SEEN 30073: CHILDREN AND ADOLESCENT
LITERATURE
“All good children's stories are the same: young
creature breaks rules, has incredible adventure, then
returns home with the knowledge that aforementioned
rules are there for a reason.
Of course, the actual message to the careful reader is:
break rules as often as you can, because who the hell
doesn't want to have an adventure?”
― Brian K. Vaughan
“Anything can become a children's book if you give it
to a child...Children are actually the best (and worst)
audience for literature because they have no patience
with pretence.”
― Orson Scott Card
Introduction
Today's baby and teenage creature is
wandering. For example, a small red fish that has been
abandoned in the endless ocean. Today, the child
pushes the green button to control television or satellite
against unlimited imagery, movies and music. There a
variety of cultures and literature from different
countries with all the good and the other. Today, the
child bypasses the search engines to the infinite world
of information on a computer today. The child today is
different with the baby today. Some people believe
that the child's literature is subject to destruction and
destruction in light of the rapid development of the
world today.
DEFINING CHILDREN AND ADOLESCENT
LITE
Children's and adolescent literature tells children's and
adolescents' special literary texts. This kind of
literature also includes a part of the popular oral
culture, such as Lullabies, parables, stories, as well as
stories, plays and poems, as well as writings in the
fields of religion, social science, science and its
applications, art and entertainment. Authors and poets
create for children and adolescents.
There are various factors that limit students from
understanding literature:
 Limited experience of children (in terms of
type, extent, and amount of experience).
 Language restrictions (vocabulary limits)
 Limited time of accuracy (children cannot
think intellectually for a long time in
something like reading a story.)
 Failure to receive various events at a time.
Children's literature is said to be a collection of works
and writings (books and articles) that are provided by
specialist writers for the free study of children, and in
all of them the taste and level of development and
development of children are considered".
HISTORY OF CHILDREN’S LITERATURE
This literary genre means, in the general sense, the
works that are appropriate both in terms of the theme,
construction and payment, and image, and in terms of
language and presentation, and manner of presentation,
with the needs, interests, experiences, and abilities of
children and adolescents to understand and read.
The term child is the person who can at least
understand them by seeing the images or listening to
the text of the books. The age range of this definition
continues until the age of fourteen or fifteen. Although
the term refers to adolescence, in the present
circumstances, due to the fundamental socio-cultural
changes in global societies, especially due to the
remarkable advances in complex electronic sound and
visual instruments, adolescents older than the age of
fifteen are practically in the study of works are for
adults.
Just as other forms of literature, children's
literature grew from stories passed down orally from
generation to generation. Irish folk tales can be traced
back as early as 400 BCE, while the earliest written
folk tales are arguably the Pachatantra, from India,
which were written around 200 AD. The earliest
version of Aesop's Fables appeared on papyrus scrolls
around 400 AD.
In Imperial China, story telling reached its peak during
the Song Dynasty (960-1279 AD). Many stories from
this epoch are still used to instruct students in China
today. No such equivalent exists in Greek and Roman
literature. However, the stories of Homer and other
storytellers of the era would certainly have appealed to
children.
As Europe became a cultural center of the world,
instructive texts became increasingly common. These
books were mostly written in Latin, with the purpose
of instructing children. During the Middle Ages, very
little literature was written for the sole purpose of
entertaining children. Hornbooks, textbooks containing
basic texts like the Lord's Prayer and the alphabet,
would not appear until the 1400s. Alphabet books
began popping up around Russia, Italy, Denmark, and
other European countries roughly a century later. It
was in the 1920s that books could be mass produced in
color, and literacy became sufficiently widespread to
make children's picture books a true industry unto its
own.  insurgents (Alabado 2001).
CHILDREN’S LITERATURE IN THE
PHILIPPINES
Children’s literature in the Philippines traces its roots
to oral tradition before Spain colonised the
archipelago. Mothers sung lullabies for their babies.
Each region had its own lullaby: Ili-ili Tulog Anay
from the Visayas, Paghehele of the Tagalogs; and
Duoay ya of the Ilocaos. Youngsters heard folktales
from adults; these tales were meant to educate the
young. Further, proverbs and riddles reflected the
people’s philosophy and way of life. Likewise, these
had morals.
The first book for children came in 1593, Doctrina
Cristiana en Lengua Tagala y Española, written by
Father Domingo Nieva. It was used for religious
instruction; children never actually held the book. Only
adults had handled the book (Parayno 1991).
The Filipino child’s first alphabets were learned from
the Cartilla (Parayno 1991), sometimes called Caton or
Abecedario. This list of Roman alphabets and syllables
replaced the native alibata (Alabado 2001). Books
were focused on the lives of saints, prayers and
sermons. Written in the vernacular—in Roman
alphabets—these were distributed throughout the
archipelago.
Children were later exposed to western romantic tales
involving kings and knights. They found this
interesting and called it their own. Examples are: El
Cid of Spain and Charlemagne of France (Parayno
1991).
The Americans introduced books that were meant for
young American readers. Filipino youngsters were
introduced to Mother Goose Rhymes, Alice in
Wonderland (Parayno 1991), Grimm’s Tales, Louisa
May Alcott’s Little Women, Mark Twain’s The
Adventures of Tom Sawyer, The Adventures of
Huckleberry Finn, and Swiss Family Robinson
(Alabado 2001). Since the setting and way of life
presented in these stories are foreign, the result was the
alienation of the Filipino child from his own culture.
Adding to the burden was the American-themed
literature for the Filipino children. The values,
attitudes were reflected in the Filipino children, who
made the values their own (Alabado 2001).
Hugo Miller’s Philippine Folklore Series was one of
the books written by American authors but prepared in
the Philippines. Ginn and Company pioneered the
publishing of books (Parayno 1991). This resulted to
children considering foreign colonizers as heroes and
native heroes—Lapulapu for example—as mere
Later, Filipinos wrote children’s stories themselves.
Camilo Osias’s Philippine Readers Books 1 to 7 were
read by every Filipino child in grade school. Known as
Osias Readers, the book collection contained tales,
legends, myths, and creatures that were familiar to the
Filipino child. The pieces were written in English. The
author’s preface of Book Four added that poems and
selections that light the fire of nationalism have been
included
Children’s books in the Philippines have greatly
evolved. From Western books in the beginning, the
Filipino child has found morals and entertainment in
stories that are familiar to him. He is provided with
materials that foster appreciation of his own culture
and values, not a foreigner’s.
PURPOSES OF CHILDREN’S LITERATURE
Following are a few of the specific
benefits children derive from reading and listening to
books:
 Strengthening a bond between the child and
adult reader
 Experiencing the pleasure of escaping into a
fantasy world or an exciting
ADVENTURE
 Developing a favorable attitude toward books
as an enrichment to their lives
 Stimulating cognitive development
 Gaining new vocabulary and syntax
 Becoming familiar with story and text
structures
 Stimulating and expanding their imaginations
 Stretching attention spans
 Empathizing with other people’s feelings and
problems
 Learning ways to cope with their own feelings
and problems
 Widening horizons as they vicariously learn
about the world
 Developing an interest in new subjects and
hobbies
  Understanding the heritage of their own and
other cultures
 Acquiring new knowledge about nature
 Bringing history to life
 Stimulating aesthetic development through
illustrations
 Exploring artistic media used in illustrations
CHILDREN’S CLASSICS
Children’s Classics of the Nineteenth Century
1812: The Swiss Family Robinson by Johann Wyss
1843: A Christmas Carol by Charles Dickens
1864: Journey to the Center of the Earth by Jules
Verne
1865: Alice’s Adventures in Wonderland by Lewis
Carroll (Charles Dodgson)
1865: Hans Brinker or the Silver Skates by Mary
Mapes Dodge
1868: Little Women by Louisa May Alcott
1869: Twenty Thousand Leagues under the Sea by
Jules Verne
1871: Through the Looking-Glass by Lewis Carroll
(Charles Dodgson)
1872: Around the World in Eighty Days by Jules
Verne
1876: The Adventures of Tom Sawyer by Mark Twain
(Samuel Clemens)
1877: Black Beauty by Anna Sewell
1883: Treasure Island by Robert Louis Stevenson
1883: The Adventures of Pinocchio by Carlo Collodi
(Carlo Lorenzini)
1884: Heidi by Johanna Spyri
1886: Kidnapped by Robert Louis Stevenson
1886: Little Lord Fauntleroy by Frances H. Burnett
1894: The Jungle Book by Rudyard Kipling
1900: The Wonderful Wizard of Oz by L. Frank Baum
DEFINING LITERATURE
 Etymologically, the Latin word “litteratura” is
derived from “littera” (letter), which is the
smallest element of alphabetical writing. The
word text is related to “textile” and can be
translated as “fabric”: just as single threads
form a fabric, so words and sentences form a
meaningful and coherent text. The origins of
the two central terms are, therefore, not of
great help in defining literature or text. It is
more enlightening to look at literature or text
as cultural and historical phenomena and to
investigate the conditions of their production
and reception.
 In its broader sense, it is any single body of
written works.
 More restrictively, literature is writing that is
considered to be an art form, or any single
writing deemed to have artistic or intellectual
value, often due to deploying language in ways
that differ from ordinary usage.
 It is a record of significant human experiences
written in words, well- chosen and arranged.
 Literature is the overall order and coherence of
language, characters, events, details of the
form that provide pleasure.
 Literature is the reinterpretation of the existing
world through the writer’s artistic control.
AIMS OF TEACHING LITERATURE
 Develop knowledge and skills required to
understand and use information from texts
such as passages of fiction, poem, narrative
writings, drama, and other forms of literary
texts.
 Development of Literary appreciation and
refined reading taste.
 Development of imagination and creativity.
 Development of emotional maturity.
 Development of literary competence.
WHY USE LITERATURE?
 Students learn communicative competence
involving interpreting discourse in all its social
and cultural contexts. (Savvidou)
 Students show more improved literacy
practices than did students in skill- based
classes.
 Stimulates students to:
-go to the library on their own time,
-discuss books, plot, characters, etc. and relate them to
their own personal lives.
LESSON 3
SELECTING APPROPRIATE LITERATURE
FOR CHILDREN
Children's literature has a very important place in
educational programs for the young. Love for books,
stories and poetry develops through repeated exposure
to books and daily opportunities to hear stories read or
told, and to choose, handle and look at books for
oneself. It is noteworthy that early and frequent contact
with books helps develop future motivation to read and
seems to make the learning of reading an easier
process. Just as significant are the pleasure, stimulation
and enrichment that literary experiences bring into the
child's present life.
THE SELECTION OF BOOKS FOR YOUNG
CHILDREN
Book is a good material for children only when they
enjoy it. A book is a poor material for children, even
when adults rate it as classic, if children are not able to
read and enjoy it. What is a good book? Josephine
Frank (1960) gives the following definition:
"A good book for a child is one which provides the
reader with a positive and wholesome experience of
some kind, whether of emotional empathy, excitement
and suspense, vicarious adventure, information,
healthy laughter, or just plain pleasure. Furthermore,
it should provide these experiences now, while it is
being read, not five years later in. retrospect."
THE SELECTION OF BOOKS FOR YOUNG
CHILDREN
What books appeal to children? Favorite books of
young children are apt to depict familiar people,
animals, objects and situations. Children wonder about
many things, and books that answer their questions are
fascinating to them. Often, the teacher finds clues in
their spontaneous dramatic play, conversations and
questions that can guide the selection of books.
CRITERIA FOR THE SELECTION OF BOOKS
FOR CHILDREN
•Fits the developmental level, experiential background,
and interest of the listener in terms of content and
complexity of treatment.
•Has substance, quality of content, and integrity.
•Offers a brief, lively treatment of a simple well-
developed plot.
•Uses colorful language, rhythmic phrasing, and
childlike repetition.
•Clearly distinguishes between reality and fantasy.
•The physical makeup of the book is also important.
"Young children usually like large books, but they
should not be so large as to be awkward when handled.
A few oversize books as well as several smaller ones
should be included for variety.
•Book covers should be hard and washable. The paper
needs to be heavy and strong with a dull surface. The
binding should be stitched in such a way that the book
will lie flat when opened. An illustrated cover adds
appeal for the child.
CRITERIA FOR BOOK ILLUSTRATION
 Numerous, large and colorful.
 Filled with action.
 Clear and distinct, devoid of unessential
details, shading and perspective.
 Well correlated with the text.
 Reflect the mood of what is written.
 Characterized by a quality of aesthetic
excellence.
BASIC NEEDS OF CHILDREN AND ADULTS
1. Material security: it embraces everything that gives
them a sense of comfort and well- being.
2. Emotional security: the need to love and to be loved
3. Intellectual security: the need to know things more
accurately
4. The need to achieve: to do or be something worthy
of respect.
5. Need for recreation and diversion: books of laughter
help dissolve fear and tensions.
6. Need to belong: This may include stories about
family life, the school, community, country, culture,
and the world about him.
HOW CAN I SELECT THE BOOK?
Often the teacher's problem is not so much one of
securing books but of selecting the best from among
the multitude of new books published each year. A
number of expert reviews and guides for their selection
are available. Frequently public libraries publish
annotated lists of outstanding books. Reliable reviews
appear in the larger newspapers and in professional
magazines. Such reviews and booklists help put the
teacher on the right track, but in the final analysis the
teacher must determine which books are most
appropriate for individual children and/ or the group. It
is also essential that the teacher like the book.
PRESENTING THE STORY
Whether the story is to be told or read, the following
techniques are useful:
•See that the children are comfortably settled where
they can see and hear easily, perhaps on a rug in a
quiet corner of the room.
•Be thoroughly familiar with the content.
•Create a feeling that this is something special to be
shared.
•Use a natural, pleasing voice, correct pronunciation,
and clear enunciation.
•Read or tell the story with spontaneity, feeling and
appreciation, but do not be overly dramatic.
•Use a variety of tones and speeds, pausing before the
introduction of a new idea and whenever a character is
about to speak.
•Avoid unnecessary comments but provide a brief
explanation of unfamiliar words.
•Be tactful in dealing with interruptions by the
children.
•Allow the children to chant familiar lines, to fill in
with an obvious word or sound effect, and to suggest
possible outcomes.
•Encourage youngsters to talk about the story if they
desire, but refrain from lengthy evaluations and
moralizing.
•Plan a good beginning and ending.
•Know the sequence of events.
•Memorize rhythmic jingles and characteristic phrases.
•Be familiar with each character and his name.
(Sometimes the names of the listeners can be
substituted to advantage).
•Use direct quotations when a character speaks.
•Use as much of the original language of the written
story as possible.
WAYS OF STIMULATING INTEREST IN
LITERATURE
•Illustrate stories as they are told - on the chalkboard,
or with "magic marker", crayon, or brush at the easel.
•Project illustrations in the book onto a screen-by
means of an opaque projector.
•Use the flannel board occasionally. Let the children
manipulate the flannel board figures. Later they will
tell the story themselves in words and action.
•Let a puppet tell the story. Particularly with very
young children who are unaccustomed to story time,
the puppet can be a captivating storyteller.
•Correlate science and seasonal displays, and personal
experiences of children with books on the same theme.
•Encourage children to tell about their favorite books.
Permit them to bring books from home to share in the
library center.
•Encourage use of books as sources of information.
•Use films, slides and filmstrips that have been
developed from some of the best children's books.
Picture-cued recordings usually accompany these
visual materials.
•Provide quality story records with musical
background and/or sound effects.
•Tape a well-loved story, reading from the book and
signaling with a bell or triangle when the child is to
turn the page. provide both the books and tape for use
during the work period.
•Visit the public library. Perhaps the children's
librarian will read or tell a story and explain about the
books. Let the children help select the books to be
borrowed.
TEACHER’S RESPONSIBILITIES IN
TEACHING LITERATURE FOR CHILDREN
Larrich (1960) believes it is the teacher's duty to
encourage the child to take "the giant step from
reading the literary creations of others to creating for
himself". Some ways of doing this include:
•Use of literature as the stimulus for creative art.
Children enjoy using paints, crayons, chalk, clay,
finger paints, etc., to interpret a story situation, a
character or a mood. In this connection, it is important
that the child is not pressured prematurely to express
thoughts and ideas in representational form. Children
in the pre-symbolic stage may wish to make the brush
move like a flying bird rather than paint an illustration
of the bird itself.
•Encouraging children to use rhythms, spontaneous
dance and musical instruments to interpret the feeling
and/or action of a poem or story.
•Writing dawn and reading to the child his own
creative language, or taping his "story." and paying it
back for his enjoyment.
•Capitalizing on creative dramatics as a means of re-
creating literature. At times this may be a spontaneous
re-enactment in the housekeeping or block center.
Pantomime is a simple way to act out a story and often
a good introduction to dramatization for young
children. The teacher chooses a familiar nursery
rhyme, poem, or story that has much action. While the
teacher chants the verse or tells the story, perhaps
joined by some of the children, others act it out. Later,
as the children develop an ability to wait, to take turns,
and can give one person a particular role, more
complicated dramatizations can take place with the
children providing direct conversation. Puppets are
another wonderful stimulus for reproducing a story or
creating an original version of a familiar them.
PARENTS AS ALLIES
Children who come to school already instilled
with a love of books probably are from homes where
books are valued and where adults take the time to
read aloud to their children. These parents will
welcome suggestions from the teacher regarding books
and ways to present them. They are eager to have their
youngsters borrow books from both the school and
public library. More urgent, and perhaps more
difficult, is the need to enlist the help of parents in
non-reading homes. They read to be helped to realize
the importance of literature in their children's lives.
When their role is interpreted with understanding,
rather than with rebuke or criticism, and when home
school partnership is stressed as a mutual effort to help
the child, such parents are often responsive and willing
to cooperate.
WHY TEACH CHILDREN’S LITERATURE?
Giving children access to all varieties of
literature is extremely important for their success.
Educators, parents, and community members should
help students develop a love and passion for reading.
Not only is reading literature important in developing
cognitive skills to be able to succeed in a school or
work setting, but it is valuable for other reasons as
well.
 Children’s literature provides students with the
opportunity to respond to literature and
develop their own opinions about the topic.
This strengthens the cognitive developmental
domain as it encourages deeper thought about
literature.
 Children’s literature provides an avenue for
students to learn about their own cultural
heritage and the cultures of other people. It is
crucial for children to learn these values
because, “developing positive attitudes toward
our own culture and the cultures of others is
necessary for both social and personal
development”
 Children’s literature helps students develop
emotional intelligence. Stories have the power
to promote emotional and moral development.
Children’s literature “contains numerous
moments of crisis, when characters make
moral decisions and contemplate the reasons
for their decisions,” an important skill for
children to see modeled (Norton, 2010).
Children’s literature encourages students to
think deeper about their own feelings.
 Children’s literature also encourages
creativity. Norton stresses “the role that
literature plays in nurturing and expanding the
imagination” (2010). Children’s literature
promotes the development of students’ internal
imaginations.
 Children’s literature is of value because it
fosters personality and social development.
Children are very impressionable during the
formative years, and children’s literature can
help them develop into caring, intelligent, and
friendly people.
 Children’s literature is of value because it is a
timeless tradition, one in which “books are the
major means of transmitting our literary
heritage from one generation to the next”
(Norton, 2010). Children are only young for a
short time, and so we must give them access to
a basic literary heritage of timeless books.
Quality children’s literature has the great
power to captivate audiences for many
generations.
SELECTING BOOKS FOR CHILDREN
 a good elementary school reading program
should provide for two inseparable and
interdependent ideas:
a. The development of reading skills:
 the constant purpose of a teacher is to interest 3. Biography should be about heroes of action
children in a varied and well- balanced program of and deeds.
reading.
WHAT MAKES CHILDREN’S BOOK
a. The encouragement of reading pleasures: READABLE?
Books are of source of information, comfort - Usually offer a fantastic reality, an imaginative
and pleasure for people who know how to use them escape, and a playful playground
and how to choose them.
- Usually about a child or an animal
CRITERIA FOR BOOK SELECTION (FICTION)
- Usually a simple conflict with a definite and
1. Theme: reveals the author’s purpose in writing clear resolution.
the story. It is the meaning behind the story.
- Compelling illustrations, yet still with all the
2. Plot: plot is the plan of the story; it tells what elements of story.
the character’s do and what happens to them.
CHARACTERISTICS OF CHILDREN’S BOOK
It is the action of a story built around a theme.
- Focuses on action
3. Quality of Content: aside from the plot, the
quality of the content of the book must be - Optimistic
examined. The story must be worth telling or
reading. - Fantasy

CRITERIA for BOOK SELECTION (FICTION) - Pastoral idyll

Characterization: - Viewpoint of innocence

1. The characters in the story whether they are - Didactic

people or animals should be convincingly real ELEMENTS OF CHILDREN’S STORIES
and lifelike.
- Theme
2. Style: The style of the book refers to the
manner or the way the author has written it. - Characters
Every author has his own individual style.
- Settings
3. Format: refers to the physical aspect of the
- Plot
book.
- Dialog
4. Illustrations: The illustrations should be
appropriate to the text/ book and to the age of - Word choices
the readers.
- Imagery/ images
5. Other considerations;
CHARACTERS
- How does the book/text compare with other
books of the same subject? - Protagonists

- How does the book/text compare with other - Little child

books written by the same author? - Animals
- Does it appeal only to few children or does it - Inanimate objects
have an appeal to a greater number of
children? TRAITS OF PROTAGONIST

CRITERIA for BOOK SELECTION - Having personal courage

(BIOGRAPHIES)
- Caring for others
1. A biography should be true to all the facts
- Persevere
known about the subject’s life.
- A belief in others
2. The hero of a biography must be a real- life
hero, with real life faults, weaknesses and - Optimism
doubts.
PLOT
- Simple plot
- Build through conflict
- Offers a dilemma (Moral or Ethical)
- Provides closure
CONFLICT
- There is balance between idyllic and didactic
- Teaches how to be a mature adult in
the world
- Retains childhood and innocence
Ex: home vs. away, good vs. evil
WORD CHOICES
- Uses simile, repetition, metaphor, Alliteration,
Assonance, onomatopoeia
- Uses simple language
- Uses sophisticated language
- Uses lively language
- Uses colorful language
- Uses creative language
- Uses rhyme
- Uses challenging words
NURSERY RHYMES
- Are traditional poems or songs for children in
Britain and many other countries, but the
usage of the term only dates from the late 18 th
century.
- It has been argued that nursery rhymes set to
music aid in a child’s development. Research
also supports the assertion that music and
rhymes increase a child’s ability in spatial
reasoning, which aid mathematical skills.
- Nursery rhymes have been argued to have
hidden meaning and origins. It was believed
that rhymes were peculiar form of coded
historical narrative, propaganda, or covert
protest, and rarely considered that they could
have been written simply for entertainment.
- A nursery rhyme is a traditional poem or song
for children in Britain and many other
countries, but usage of the term dates only
from the late 18th/early 19th century.
- The oldest children's songs of which we have
records are lullabies, intended to help a child
fall asleep. Lullabies can be found in every
human culture. The English term lullaby is
thought to come from "lu, lu" or "la la" sounds
made by mothers or nurses to calm children,
and "by by" or "bye bye", either another
lulling sound or a term for good night. Until
the modern era lullabies were usually recorded
only incidentally in written sources.
Why teach NURSERY RHYMES?
- Children who know nursery rhymes develop a
strong sense of well- being.
- Children who know nursery rhymes develop
self- confidence and self- esteem. They are
curious and imaginative and can show off their
ability to recite with creative use of their
voice, eyes, facial expressions, and body
language.
- Children who have nursery rhymes read or
sung to them become effective communicators
GETTING STUDENTS TO READING
Reading: is the process of getting meaning from the
book and bringing meaning into it.
KINDS OF READING PROCESS
1. Bottom- up reading: is reading in which the
derivation of meaning proceeds from the
author.
2. Top- down reading: the process in which the
reader first uses his prior knowledge or
background experiences to understand the
author’s viewpoint.
3. Structural Analysis: is the process of decoding
unfamiliar words by visually examining the
words to discover component parts which may
lead to pronunciation and meaning.
4. Exploratory reading: is a process of reading
applied when the reader wants to know how
the whole selection is presented.
5. Critical reading: makes the readers weigh
facts, information, or ideas presented in the
selection, so that he can form judgements or
conclusions about them.
6. Analytical Reading: aims to examine carefully
each work to identify word relationship.
7. Narcotic reading: is done by a person who
wants to get rid of his everyday troubles,
 depressions, frustrations, and problems
through reading.
8. Extensive reading: applied by a person
spending his leisure time reading any kind of
material that is interesting to him.
9. Scanning: process of locating a particular
information from the text.
10. Skimming: is used to find out what the main
point of the selection is and what important
ideas make up its development.
11. Previewing: is the process of looking at the
title, subtitles, and the accompanying visuals
such as graphs, pictures, and charts to grasp
the reading material.
PURPOSES OF READING
1. To locate information.
2. To get bird’s eye view of the text.
-previewing: taking a general look at the
reading material
-overviewing: taking a closer look at the
chapters or selections, etc.
-surveying: giving a reading material a
rundown from its first sections/ chapters the last.
3. To understand thoroughly
- getting the literal meaning
-getting the connotative meaning
MOVEMENTS OF THE EYE WHEN
READING
1. saccades: the tiny jerks of the eyes, blurs, or
streaks of the printed text come to view.
2. Progression: the left to right travel to the eyes
over the printed text.
3. Return sweeps: the slanting movement of the
eyes from the end of a line to another
beginning.
4. Regression: is the left to right movement of the
eyes.
5. Fixation: the pause made by the eyes at a
certain point of a running text.
6. Interfixation: the short he eyes horizontally
from one stop to another the same line of the
text.
SPEED
- Is the pace in running over a printed text.
TECHNIQUES in enhancing SPEED
- Indention: reading an inch or so from both the
left side and right side of the printed text.
- Columnar reading; reading with limited
distance for the eyes to travel, therefore with
lesser fixation and even regression, thus with
more speed.
- Proper phrasing: reading in word cluster,
cluster that transmits a unit of thoughts.
WAYS TO IMPROVE READING STRATEGIES
1. Planning for reading:
- What do I want to get out of reading the text?
- What ideas if any do I need to take into the
reading?
- Why has this particular text been selected?
- Can I subdivide the text into sections?
- What has skim reading told me about the text?
2. Reading
- Identify the starting point of the writer’s
argument.
- See if you can detect any assumptions the
writer has made
- Determine whether the ideas are connected or
developed.
- Examine the consistency of the argument.
- Assess whether the conclusion is justified.
3. Reflections
- Do you have any unanswered question about
the text? If there is, go back.
- Are there assumptions I failed to recognize?
- Are you able to make connections between
lines and evidences?
- Were you able to react on the text?