arguing
one
side
of an issue
Response
(factual or
literary)
Descriptio
n
(factual or
literary)
*This text
type is
often
embedded
within
other texts
Discussion
Arguments
Reinforcement
Thesis
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words that link arguments,e.g. firstly, on the other

hand
Context of artistic
work
Description of artistic
work
Judgement
words which express judgements

descriptive language
To describe the
characteristics
or
features of a
thing
or
a
phenomenon
Introduction to the
subject
of
the
description
Characteristic
features
of
the
subject, e.g. physical
appearance,
qualities, behaviour,
significant attributes
particular nouns
variety of adjectives
action verbs
similes, metaphors figurative language
To
examine
issues
from more than
one
perspective
Statement outlining
the issue
Arguments for and
against
A conclusion
use of thinking verbs, e.g. feel, believe, hope

use of connectives, e.g. on the other hand,
however
To respond to a
visual, written
or
performed
work
of
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1.
Draft a short departmental weekly report on your workplace issues

for submission to management. Use the specifications as shown on
the table on Page 39.

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Interpret a variety of literary texts

Unit Standard Number 119466

Interpret a variety of literary texts

SPECIFIC OUTCOME: Extract meaning from a variety of literary texts...5

Listening/signing/reading/viewing strategies appropriate to the texts

Own responses are confirmed and/or adapted after interaction with

Evidence cited from texts in defence of a position is relevant......16

The human experiences and values in texts are explored and

A variety of texts are explored and explained in terms of social or

Responses to points of view in text are imaginative and an

The way in which people respond differently to texts is explored and

SPECIFIC OUTCOME: Produce own texts in response to literary texts..31

A good grasp of the significant ideas of the texts is demonstrated.33

Use of certain stylistic devices is identified, and the effects created

Interpret a variety of literary texts

Own understanding of characterisation is justified........................35

Selected literary texts are used as a basis for writing/signing in

Document Revision Record

Interpret a variety of literary texts

DESCRIPTION OF UNIT STANDARD

Interpret a variety of literary texts

Communication Studies and Language

Interpret a variety of literary texts

Interpret a variety of literary texts

1.1 LISTENING/SIGNING/READING/VIEWING STRATEGIES

Top-down strategies are listener based; the listener

listening for the main idea

2. Bottom-up strategies are text based; the listener relies on the

Interpret a variety of literary texts

words, and grammar that creates meaning. Bottom-up strategies

listening for specific details

recognizing word-order patterns

Strategic listeners also use metacognitive strategies to plan,

Interpret a variety of literary texts

information they have to hold in short-term memory in order to

Interpret a variety of literary texts

Previewing: reviewing titles, section headings, and photo captions to

Predicting: using knowledge of the subject matter to make predictions

Paraphrasing: stopping at the end of a section to check comprehension

When and how to use reading strategies in several ways.

By modelling the strategies aloud, talking through the processes of

By using cloze (fill in the blank) exercises to review vocabulary items.

Interpret a variety of literary texts

Reading to learn the text: Reading material is text input. By reading a

Reading for content information: Your purpose for reading is often to

Reading for cultural knowledge and awareness: Reading everyday

When reading to learn, you need to follow four basic steps:

Interpret a variety of literary texts

Figure out the purpose for reading. Activate background knowledge of

Check comprehension while reading and when the reading task is

inconsistencies and comprehension failures, helping them learn to use

What is the message?

Who is the message for?

What is the purpose of the message?

Whose point of view is presented?

You need to make sense of it and respond personally, critically, and

Interpret a variety of literary texts

The International Reading Association says that, "Being literate in

Expose yourself to many opportunities for to view daily.

Recognize the different forms visual texts can take including:

Interpret a variety of literary texts

1. Picture Book Studies: Select various picture books or illustrations for