1. ALL CONNECT – KS3 PROGRAMME
Literature
Trainers are advised to look at the indicative timings in the Notes to each screen and decide in advance on the need for omitting some screens if time is pressing.

2. Aims of the literature module
To discuss the rationale for including literature in language lessons in Key Stage 3
To explore interactive practice for purposeful language learning with texts
To plan accordingly for researching texts, piloting and integrating texts into schemes of work
This outline describes the content of this module and the follow-up activities (also available from the blog) .
Please underline that examples of texts and activities will be given throughout in a variety of languages (sometimes with variants available) and that the Action Plan will be personal and include any/all of the Languages taught by those attending the sessions. Participants are encouraged to work in pairs for professional dialogue and to support each other if an example is in a Language a particular participant does not know.
The presentation is intended to be a focus for discussion as well as exemplification, so participants should please feel welcome to contribute.
Each screen shows an indicative timing in the Notes

3. Objectives of this session
explore and reflect on curriculum requirements
discuss the relevance of text types
observe suggested texts and exemplification of how language teachers exploit them
devise strategies for practice
consider progression issues
raise questions and share professional thinking
inform an individual Action Plan leading into the follow-up sessions
Ask if there are other things people were expecting. If so these can potentially be a focus within follow-up work.
Some parts of this session will involve working in pairs or small groups
Explore and reflect – the emphasis is on Language teachers taking ownership of the Programme of Study and clarifying what they think are valuable approaches / useful practice / interesting resources for their learners within their own context.
These Objectives will be reviewed, and revisited. They are printed on a handout for participants to use for tracking.

4. Starter: What is Literature?
Meet your neighbours to discuss
Do Key Stage 3 learners read?
Have you ever used what you would count as a piece of Literature with pupils aged 11-14?
What, and how?
This starter is simply to allow colleagues to air some initial thoughts on their learners, on text types, and to offer some ice-breaking if necessary.
It may be worth suggesting a conversation with colleagues in English and in pastoral roles about the reading interests of Key Stage 3 learners.
Participants will be asked to contribute their thoughts, examples and questions in a later screen.

5. Outline for this session
Curriculum
Rationale
What do language teachers do with text?
What is literature? What texts are relevant?
Planning for the classroom:
Support
Making a start
Piloting
Action plan
This outline will be interspersed with examples of texts of different sorts suggested by language teachers, along with some interaction around the texts. The whole presentation is available within the ALL Connect resources for teachers to access if they wish to use individual resources or adapt approaches themselves.
Much further support is available from the ALL Literature wiki which is referenced specifically within the Presentation.

6. Curriculum Purpose of study
Learning a foreign language is a liberation from insularity and provides an opening to other cultures…
…foster pupils’ curiosity and deepen their understanding of the world
…provide opportunities for them to …read great literature in the original language.
The Purpose of Study is the overarching philosophy of the curriculum guidance, but is sometimes overlooked.
It is worth exploring how these 3 points relate to the Language teacher’s wish to motivate and engage learners, and to ask what impact they are intended to have on the design of a scheme of work.
Ask: What questions do these raise?
Participants may offer / and should consider..
Do we value relevant cultural content enough?
Do we introduce students to interesting resources that stimulate curiosity?
Can ‘literature‘ / authentic resources accomplish this motivational task at the same time as helping us deliver the language content and grammatical aspects of the curriculum?
What are the implications?

7. Aims
The national curriculum for languages aims to ensure that all pupils:
understand and respond to spoken and written language from a variety of authentic sources
speak with increasing confidence, fluency and spontaneity, finding ways of communicating what they want to say, including through discussion and asking questions, and continually improving the accuracy of their pronunciation and intonation
can write at varying length, for different purposes and audiences, using the variety of grammatical structures that they have learnt
discover and develop an appreciation of a range of writing in the language studied
The Key Stage 3 programme of study is accessible here:
It may be worth highlighting that this has the status of law in maintained schools in England (and that exam specifications do not, although they do reflect the PoS)
… spoken and written language from a variety of authentic sources
…. a range of writing in the language studied
– these lines should help us to widen our interpretation of literature, and our search for interesting resources
‘Speak…’
‘can write…‘ - The principle is that any engaging resource (including a text) will be chosen as the stimulus for this sort of speaking or writing. It gives a context and motivation.

8. Linguistic competence
listen to a variety of forms of spoken language to obtain information and respond appropriately
transcribe words and short sentences that they hear with increasing accuracy
initiate and develop conversations, coping with unfamiliar language and unexpected responses, making use of important social conventions such as formal modes of address
express and develop ideas clearly and with increasing accuracy, both orally and in writing
speak coherently and confidently, with increasingly accurate pronunciation and intonation
Ask participants to read these through in pairs, commenting on things they do already
Most of these statements (probably not those in italic) can imply, or could involve, working with Texts, so these resources could be a central to our scheme of work as we wish to make them; they are not a bolt-on extra.
The statements continue on the next screen.
Please reinforce that the PoS statements are not meant to be covered separately or individually but to be woven through the teaching and learning experience.
The PoS statements are available in the Curriculum Checklist handout for review in this and in follow up work.

9. ……………
read and show comprehension of original and adapted materials from a range of different sources, understanding the purpose, important ideas and details, and provide an accurate English translation of short, suitable material
read literary texts in the language [such as stories, songs, poems and letters], to stimulate ideas, develop creative expression and expand understanding of the language and culture
write prose using an increasingly wide range of grammar and vocabulary, write creatively to express their own ideas and opinions, and translate short written text accurately into the foreign language.

10. and also… What the Programme of Study says at Key Stage 2: Listening
explore the patterns and sounds of language through songs and rhymes and link the spelling, sound and meaning of words
Reading
read carefully and show understanding of words, phrases and simple writing
appreciate stories, songs, poems and rhymes in the language
This screen indicates the progression into Key Stage 3; pupils arriving from a Primary experience may well be familiar with encountering authentic resources in the forms described – either for performance or for enjoyment or for linguistic purposes.
You may wish to refer to the example in the Key Stage 2 Grammar module on exploiting the story of The Four Friends for grammatical purposes, and to the French comptine: ma petite main .
Ask:
What questions could you usefully ask a new class in Key Stage 3 about their learning previously?
Thinking about differentiation, how could you exploit a text (say a song) they (or some of them) already know, in order to lead them into the secondary experience?

11. And furthermore! Draft GCSE criteria suggest:
students will be expected to understand different types of written language,
including relevant personal communication, public information, factual and literary texts, appropriate to this level
literary texts can include extracts and excerpts, adapted and abridged as appropriate, from poems, letters, short stories, essays, novels or plays from contemporary and historical sources, subject to copyright'
Here is progression into Key Stage 4.
What are the implications for how the scheme of work in Key Stage 3 leads up to the Options moment?
And prepares for the sorts of test types they may encounter in Key Stage 4?
What sorts of texts should Key Stage 3 teachers be including?
And what sort of thing should students be doing with them in order to be confident?
NB: Since these resources were written, plans for the GCSE have been taken forward.

12. What is our rationale? Pragmatic: Curriculum requirement
Exam specification
Professional
Cultural richness
Linguistic variety
Rich content and stimulus
What do you think?
Ask: What do you think?
The pragmatic considerations are the stick, but there are other things we know, or anticipate, about curriculum development initiatives which are more carrot-like!
Professional – the opportunity here is to draw out the message that these things will only impact in the most positive way on learning and motivation when the teacher plans interesting, active interaction with the text.
Ask participants to write down 3 or 4 bullet points of their own Rationale.
This Rationale can be built on in follow up tasks to inform Departmental documentation.
This leads into the next screen.

13. What do language teachers and learners do with text?
Taking a text to mean something in writing or in speech or in video, and…
thinking back to the statements of the Programme of Study…
work with a partner to note down some simple activity types for Key Stage 3.
The idea is to encourage participants to begin to join up the PoS statements with the idea of a text.
You may wish to use the Curriculum Checklist handout to support this thinking.
Some ideas to get them going, if helpful:
- mixed skill – read and listen, read aloud
- separate skills – read for meaning, for pleasure/ appreciation, compare different versions
- translation
- recitation / performance
- creative writing
- recycling of key language items
- swapping genres (transposing e.g. a report into a dialogue / a pay script into a narrative)
- observing grammar, structures, eloquence, style, register

14. Example 1: Linking a text with grammatical awareness / creativity
With your partner, look at the poem on the next screen
Try to work out the meaning of anything you can (a translation is available)
The text on the next screen is the first part of an authentic Spanish poem. The translation is in the notes. …

15. Un hombre sin cabeza Un hombre sin cabeza no puede usar sombrero.
Pero éste no es
su mayor problema:
no puede pensar,
no puede leer, ……..
Armando José Sequera
If you have a Spanish teacher present ask them to read the lines – slowly – and with the line breaks.
Then ask everyone in their pairs to read it aloud, taking alternate lines.
Then look at the text to extract the meaning:
Translation:
A man without a head
Cannot use a hat
But that is not
His biggest problem:
He cannot think
He cannot read…
Ask the group: ‘What else can he not do, this man without a head?‘
If you have Spanish teachers present ask them for the verbs that are suggested and note them on a screen / board.
Suggest the group might select lines from the poem to copywrite and translate in to English
Then suggest that the group could now try to write the next lines of the poem, using the writing frame, repeated on the next screen.

16. Extend with personal ideas (writing frame) Dictionary practice
Spelling
Reading aloud
Also
Modal verbs + infinitives
Language in creative use
Ask what other linguistic features teachers may wish to point out / explore:
Su mayor problema – Mi mayor problema?
Other modal verbs?
Or what other creative routes: Un hombre sin … ?

17. Exploring differences
No puede usar means… ‘cannot use’
Which bit means ‘use’?
What do you notice about ‘cannot’?
Can I..? I can ..
Making new sentences: I can... / Can I...?
Teachers might also lead the class to think about word-for-word translation, and about dictionary skills and about intonation.
This sequence leads into developing Classroom Language structures with ‘Can I …? / May I…? And so links with the Spontaneous Speaking agenda

18. ‘usar’ in the dictionary = ‘to use’
In English is there a way of saying ‘He cannot use’ with ‘…to use’?
He to use
He – not ---- to use
He is not ---- to use
He is not able to use
This sequence encourages learners to begin to grow confident in decrypting a dictionary, and seeing the parallels between modal verbs in English and Spanish.

19. The full text http://www.doslourdes.net/Un%20hombre%20sin%20cabeza.htm
Use the Curriculum checklist handout to ask participants to spot which, if any, of the statements there they think have been touched upon by the activities proposed.
Please clarify that these are suggestions only; there are many ways of accessing and exploiting the same text, depending on the teacher and the class.
Other suggestions for exploiting the text are to be found on the ALL Literature wiki.
Please demo this procedure:
Go to
In Search box type ‘cabeza’ and a link will appear

20. Finding a good text
Not every text appeals to every teacher, or to every learner
What are your criteria for a ‘good’ text for Key Stage 3 learners?
This is a brief discussion in pairs or groups:
Criteria could include: age-relevant content, entertainment value, linguistic level, grammatical content, cultural relevance, topic language content, match to scheme of work, availability of multisensory input – i.e. text + sound + video / animation
Personal criteria are very important as it is the individual teacher who has to present the text in a positive light! It is worth sharing people’s responses.
The text on the next screen in French meets quite a lot of criteria.

21. Chanson pour les enfants l'hiver – Jacques Prévert
On the next screen is the ‘raw’ text – the words of the poem. Teachers of Languages other than French will need some guidance into the meaning.
Highlight for participants that , because this text is so widely known in Francophone countries there are many versions of it available; some examples follow.
Initially ask participants to brainstorm what they might ask learners to do with the text.
This will probably include:
Spotting key words, translating sections or the whole, reading sections aloud, spotting the gist, comparing the French original with an English version

22. Dans la nuit de l'hiver Galope un grand homme blanc
Dans la nuit de l'hiver Galope un grand homme blanc. C'est un bonhomme de neige Avec une pipe en bois, Un grand bonhomme de neige Poursuivi par le froid. Il arrive au village. Voyant de la lumière Le voilà rassuré.
Dans une petite maison Il entre sans frapper, Et pour se réchauffer, S'assoit sur le poêle rouge, Et d'un coup disparaît Ne laissant que sa pipe Au milieu d'une flaque d'eau, Ne laissant que sa pipe Et puis son vieux chapeau.
This translation is fairly sound:
In the winter night A big white man is galloping It is a snowman With a wooden pipe A big snowman Pursued by the cold He arrives at the village Seeing some light he is reassured In a little house He enters without knocking And to warm himself up again He sits down on the red stove
And straightaway he vanishes leaving only his pipe In the middle of a pool of water leaving only his pipe And then his old hat
However online there are other inaccurate translations such as this one:
In the winter night A big white man is walking It is a snowman With a pipe in his mouth A big snowman To follow the cold He arrives at the village He is travelling to the light And he is reassured there In a little house He enters without knocking And to heat himself up again He places himself in front of the red fire He does not leash his pipe In the middle of a bottle of water He does not leash his pipe And then his life was brilliant
This creates a different Reading activity for learners – looking for flagrant inaccuracies – and highlights the risks of taking online information too trustingly!
What suggestions do participants have for exploiting this text?
It has many significant French graphemes in it, so could be useful for reading aloud
For purposeful reading with a more able class, it might be useful to give the class the second section of the text in order to work out who the central character is.

23. Online versions https://www.youtube.com/watch?v=8ZOL5hk6r0w
(at 1’30)
These are a few of the many versions of the poem found online.
The first is set to music, illustrated and read aloud by primary children; this one is useful in establishing the audience / genre of the text for an audience, and so could be used BEFORE looking at the written text. It also gives a good sense of how the poem should be broken up when read aloud
Play some of this to give a flavour.
The second (just for reference) is an audio version read by a French adult. This could be used as a sort of Jigsaw Dictation – learners could have the lines (or groups of lines) of the poems cut up, in order to listen and sequence them. More able learners would have shorter groups.
If you do use this version, the reading begins at 1 min 30 into the recording.
The third version is an animation with the text set as a song. This could be used like version 1 above to set the scene before looking at the text, but has added cultural aspects in the style of the song, so could be used as a contrast with version 1, and as a stimulus for expressing spontaneous opinions.
Play some of this for flavour.

24. Criteria: why use this?
Well-known by young people in the original culture
Length is appropriate
Lexis is approachable
Fit with scheme of work in Winter
Available online
Multisensory input enables flexible exploitation
There is a question of age-appropriateness for some UK contexts with a text like this, although in Francophone countries this may not arise.
Again you might wish to use the Curriculum Checklist handout here to ask participants to identify items that have been touched upon.
As part of the ALL Literature Project we asked the languages forum ‘What is Literature?’ in the context of Key Stage 3 learners. The next screen is a compilation of responses.
You might ask first for suggestions of what is included in the range of texts.

25. What is ‘Literature’? short stories new articles songs
magazine articles
publications
scenes from plays
poetry/song lyrics
poem forms such as haiku, Elfchen, luunes 
fairy tales / Märchen
rhymes
tongue twisters
letters
jokes
myths and legends
Cartoon strips, comics
proverbs
film clips
adverts , posters
Books with bright illustrations and limited and readily understandable text
Books including those written originally in English and become international children’s classics
If participants do not have time to think about all of this it is available on the wiki.
This session is focussing on a fairly conservative concept of Literature but there is no doubt that this wide range includes many text types of interest to Key Stage 3 learners and so worthy of exploration at some point – viz. next screen
You may wish to take a break here.

26. What is Literature for?
Even if it is not ‘great literature’ a text may be worth using because…
Students like it
Students respond to it
It shows interesting things about language
It helps people learn more about…
Students respond to it – i.e. they don’t necessarily like it, but they are prompted to express their (negative) views! – still an opportunity for response in the Target Language.
There may well be high frequency comments or questions that learners wish to use (and therefore worth teaching) within your Target Language policy.

27. Where to look for literature?
A good starting point is the ALL Literature wiki:
Contributions from language teachers
Suggested texts and approaches for their exploitation
Extensive list of sources of texts
Online
Advantage of having mixed media available
Bookshops
Partner schools
Cultural agencies
Details of the wiki contents appear on the next screens. …

28. ALL Literature Wiki http://ALL-Literature.wikidot.com
Case studies from teachers
For example: Bertolt Brecht, "Vergnügungen" from Louise Watson
Please go to the wiki and demo looking into the book boxes at the foot of the screen; suggested to look at German box for balance of languages.
Click on the German book pile and scroll down to this title ‘Vergnugungen’. You will see the details provided by the teacher – these details are provided to a pro forma and so there should always (or very often) be : appropriateness, rationale, suggested approaches, suggested time needed, outcomes, and topic / grammar links.
Please join Wikidot and sign into the wiki in order to see also on screen the attached files – in this case the differentiated texts/activities.
NB there is another entry on the wiki using the same text, but with a different title – Search for ‘Brecht’ to find it and to observe the different approaches in the linked Powerpoint.
If you have no German teachers in your group you may prefer to show an example from the French or Spanish book pile, but the messages are still the same: written by teachers, with teacherly thinking about exploitation, outcomes and relevance.
Participants will be encouraged in follow up to make contributions of their own to the wiki.
Encourage comment or discussion about the content of this example – there may be views on age-relevance etc. This is picked up on the next screen.

29. Key principles Some key principles are emerging…
Some texts are interesting and valuable to use even if they are not ‘great literature’
A literary text is a great stimulus for creative writing, and/or for performance
To be successful in class, any text has to be age-appropriate either in terms of its content or in terms of the activity you do with it; an authentic text can be used with learners of different ages, by adjusting the learning activity.
The third bullet point is important to emphasise – older learners often respond surprisingly well to texts teachers would judge ‘simple’ or ‘immature’ if the task they have recognises this. Likewise younger learners can often cope with an authentic text of some linguistic complexity if the content and learning activity are at their level.

30. Contents of the right side bar
Introduction to the wiki
What is our rationale?
What is literature?
Pedagogy and research
Curriculum starting points
Advice on using literature in the classroom
Background reading
Online sources of texts
Culture for teachers
These other areas of the wiki will be useful for research between the ALL Connect sessions and will be the focus of specific activity in follow up sessions. …

31. Diversity of texts Using a song lyric
Songs are already familiar resources in Language lessons, to encourage cultural awareness, provide a break, stimulate opinions etc.
Ask the group to consider a specific task that Key Stage 3 learners could undertake starting from the written lyric of a song, but including other formats if relevant.
Take feedback on suggestions.

32. Modernise the tongue twister
This suggestion encourages a playful interaction with the humorously complex lyrics (on the next screen).
You may like to try the activity with the group, or simply describe it.
Firstly the learners work in pairs , or a small group, to meet the challenge of reading the verse aloud; they need to know it is a tonguetwister and does not make much sense; the teacher encourages them to consider pronunciation and intonation, but also to repeat the attempt in order to get faster / more fluent – each pair / group identifies its fastest reader.
Next all of the fastest readers read aloud at the same time, to find the fastest (or two fastest) in the class. Thirdly the teacher plays the musical version of the text. Finally the two fastest readers read aloud (not sing) alongside the musical version to see who keeps up best.
So – look at the text first (next screen).
Then ask participants to read along with the audio version (the second link on the screen).
This example is also on the wiki.

33. Ta tantine t'a quitté, t'es tout dégouté, tenté de te tuer, de tout oublier, de sauter du toit
Tu te tortures dans ta tuture, fais le tour de tes tares, pour savoir qui c'est qui qu'a tort
Si tu mérites que la tantine se tire avec tes tétards, un tantinet têtu tu voudrais savoir
Tu veux la test, la taire, la toaster en tutu, la retourner, lui faire tâter du tatami
This text also introduces learners to some French slang (and some just weird French!) which might be interesting!
Once again the Curriculum Checklist may be used to focus on what is relevant learning activity; participants may have further relevant ideas for exploiting this style of resource.

34. Getting going with planning
Be pragmatic!
Piloting: choose a class which is likely to respond positively
Choose a text that will multitask
Be diverse!
Choose a text you can use in interesting ways
Advice is featured on the wiki in the right hand bar: Advice on using literature in the classroom.
You may wish to explore this here, or more likely ask participants to read it in follow up.
Encourage participants to think diversely and list the sorts of texts their Key Stage 3 classes are likely to respond to.
Make a list. This is likely to include: story, poem, magazine article, interview, report, personal blog, lyric, webpage, letter…
Choose one of the text types they identify, and ask participants to discuss in pairs two different ways of exploiting such a text – along with the linguistic outcomes they would anticipate, i.e. what would learners gain from such an approach?
Take feedback.
The next screen encourages participants to think divergently about approaches to text.

35. Playing with text Performing Extending Transposing Adapting
Personalising
Interpreting / translating key bits
Recycling
Reviewing
This screen proposes some generic strategies for learners interacting with texts and is worth spending time on now (and in follow up) to unpick.
The guided discussion could be to ask how these strategies might be applied to each of the text types you have noted on the list – this will generate a Text/Activity digest that should be of practical use in planning for specific lessons.
An example (Text type story) is on the following screen.
This screen and activities around it is intended to be useful in follow up also.

36. Text type: story Learners: …enact a scene from the story (performing)
…predict the next event and write / narrate it (extending)
…re-write / present in style of a news report (transposing)
…use the structure to write a new account (adapting)
…retell in their own words (personalising)
…translate / interpret their favourite bit
…extract language they wish to use themselves (recycling)
…offer opinions (with explanation if appropriate) about the text (reviewing)
These suggestions are not exclusive of course.
Again you may wish to use the Curriculum Checklist to spot other possibilities of relevant activities.

37. Personalising Read / view an interview with Z
Invent your own interview with X (in recorded speech or writing)
Read / view a blog item such as:
Invent your own
The n-punto blog article is on the website in December The text about gratitude is on the next screen. The creative writing task could be on the same theme, or a related one; it may require some brainstorming and dictionary work. …

38. Gratitud n-punto | Publicado: Lunes, 1 diciembre, 2014
Gracias por:
El aire que respiro
Por que puedo hablar
Por el techo donde vivo
Por el cuerpo
Por el trabajo
Por estar vivo
Por las amistades …
Por Táyna Rivera Llavona / Especial para n-punto 
Por que cada día tiene algo diferente
Por el sol
Por la lluvia
Por la naturaleza
Por los animales
Por la comida
Por lo que no tengo
As a variant, a similar activity is described with a French text on the wiki under the title Voeux de bonne annee.

39. A reminder Learning a language
…should also provide opportunities for them to communicate for practical purposes, learn new ways of thinking and read great literature in the original language.
Just to plant the idea in the mind of participants again that the texts we are talking about (literary etc.) are there to stimulate communication as well as in their own cultural right. As in so many things variety can bring spice to communication. …

40. Planning for the classroom
Diverse approaches
Approaches starting from the whole text… and elsewhere than the vocabulary / grammatical features
The French poem on the next two screens offers other linguistic routes…
Ask participants to read through the first screen of the poem. If they do not have French they might work with someone who has or ask a French teacher in the group to give a gist. The main point is that the poem is like a camera zooming in from a big scene to a tiny one. …

41. Dans Paris - Paul Eluard from ‘Les p’tites récitations de notre enfance’ (First Editions)
Dans Paris il y a une rue;
Dans cette rue il y a une maison; 
Dans cette maison il y a un escalier;
Dans cet escalier il y a une chambre;
Dans cette chambre il y a une table;
Sur cette table il y a un tapis;
Sur ce tapis il y a une cage;
Dans cette cage il y a un nid;
Dans ce nid il y a un œuf,
Dans cet œuf il y a un oiseau. …
Ask the group to identify a learner task that takes the whole of this text into account, and does not require immediately a grammatical focus.
They may suggest:
Matching – images to the lines.
Jigsaw reading – the structure of the poem would allow learners to rebuild the text if it was ‘cut up’ into lines.
Either by matching words – une rue / une rue.
Or from picking up the sense.
Learners could also reorganise the lines in a sort of jigsaw dictation – the hear the lines (see next screen) and sequence them accordingly.
Once they have got a sense of the whole text, the class could do a jigsaw reading: the separate lines are distributed around the learners and they have to read their line aloud at the proper point.
Using the text as a writing frame is another possibility.
Once the concept is established the teacher may wish to explore grammatical structures: why is it ‘cette rue’ but ‘cet escalier’ and’ ce tapis’ and check vocabulary.
The first link on the next screen presents the vocabulary quite clearly (by non-native speakers).
Play an extract for flavour.
The second link provides illustrated vocabulary without any voicing, if preferred.

42. Online versions https://www.youtube.com/watch?v=XvaB35LOQhY
Presented with voiceover (non-native speakers)
Slideshare file: images only
This style of poetry is called ‘Poésie gigogne’.
Before moving on to the conclusion of the poem, the learners need to know the key word ‘renversa’ (knocked over / overturned) which occurs in every line. This is likely to be just a lexical item, but some learners might ask about the verb ending which is the Past Historic (in French le passe simple).
Once ‘renversa’ has been presented / modelled / mimed the class can see the first line of the next verse.
They might well, at that point, be able to recite , or write down all the rest of the poem without even reading it, which might well give them a sense of achievement.

43. L'oiseau renversa l'œuf; L'œuf renversa le nid;
Le nid renversa la cage;
La cage renversa le tapis;
Le tapis renversa la table;
La table renversa la chambre;
La chambre renversa l'escalier;
L'escalier renversa la maison; 
La maison renversa la rue;
La rue renversa la ville de Paris.
A creative writing task based on this zooming in process might be a challenging homework, and learners may also be interested to read something of the context of Eluard’s writing – the Occupation, Surrealism or the Spanish Civil War.

44. Sources of texts
The ALL Literature wiki has an extensive listing of online, and other, sources of texts. The online listing includes:
Large repositories (national sites, cultural partner sites, native speaker sites)
Individual pages with texts (often in several media, with animated texts, audio or video support)
(NB: As with all online links, these may sometimes lapse)
Please point out where this section of the wiki is:
Online sources of texts in right hand bar
As with all elements of the wiki we welcome other suggestions.
One of the reasons for introducing learners to authentic texts is to demonstrate to them how capable they are, and build their confidence in encountering such texts. The following is a non-fiction text aimed at native speakers of Spanish. …

45. Non-fiction text
This text in Spanish unpicks the confusion that many share about our country
With a partner, plan an activity to help Key Stage 3 learners see that they can access an authentic text aimed at native speakers
Please use the link to show the layout of the page which gives context to it and supports understanding.
The text is reproduced on the next screen for visibility.
The activity may include:
Answering questions
Exploring the text through proper nouns, cognates, near-cognates, hypothesis etc. to extract the key messages
Spotting key words – verbs, adverbs etc. for personal use
Creating a simple True / False quiz in Spanish based on the information
Or producing a bullet point summary
Or translating some of the text
Writing a supplementary sentence / paragraph about the region where they live
Research on the countries / regions of the Iberian peninsula to create a parallel text

46. Inglaterra, Gran Bretaña, Reino Unido En el lenguaje corriente,
estas tres nominaciones
se utilizan de forma indiscriminada para referirse al país habitado por los británicos. Simplemente es un error.
En primer lugar, el nombre de Gran Bretaña hace alusión a una unidad geográfica. Se trata de la mayor de las islas del archipiélago británico, que está situada entre el continente, al este y sur, e Irlanda, al oeste.
Esta isla menor conforma, junto a Gran Bretaña, las islas británicas. Por el contrario, el Reino Unido define una unidad política: el estado integrado por Gran Bretaña e Irlanda del Norte.
Su nombre oficial es Reino Unido de Gran Bretaña e Irlanda del Norte. El resto de Irlanda constituye un estado independiente. Por último, Inglaterra es una de las tres regiones de Gran Bretaña. Las otras dos son Escocia y País de Gales.
Text from
The webpage layout raises an interesting question for us about Interesting things around the text, explored on the next screen. …

47. Other genres
Choosing a text such as a biographical / historical letter
…or newspaper headlines
…or a scene from a famous play or film
broadens again the range of interesting things learners could explore, or respond to, around the text
This area forms an element of Follow Up but you may wish to encourage some initial thinking here about what sort of responses different genres might stimulate, using the Curriculum Checklist.
Interesting things around the text may include:
- Information about authors
- Titles and images
- Historical or social context
- Reviews and reputation
An example of newspaper headlines in French follows on the next screen.
NB this is raising the aspirations significantly, but is included for that purpose.
If you have time this is where the Napoleon text sits best (on the next 5 screens) – if not then this can be viewed as follow up and you omit the screens

48. Image from http://madamepickwickartblog
If you are running late this example could be left for follow up.
Learners may recognise the silhouette of Napoleon but may not know about his political popularity (or lack of it) in France and elsewhere at the time of his exile, and escape from Elba. This could be an interesting story to research and relate. It is worth talking to history colleagues about how they use historical evidence to promote discussion and questioning in their lessons, in case there are things to borrow.
The press had turned strongly against him (as our own press does with politicians nowadays) and the following headlines illustrate their reaction to news of his escape. They are a case study in changing tone of language!

49. Le moniteur universel, 1815 L’anthropophage est sorti de son repaire
L’ogre de Corse vient de débarquer au Golfe Juan.
Le tigre est arrivé à Gap.
Le monstre a couché à Grenoble.
Le tyran a traversé Lyon.
Each headline would be revealed separately to the class who are asked to look specifically at the terms used to describe Napoleon. Some will not be familiar (but make nice insults)! Anthropophage is a cannibal. These key terms could be coloured to simplify the task (on next screen as an illustration.)
A map of France would be useful to track the progress also. It may be useful to begin by highlighting Corsica (and maybe Waterloo).

50. Le moniteur universel, 1815 L’anthropophage est sorti de son repaire
L’ogre de Corse vient de débarquer au Golfe Juan.
Le tigre est arrivé à Gap.
Le monstre a couché à Grenoble.
Le tyran a traversé Lyon.

51. L’usurpateur a été vu à soixante lieues de la capitale.
Bonaparte s’avance à grands pas, mais il n’entrera jamais dans Paris.
Napoléon sera demain sous nos remparts.
L’Empereur est arrivé à Fontainebleau.
Sa Majesté Impériale et Royale a fait hier au soir son entrée dans son château des Tuileries au milieu de ses fidèles sujets.
Some learners may spot the changing style of verb and phrasing as the text evolves also.

53. Next editions! Follow-up tasks include:
Planning (short, medium and long term)
Considering other aspects of progression
Diverse strategies for working with texts
Special occasions
More selected examples from the wiki
This is a taster of titles available in follow-up sessions.

54. Action Plan An Action Plan handout is available
It serves to make a record now of what you plan to undertake next
The Action Plan should be brief and practicable. It could be used also at the end of each follow up activity, and include some research, a pilot activity, a departmental discussion etc.
Participants are warmly encouraged to contribute their ongoing thoughts, ideas and aspirations to the ALL Literature wiki.
A reminder of how to access that and register to edit it is included in a later screen.

55. Objectives reviewed explore and reflect on curriculum requirements
discuss the relevance of text types
observe suggested texts and exemplification of how language teachers exploit them
devise strategies for practice
consider progression issues
raise questions and share professional thinking
inform an individual action plan leading into the follow-up sessions

56. Locate one or two texts to explore next time
Explore the wiki
Locate one or two texts to explore next time
Please ask particpants to include this in their Action Plan. …

57. ALL Literature Wiki Areas to begin from: What is our rationale?
Advice on using literature in the classroom
Online sources of texts
The Book Box for your language
Remember the search function
If you Join the Site you can see the attachments – so please do!
These are suggestions only- they appear on the Objectives handout

58. Evaluation One of the curriculum requirements is:
discover and develop an appreciation of a range of writing in the language studied
We hope you have appreciated this session and that you can leave the presenter with a brief review

59. Happy reading!
-2.00