Name: Quissa Marie M.

Gonzales
Course: BSED

Teaching of Literature

A. Carry On
- This strategy provides an effective way for all the learners inside the classroom to
share their ideas about a certain topic such as learning literature and asking some
question about the learning lesson. It helps the students to think critically so that they
can share their ideas with others.

Procedure of the Strategy

1. Provide a prompt.
- You can use any kind of question for the carry on. One example is the fill in the blank
statements such as “My life is……”. This strategy is a way to get student’s responses
to a particular text they have recently read or viewed.

2. Students share Responses.

- One at a time, students will share their brief responses. It often works best to have
students simply respond in the order in which they are sitting. All students typically
share their ideas, although it is possible to allow students to say “pass” especially in a
small group discussion.

B. Close Viewing Protocol

- Like close reading of text, close viewing of video is carefully and purposefully
viewing and reviewing a video clip in order to focus on what the filmmaker is trying
to convey; the role of images, narration, editing, and sound; and what is the purpose
of the film. Close viewing ensures that we become critical viewers of film content
and that we really understand what we’ve watched.

Procedure of the Strategy

1. View the film clip together.
- After watching the clip, ask the students to write their general thoughts and reactions.

2. Students answer film-dependent question.

- After this view, a teacher could ask “film-dependent questions” to focus students
understanding about the specific events from the film.

3. Small groups practice focused viewing through a lens.

- Have each student or small group to take note based on one of the following lenses to
focus their viewing film. Each lens includes “questions” to ask oneself.
 Take note:
Focus on the visual experience; do not pay attention to the audio but simply take note
of the images that are featured. What do you notice?
Facts: How is the story unfolding? What are the objectives?

C. Route to Life
 23. Strategy # 3. ROUTE-TO-LIFE RATIONALE This activity helps students better understand key life
events of historical or literary figures by focusing attention on the many factors which have contributed
to the array of choices they have made. This strategy can be used as part of

24. Strategy # 3. ROUTE-TO-LIFE RATIONALE a research project, as a way to review previously studied
material, or as an assessment tool. When “life road maps” is used to focus on students’ own decisions,
this strategy can help them reflect on key choices that have shaped their identities.

25. Strategy # 3. ROUTE-TO-LIFE PROCEDURE Step 1: Preparation To use this strategy, students need
to have information about an individual and the context in which he/she lived. This could be information
gleaned from a film, independent research, or class activities.

26. Strategy # 3. ROUTE-TO-LIFE Step 1: Preparation To prepare students to construct someone’s life
journey, have them write a journal entry about pivotal moments or important decisions in this person’s
life. Or, they can create a timeline that represents significant events and choices in this person’s life.

27. Strategy # 3. ROUTE-TO-LIFE Step 2: Brainstorm “life as journey” metaphors Explain to students
that they will be drawing a “map” of someone’s life. Before drawing their maps, brainstorm things
people might encounter when they take a trip or journey.

28. Strategy # 3. ROUTE-TO-LIFE Step 2: Brainstorm “life as journey” metaphors Items on this list
might include: stop signs, speed bumps, traffic lights, dead ends, detours, highways, tolls, rest stops, etc.
Give students the opportunity to discuss what these items might represent when applied to the
metaphor of “life as journey.”

29. Strategy # 3. ROUTE-TO-LIFE Step 3: Constructing “life journeys” Students can construct “life
journeys” in small groups or individually. It is best if students have a large piece of paper on which to
map out the journey. The journey should represent important decisions and events that have shaped
this person’s life.

30. Strategy # 3. ROUTE-TO-LIFE Step 3: Constructing “life journeys” As students work on “life
journeys” you might allow them to walk around the room to survey what their peers are doing. This can
be a great way for students to generate new ideas about how to represent an individual’s life as a
journey.

31. Strategy # 3. ROUTE-TO-LIFE PROCEDURE Step Four: Sharing and debrief Students can share their
work through a formal presentation to the class or a small group or by structuring a gallery walk.

32. Strategy # 4: SEALING A TIME CAPSULE RATIONALE With this teaching strategy, the student has
given an opportunity to write and predict the ending of the story based on their idea on the first part of
the story. The student’s ability in story writing will be tested through this strategy.

33. Strategy # 4: SEALING A TIME CAPSULE PROCEDURE Step 1: Preparation Before the students are
tasked to write their predictions, give students the opportunity to read the selections silently. This step
familiarizes students with the flow of the story. After the text is read silently, read the first part of the
story aloud.

34. Strategy # 4: SEALING A TIME CAPSULE Step 2: Writing a predictions After all students have read
the opening section of a text and the teacher read it aloud, the teacher would give each student a small
index card on which to record his or her predictions about likely events that will occur as the story
unfolds.

35. Strategy # 4: SEALING A TIME CAPSULE Step 2: Writing a predictions He or she would then collect
the cards, seal them all in a time capsule (or just an envelope), and discuss the ending of the story.

36. Strategy # 4: SEALING A TIME CAPSULE Step 3: Reflection How did it feel when your prediction is
close/far to the ending? Students can answer these questions in their journals and then you can allow
volunteers to share ideas or questions from what they wrote.

37. Strategy # 5: Read n’ Feel RATIONALE Read n’ Feel is an effective way to help students process
their acting ability specially the emotion even in just reading text; hence it will develop their acting skills.

38. Strategy # 5: Read n’ Feel RATIONALE In this activity, groups of students are assigned a small
portion of the text to present to their peers.

39. Strategy # 5: Read n’ Feel PROCEDURE Step 1: Preparation Depending on how many students are
in your class, you will likely need to identify 4-5 emoticons for this activity.

40. Strategy # 5: Read n’ Feel PROCEDURE Step 1: Preparation Typically, groups of 4-6 students are
assigned different sections of a text/stanza to interpret.

41. Strategy # 5: Read n’ Feel Step two: Read selections Before groups are assigned text and emotions
to interpret, give students the opportunity to read the selections silently and aloud.

42. Strategy # 5: Read n’ Feel Step two: Read selections This step familiarizes students with the
language of the text. That way, students can begin their group work ready to interpret their assigned
text and emotions.

43. Strategy # 5: Read n’ Feel PROCEDURE Step 3: Performances Teacher will give time limit for the
performance of the students, maybe 3-5 minutes will do. There are many ways to structure
performances.

44. Strategy # 5: Read n’ Feel Step 3: Performances Some teachers ask students to take notes while all
groups perform. Then students use their notes to guide their reactions to the performances.

45. Strategy # 5: Read n’ Feel PROCEDURE Step four: Reflection After presenting and debriefing
performances, give students the opportunity to reflect on their learning and participation in this activity.

46. Strategy # 6: MasterPoem RATIONALE This activity allows student to stimulate their idea by having
a brainstorming with a specific topic given by a teacher. It will not only let the students participate in the
 47. Strategy # 6: MasterPoem RATIONALE class but will let them make their own masterpiece. This
activity guides them to create a fantastic poem of their own. It is a student-centered activity and the
teacher will serve as a

48. Strategy # 6: MasterPoem RATIONALE facilitator only. It is best given after discussing a specific
poem.

49. Strategy # 6: MasterPoem PROCEDURE Step 1: Preparation The teacher will discuss a poem to the
students that will serves as their focus in making their own poem.

50. Strategy # 6: MasterPoem Step 1: Preparation Let the student take note of the important
information or what is the author trying to convey in the poem so that they will have an idea on how to
write their poem.

51. Strategy # 6: MasterPoem PROCEDURE Step 2: write the draft of the poem Out of the poem
discussed by the teacher, let them select a word that will serves as their focus,

52. Strategy # 6: MasterPoem Step 2: write the draft of the poem for example “Rain”. Let them start
to create their poem by filling in the table below, they can write as many as they can.

53. Strategy # 6: MasterPoem Table 1. Guide in MasterPoem TOPIC: RAIN LOOKS LIKE FEELS LIKE
SOUNDS LIKE TASTES LIKE

54. Strategy # 6: MasterPoem Table 2. Example of Filled In table of MasterPoem TOPIC: RAIN LOOKS
LIKE FEELS LIKE SOUNDS LIKE TASTES LIKE Shiny Cold music cold Crystals soft nothing water falling
sparkles Wet sloshing with my boots ice cream Tiny Droplets drips or plops popsicles Sparkling little
stings quiet

55. Strategy # 6: MasterPoem Step 3: Finalize the poem After filling in the table, you can now
(students) write down all the information you wrote in the table in a form of poem. See the example
below.

56. Strategy # 6: MasterPoem Rain Shiny crystals Softly falling So wet Sloshing, sloshing Sparkling
water Waiting quietly

57. CONCLUSIO N

58. Teaching Strategy is very important factor in imparting of ones’ literature to another. Hence it is
an essential measure of learning,

59. and interact with it will facilitate these goals. As teachers try multiple approaches to work with
literary texts in the classroom,

60. for their students and will make literature more accessible and possibly even more enjoyable for

61. END