IIE Learn Module Outline ENED6122

English for Education 1

ENED6122
MODULE OUTLINE 2020
(First Edition: 2016)

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institution under the Higher Education Act, 1997 (reg. no. 2007/HE07/002).
Company registration number: 1987/004754/07.

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IIE Learn Module Outline ENED6122

Table of Contents
Introduction................................................................................................................................ 3
Using this Module Outline.......................................................................................................... 4
This Module on Learn................................................................................................................. 5
Icons Used in this Document and on Learn ................................................................................ 6
Module Resources...................................................................................................................... 7
Module Purpose ......................................................................................................................... 9
Module Outcomes...................................................................................................................... 9
Assessments ............................................................................................................................. 10
Module Pacer ........................................................................................................................... 13
Additional Resources for Learning Unit 2 ................................................................................. 27
Additional Prescribed Content for Learning Unit 3 .................................................................. 32
1. Literary forms and genres .................................................................................................... 32
1.1. Forms............................................................................................................................. 32
1.1.1. Poetry ........................................................................................................................ 32
1.1.2. Drama ........................................................................................................................ 33
1.1.3. Novels ........................................................................................................................ 33
1.2. Genres ........................................................................................................................... 35

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IIE Learn Module Outline ENED6122

Introduction
Welcome to English for Education 1, which introduces you to the study of the English language,
grammar and literature and is designed to provide you with a solid base from which to support
English learning in the classroom. This module covers a brief history of the English language,
describes the language’s roles both locally and globally, highlights important aspects of language
structure and grammar and then begins your journey into analysing different kinds of literature.

When approaching this module, it is important to note that our lives are surrounded by texts:
some of these are obviously literal, while others use figurative language that says one thing, but
which means something else. As future educators, you need to understand both kinds of texts,
not only so that you can grasp meaning, but, perhaps more importantly, so that you can engage
as fully as possible in your teaching practice: your familiarity with literary analysis will assist you
in bringing as much of the world ‘to life’ as possible for your learners – hopefully encouraging
them to find pleasure in figurative language and its power to launch imaginations, explain
concepts and more fully understand the world around them.

Throughout this module, you will engage with and analyse a variety of written texts from
different genres using your understanding of the basic terminology and process of literary
analysis so that you become more comfortable with literary analysis as a basic practice.

Please remember that to gain the most from this module, it is essential that you actually read all
the prescribed texts, poetry, and sections of prescribed work before lectures. When doing so,
keep a pencil handy, and make notes, questions, and comments as you read so that you engage
more deeply with the language, style and content. You can dramatically improve your
comprehension and levels of enjoyment of reading by doing so!

We hope you will enjoy the module and take the opportunity to use the knowledge and
experience gained in both future modules and in your ultimate teaching practice.

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IIE Learn Module Outline ENED6122

Using this Module Outline

This module outline has been developed to support your learning. Please note that the
content of this module is on Learn as well as in the prescribed material. You will not succeed
in this module if you focus on this document alone.

• This document does not reflect all the content on Learn, the links to different resources,
nor the specific instructions for the group and individual activities.
• Your lecturer will decide when activities are available/open for submission and when these
submissions or contributions are due. Ensure that you take note of announcements made
during lectures and/or posted within Learn in this regard.

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IIE Learn Module Outline ENED6122

This Module on Learn

Learn is an online space, designed to support and maximise your learning in an active manner.
Its main purpose is to guide and pace you through the module. In addition to the information
provided in this document, you will find the following when you access Learn:
• A Module Pacer;
• A list of prescribed material;
• A variety of additional online resources (articles, videos, audio, interactive graphics, etc.)
in each learning unit that will further help to explain theoretical concepts;
• Critical questions to guide you through the module’s objectives;
• Collaborative and individual activities (all of which are gradable) with time-on-task
estimates to assist you in managing your time around these;
• Revision questions, or references to revision questions, after each learning unit.

Kindly note:
• Unless you are completing this as a distance module, Learn does not replace your
contact time with your lecturers and/or tutors.
• ENED6122 is a Learn module, and as such, you are required to engage extensively
with the content on the Learn platform. Effective use of this tool will provide you
with opportunities to discuss, debate, and consolidate your understanding of the
content presented in this module.
• You are expected to work through the learning units on Learn in your own time –
especially before class. Any contact sessions will therefore be used to raise and
address any questions or interesting points with your lecturer, and not to cover every
aspect of this module.
• Your lecturer will communicate submission dates for specific activities in class and/or
on Learn.

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IIE Learn Module Outline ENED6122

Icons Used in this Document and on Learn

The following icons are used in all your modules on Learn:

Icon Description

A list of what you should be able to do after working through the learning
unit.

Specific references to sections in the prescribed work.

Questions to help you recognise or think about theoretical concepts to be

covered.

Sections where you get to grapple with the content/theory. This is mainly
presented in the form of questions which focus your attention and are aimed
at helping you to understand the content better. You will be presented with
online resources to work through (in addition to the textbook or manual
references) and find some of the answers to the questions posed.

Opportunities to make connections between different chunks of theory in the

module or to real life.

Real life or world of work information or examples of application of theory,

using online resources for self-exploration.

You need to log onto Learn to:

• Access online resources such as articles, interactive graphics,
explanations, video clips, etc. which will assist you in mastering the
content; and
• View instructions and submit or post your contributions to individual or
group activities which are managed and tracked on Learn.

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IIE Learn Module Outline ENED6122

Module Resources
Prescribed Fugard, A. 1973. Boesman and Lena. Cape Town: Oxford University Press
Material (PM) Southern Africa. ISBN: 9780195703313 (PM1)
for this Module
Horne, F. and Heinemann, G. 2014. English in Perspective. Cape Town:
Oxford University Press Southern Africa. ISBN: 9780195781946 (PM2)

Kane, G., Byrne, D. and Scheepers, R. 2006. Introduction to English

Literary Studies. 2nd ed. Cape Town: Oxford University Press Southern
Africa. ISBN: 9780195995701 (PM3)

Kohnen, T. 2014. Introduction to the History of English. Frankfurt: Peter

Lang. ISBN: 9783631560044 (available free on EBSCOhost at
[Link]
[Link]?direct=true&db=nlebk&AN=809378&site=ehost-
live&ebv=EB&ppid=pp_Cover [Accessed 3 April 2020]. (PM4)

Rothstein, F. and Rothstein, A.S. 2009. English Grammar Instruction that

Works! California: Corwin Press. ISBN: 9781412959490 (available free on
EBSCOhost at
[Link]
[Link]?direct=true&db=nlebk&AN=321258&site=ehost-
live&ebv=EB&ppid=pp_i [Accessed 3 April 2020]. (PM5)

! Please note: In case you struggle to get hold of the hard copy of
the Rothstein book, you are welcome to use the following
grammar e-book available on EBSCOhost.

Nelson, G. (2019) English: An Essential Grammar. Abingdon, Oxon:

Routledge (Routledge Essential Grammars). Available at:
[Link]
m/[Link]?direct=true&db=nlebk&AN=1999244&site=ehost-live

and the following for Figurative Language:

Panicked Teacher (2011). Figurative Language Unit. Available free
online:
[Link]
main/377/[Link]

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Rushdie, S. 1990. Haroun and the Sea of Stories. London: Penguin Books.
ISBN: 9780140366501. (Please note that ANY version of this novel is
suitable, regardless of publisher or publication year. (PM6)
Recommended Please note that a number of additional resources and links to resources
Readings, Digital are provided throughout this module on the Learn platform. You are
and Web encouraged to engage with these as they will assist you in mastering the
Resources various objectives of this module. They may also be useful resources for
completing any assignments. You will not, however, be assessed under
examination conditions on any additional or recommended reading
material.
Module You will find an overview of this module on Learn under the Module
Overview Information link in the Course Menu.
Assessments Find more information on this module’s assessments in this document
and on the Student Portal.

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IIE Learn Module Outline ENED6122

Module Purpose
This module introduces you to the study of English language, grammar and literature and is
designed to provide you with a solid base from which to support English learning in the
classroom. The module offers a brief history of the English language; describes English’s
roles both locally and globally; highlights important aspects of its structure and grammar;
and introduces you to the various literary elements, techniques and processes involved in
the analysis of English poetry, drama and prose.
Module Outcomes
Demonstrate familiarity with the history, roles and basic linguistic features of the
MO1
English language.
Demonstrate knowledge and understanding of commonly used English literary
MO2
terms, concepts, formats and genres.
Produce polished, thorough and academically-sound analyses of specific English
MO3
texts using given methods.

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Assessments
Integrated Curriculum Engagement (ICE)
Minimum number of ICE activities to complete 4
Weighting towards the final module mark 10%

Formatives Test Assignment

Weighting 30% 25%
Duration 1 hour Approximately 10 hours
Learning Units covered LU1 and LU2 LU1 - LU4
Resources required NA Additional research required

Summative Examination
Weighting 35%
Duration 2 hours
Total marks 120
Open/Closed book Closed book
Resources required None
Learning Units covered All

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Assessment Preparation Guidelines

Format of the Assessment Preparation Hints
Test
The test for this module will • Ensure that you work through all the relevant activities,
assess your understanding exercises and revision questions on Learn and in your
of Learning Units 1 and 2 of prescribed material.
this module and will include • Brainstorm possible questions based on the learning
a series of short and outcomes and objectives provided. Then complete
medium-length questions, these as practice tests.
as well as one longer • During both your preparation for the test and during
question. You will be the test itself, pay attention to the instruction words
expected to apply as well as (e.g. list, apply, describe, etc.) and to the mark
recall information as per the allocations of each question to ensure that you are able
objectives for these learning to provide the correct depth and detail in your answers.
units. • Make sure that you have mastered the objectives in
Learning Units 1 and 2.
Assignment
The assignment will assess • Read through the prescribed chapters and content for
your ability to integrate and Learning Units 1 to 4 and ensure that you have engaged
apply the content in in close reading of the indicated material before you
Learning Units 1 to 4 of this proceed with your written analysis.
module. • You will need to go online and conduct additional
research for this assignment.
• Remember to analyse all elements required and ensure
that your assignment is proofread and polished for
style, language and syntax.
• Improve the quality of your assignment by using the
guidelines and rubric provided and by addressing any
areas of concern prior to submitting it for marking.
• Please remember that your assignment needs to be
submitted through either Turnitin or Safe Assign prior
to submission, so make sure that you leave enough
time to do so.

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Examination
The examination will assess • Ensure that you work through all the activities,
all learning units in this exercises and revision questions on Learn and in your
module and will include textbook. You must have completed close readings of
both theory and your prescribed material to ensure that you have
application-type questions. prepared adequately for your examination for this
module.
You will be expected to • Pay close attention to the instruction words (e.g. list,
respond to short, theory- apply, describe, analyse, etc.) and to the mark
based and practical allocations of each question to ensure that you provide
grammar and syntax the correct depth and detail in your answers.
questions, as well as to • Make sure that you are comfortable in responding to all
three literary analysis, short the objectives for all learning units.
essay-type questions. • Brainstorm possible questions based on the learning
outcomes and objectives provided.

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Module Pacer
Code Programme Contact Sessions Credits
ENED6122 BEF1; BEI1 48 12
Learning Unit 1 A Brief History of the English Language

Overview:

This learning unit provides a brief overview of the development of the English language. We
will investigate the origins, development of and influences on the English language, from the
time of Anglo-Saxon settlements in the British Isles in the mid-5th Century to the present day.

This learning unit will also introduce you to the theme of English as a global language and the
implications of this for people around the world. We will look at the differences between
various forms of English, including South African English, as well as explore some of the key
terminology related to language and linguistics.

As a contact student, you will likely spend eight class sessions on this learning unit in addition
to the time you spend on Learn.

Please work through Themes 1, 2 and 3 on Learn, together with the relevant sections of your
prescribed source/s. To ensure that you are working towards mastering the objectives for
this learning unit, please also ensure that you complete the following activities on Learn:

Activity Estimated Time

on Task
1.1.1 Etymology 60 minutes
1.1.2 English developments in a nutshell 120 minutes
1.2.1 English around the world 60 minutes
1.2.2 Don’t kill your language 90 minutes
1.3.1 Concepts related to language 90 minutes
Estimated total time for this learning unit’s activities 7 hours

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Learning Unit 1: Theme Breakdown

Sessions: Theme 1: A Brief History of the English Language Prescribed
8 Material (PM)
Related LO1: Create an artefact that demonstrates insight into PM4
Outcomes: the origins, development and influences of the
MO001 English language from the Anglo-Saxon
MO002 settlements of the British Isles in the mid-5th
Century to the present day.
Theme 2: English – Around the World and at Home
LO2: Describe the process through which English has PM2
attained its status as a global language.
LO3: Differentiate between standard and non-
standard English.
LO4: Categorise the varieties of English around the
globe.
LO5: Discuss the role of English in the context of South
African education.
Theme 3: Approaches to English
LO6: Evaluate the prescriptive and descriptive PM2
approaches to English.

Revision exercises for this learning unit

Completing the following activities in your prescribed book (Horne & Heinemann, 2011) will
assist you greatly in your preparation for your test and examination:

Chapter 1:
Activities 1 to 3.

Chapter 2:
Activities 1, 2, 4 and 5.

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Learning Unit 2 Grammar, Syntax and Meaning in Written and Spoken English

Overview:

Learning and understanding the basic grammatical structures and rules of the English
language is an essential facet of your development as an educator.

In this learning unit, we will look at the differences between written and spoken English,
before exploring the English language’s common parts of speech and sentence structure. In
the final theme of this unit, we will examine the relationships between words, context and
meaning and ways in which to recognise and analyse figurative language in different
examples.

As a contact student, you will likely spend eight class sessions on this learning unit in addition
to the time you spend on Learn.

Please work through Themes 1 to 4 on Learn, together with the relevant sections of your
prescribed source/s. To ensure that you are working towards mastering the objectives for
this learning unit, please complete the following activities on Learn:

Activity Estimated Time

on Task
2.2.1 Parts of speech round robin 60 minutes
2.2.2 Parts of speech exercises 60 minutes
2.3.1 Syntax 60 minutes
2.4.1 Figurative language 150 minutes
Estimated total time for this learning unit’s activities 5 ½ hours

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Learning Unit 2: Theme Breakdown

Sessions: Theme 1: Written versus Spoken English Prescribed Material (PM)
8
Related LO1: Identify the differences between PM2
Outcomes: written and spoken language.
MO001 LO2: Apply basic concepts related to
MO002 English structure and language.
LO3: Describe the ways in which
vocabulary, syntax and phonology
contribute to an individual’s idiolect.
Theme 2: Grammar and Parts of Speech PM5
LO4: Distinguish between different parts
of speech.
LO5: Correct errors in the use of different
parts of speech.
Theme 3: Syntax PM5
LO6: Differentiate between phrases,
clauses and different kinds of
sentences.
LO7: Improve the syntax of given
examples.
Theme 4: Figurative Language PM5 +
LO8: Explain the relationship between Content indicated on Learn
words, context and meaning.
LO9: Analyse given examples of figurative
language.

Revision exercises for this learning unit

Completing the following activities in Horne and Heinemann will assist you in your
preparation for your assessments on the content in this learning unit:

Chapter 6:
Activity 1.

Chapter 8:
Activities 1, 4, 5 and 6.

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Learning Unit 3 An Introduction to Textual Analysis

Overview:

According to Stephen Pinker (2011), renowned Harvard experimental psychologist and

linguist:

[r]eading is a technology for perspective-taking. When someone else’s thoughts are in

your head, you are observing the world from that person’s vantage point. Not only
are you taking in sights and sounds that you could not experience first-hand, but you
have stepped inside that person’s mind and are temporarily sharing his or her
attitudes and reactions.

In other words, reading allows us to gain insight into the worlds and world views of others.
Naturally though, what we read and interpret is heavily influenced by our own awareness,
and our cultural, emotional, cognitive and academic contexts. As such, it makes sense to
take these into account and to try to approach reading – especially of the more formal kind –
with a sense of purpose so that we can maximise the benefits of reading and the chance of
as complete a comprehension as possible.

English literature is usually divided into three main forms or genres: poetry, prose and
drama. We will explore each of these through literary analysis in this learning unit.

You will likely spend six class sessions on this learning unit in addition to the time you spend
on Learn. Please work through Themes 1 to 3 on Learn, together with the relevant sections
of your prescribed source/s. To ensure that you are working towards mastering the
objectives for this learning unit, please complete the following activities on Learn:

Activity Estimated Time

on Task
3.1.1 Blog about a book 100 minutes
3.2.1 Literary forms and genres 20 minutes
3.3.1 Text analysis 120 minutes
Estimated total time for this learning unit’s activities 4 hours

Reference:

Pinker, S. 2011. The Better Angels of Our Nature – The Decline of Violence in History. London:
Penguin.

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Learning Unit 3: Theme Breakdown

Sessions: Theme 1: The Self in Reading and Writing Prescribed Material (PM)
8
Related LO1: Describe the relationship between PM3
Outcomes: reading, the self and writing.
MO002 Theme 2: Literary Forms and Genres Section 2 content of LU3 in
MO003 LO2: Distinguish between different literary this Guide/on Learn
forms and genres.
Theme 3: An Approach to Textual Analysis PM2
LO3: Use a given method to analyse a
piece of literature.

Activity and revision questions for this learning unit

Work through the following questions for this learning unit to consolidate your understanding
of the concepts presented in Learning Unit 1.

Activity 1
Complete Activity 1 (p.190) in Horne and Heinemann and then compare your answers with
those at the end of the book.

Activity 2
Complete Activity 2 (p.191) in Horne and Heinemann and then compare your answers with
those at the end of the book. Make sure you understand cohesion and coherence and that
you know how to determine the coherence in a passage.

Test Revision Activity 3

Your test will include short unseen passages that you will need to analyse.

To practise before the test, select some of the passages in Chapter 1 of Kane et al. and
analyse them according to the guidelines set out in Chapter 10 of Horne and Heinemann.

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Learning Unit 4 Poetry Analysis – From the 16th to the 21st Century

Overview:

In this learning unit, we will focus on poetry analysis. We will investigate the basic structure,
features and characteristics of poetry before applying various skills and tools to analyse
different poems and to produce insightful, written analyses.

As a contact student, you will likely spend eight class sessions on this learning unit in addition
to the time you spend on Learn. Please note that you may be expected to practise your
analysis on all poems in your prescribed book’s Chapter 2 for this learning unit and maybe
given a different poem to analyse for your assignment.

Look at the following poems in your prescribed book:

- William Shakespeare’s My Mistress’ Eyes are Nothing Like the Sun

- Wilfred Owen’s Dulce et Decorum Est
- Ezra Pound’s In a Station of the Metro
- Lawrence Ferlinghetti’s Constantly Risking Absurdity
- Audre Lorde’s Coal
- Shabbir Banoobhai’s they call you mister Steve Biko now you’re dead
- Gcina Mhlope’s Say No

Please work through Themes 1 and 2 on Learn, together with the relevant sections of your
prescribed source/s. To ensure that you are working towards mastering the objectives for
this learning unit, please complete the following activities on Learn:

Activity Estimated Time

on Task
4.1.1 Blackout poetry 30 minutes
4.2.1 The Sonnet 30 minutes
4.3.1 Twentieth Century poetry 120 minutes
Estimated total time for this learning unit’s activities 3 hours

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Learning Unit 4: Theme Breakdown

Sessions: Theme 1: Approaching Poetry Analysis Prescribed Material (PM)
8
Related LO1: Describe the basic structures, PM3
Outcomes: features and characteristics of
MO001 poetry.
MO002 Theme 2: Poetry from the 16th to the 19th PM3
MO003 Centuries
LO2: Produce detailed, academically-
sound written analyses of poetry
from the 16th to the 19th Centuries.
Theme 3: 20th Century Poetry and Beyond PM3
LO3: Produce detailed, academically-
sound written analyses of poetry
from the 20th Century and beyond

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Activity and revision questions for this learning unit

Work your way through the following activities in Chapter 2 of Kane et al. (2006) in order to
build your skills at working with the various elements of textual analysis in poetry:

Time to write (p.63) - for this activity, make sure that you also complete and include the table
on Page 64.

Time to write (p.66)

Complete the image table (pp.72-73) on the Ferlinghetti poem.

Time to think (p.73)

Time to write (p.77)

Time to write (p.79) – for this activity, make sure that you also include a list of images in the
poem that have associations with light and darkness.

Time to write (p.83)

Time to write (p.84)

Time to write (p.88)

Time to think (p.88)

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Learning Unit 5 The Novel – Haroun and the Sea of Stories

Overview:

Throughout this module, you have engaged with and analysed written texts from various
genres using your understanding of the basic terminology and process of literary analysis.

In this learning unit, we will focus on the analysis of a novel. We will investigate the benefits
of analysing literature, as well as the characteristics of critical reading, ending the unit with
an analysis of a given novel in terms of its type, plot, setting, characterisation, perspective,
language, style and tone.

As a contact student, you will likely spend eight class sessions on this learning unit in addition
to the time you spend on Learn.

Please work through Themes 1 and 2 on Learn, together with the relevant sections of your
prescribed source/s. To ensure that you are working towards mastering the objectives for
this learning unit, please complete the following activities on Learn:

Activity Estimated Time

on Task
5.1.1 Critique or criticism? 60 minutes
5.2.1 Character and place check 60 minutes
5.2.2 Analyse the setting 150 minutes
5.2.3 Novel analysis – Haroun and the Sea of Stories 180 minutes
Estimated total time for this learning unit’s activities 6 ½ hours

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Learning Unit 5: Theme Breakdown

Sessions: Theme 1: Critical or Close Reading Prescribed Material (PM)
8
Related LO1: Discuss the main reasons for PM3
Outcomes: analysing literature.
MO001 LO2: Explain how critical reading differs
MO002 from finding fault with a text.
MO003 Theme 2: Literary Forms and Genres PM3
LO3: Analyse a given novel in terms of its PM6
genre, type, plot, setting,
characterisation, perspective,
language, style and tone.

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Activities and Revision Questions for this Learning Unit

Work your way through the following activities in Chapter 3 of Kane et al. (2006) in order to
build your skills at working with the various elements of textual analysis in novels:

Time to write (p.105)

Time to think (p.105)

Time to write (p.108)

Time to write (p.113)

Time to think (p.117) – this exercise has particular relevance to your prescribed novel, since
Rushdie’s deliberate descriptions and naming of places also have great meaning in the novel.

Time to write (p.118) – for this activity, make sure that you write about how Rushdie has used
setting in Haroun and the sea of stories.

Time to write (pp.124-125)

Time to think (p.131) – for this activity, make sure that you apply the question to your
prescribed book for this unit.

Time to write (pp.137-138)

Time to write (pp.142) – this is another incredibly important activity that should help you to
prepare for your examination! Make sure that you analyse the language in Haroun and the sea
of stories for this activity.

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IIE Learn Module Outline ENED6122

Learning Unit 6 Drama – Boesman and Lena

Overview:

In this learning unit, we will focus on the analysis of the third of the three genres in English
literature that are covered in this module, i.e. a drama. To start off with, we will investigate
the features and conventions of drama as a form of literature. In addition, we will compare
the differences and similarities between drama and novels as forms of English literature,
after which we will explore the analysis of a drama in terms of its structure, plot,
characterisation, stage directions, language, style and tone.

As a contact student, you will likely spend six class sessions on this learning unit in addition
to the time you spend on Learn.

Please work through Themes 1 and 2 on Learn, together with the relevant sections of your
prescribed source/s. To ensure that you are working towards mastering the objectives for
this learning unit, please complete the following activities on Learn:

Activity Estimated Time

on Task
6.1.1 The features of drama 30 minutes
6.1.2 Novels versus dramas 90 minutes
6.2.1 Drama analysis – Boesman and Lena 150 minutes
Estimated total time for this learning unit’s activities 4 ½ hours

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Learning Unit 6: Theme Breakdown

Sessions: Theme 1: The Features of Drama as a Form Prescribed Material (PM)
8 of Literature
Related LO1: Demonstrate familiarity with the PM3
Outcomes: features and conventions of drama
MO001 as a form of literature;
MO002 LO2: Compare the differences and
MO003 similarities between dramas and
novels as forms of English literature.
Theme 2: Analysing Drama PM3
LO3: Analyse a given drama in terms of its PM1
type, genre, theme, structure, plot,
characterisation, stage directions,
language, style and tone.

Activity and Revision Questions for this Learning Unit

Work your way through the following activities in Chapter 4 of Kane et al. (2006) in order to
build your skills at working with the various elements of textual analysis in plays:

Time to write (p.147)

Time to think (p.156)

Time to think (p.171)

Time to think (p.174)

Time to write (p.176)

Time to think (pp.181-182)

Time to think (p.184)

Time to write (p.193) - For this activity, please complete the first three bullet points but use
Fugard’s Boesman and Lena as your reference play and not the ones indicated in the activities.

Time to think (p.195) - Try to complete this exercise before engaging in your final Learn activity.

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Additional Resources for Learning Unit 2

Parts of Speech Summary Table

Name Function Clue Example
Naming words for The pigeons made a mess on
Common
every day, a, the … Robben Island.
noun
ordinary things
Sophiatown singer Dolly
Names of people,
Proper noun Capital Letter Rathebe performed the song
places etc.
Mamoshimane.
NOUN

Names of A crash of rhino; a corruption

Collective Replaces “lots
collections or of politicians;
noun of …”
groups of things a pride of lions.
Names concepts You can give it Madiba’s strength of
or things you to someone, character and forgiveness
Abstract noun
cannot really see but not in a helped to heal South Africa.
or touch box
Tokyo Sexwale was sent to
Please note
PRONOUN

Robben Island in 1977. He

that there are Generally, these Can replace a
(Tokyo) described Mandela as
many kinds of replace nouns noun
“towering over” it (Robben
pronouns
Island).
Please note The tortured prisoner was
ADJECTIVE

that there are determined to ignore the

Describe
also many The ... girl vicious guards.
nouns/pronouns
kinds of
adjectives
He escaped the confines of his
Doing or ‘being’ Can you …?
VERB cell and walked across the
words He …
island.
When, where He escaped unnoticed (how)
Modifies the verb
or how after dark (when) and swam
ADVERB (tells you more
something is across the channel (where).
about it)
done
“Small words” Usually before He sat down behind the guard
that show nouns, on the ground and spoke
PREPOSITION
relationships or pronouns, or softly to him.
position articles

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Parts of Speech Summary Table

Name Function Clue Example
And, but, He walked slowly to the gate
Connecting words
because, and opened the latch.
CONJUNCTION that join clauses
however, not
and phrases
only ... but also
A, an A prisoner insisted on feeding
(indefinite the pigeons and so invited the
articles) mess.
ARTICLE “a”, “an” or “the” The (definite
article)
And zero
article

Figures of Speech Summary Table

Figure of Speech Function Example
Simile A direct comparison using “mounds of clouds to the east, like
“like” or “as” clotted cream”
Metaphor An indirect comparison without “The sky was the delft-blue …”
the use of “like” or “as”

Extended metaphors Recurring metaphors or In the extract above, the idea of tea
analogies and scones is used and carried
through three metaphors (tea set,
clotted cream, and butter).
Mixed metaphors Incompatible terms or a A famous one, by Sir Boyle Roche:
combination of different “Mr Speaker, I smell a rat; I see it
comparisons used to describe floating in the air; and if it is not
the same object or event. nipped in the bud, it will burst forth
Avoid these! Besides making into a terrible conflagration that will
little sense, they are also often deluge the world”.
spoken by people who are
trying to “show off” their
linguistic “skills” and then
demonstrate their lack of
them.
Personification Giving human qualities to Death took her gently, as though
inanimate objects or abstract respectful of her delicate frame.

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Figures of Speech Summary Table

Figure of Speech Function Example
ideas. (They are also forms of
metaphor)
Allusion A direct or indirect referral to a Many poets and authors refer to
particular thing. Biblical or mythological stories in
their works.
Alliteration Repetition of consonant “Rains ravage Rwanda” (Newspaper
sounds, often highly effective headline)
in advertising.
Assonance Repetition of vowel sounds “Flash with a rash/Gimme my
cash/Flickin” my ash/Runnin” with
my money, son, go out with a blast”
(Busta Rhymes)
Onomatopoeia Words that imitate and Crash! Bang! Ouch! Meow
reproduce real-life sounds and
actions.
Oxymoron Two seemingly contradictory The crash was a pretty ugly sight.
words are placed next to each
other. On closer thought, they Shakespeare loved oxymorons:
evoke some powerful image. bitter-sweet, angelic fiend, etc.
Paradox A seemingly absurd or Killing someone with kindness;
contradictory statement,
which, on closer inspection, If you want peace, prepare for war
proves to be true. (Vegetius)
Irony Implies the opposite of what is “I can’t wait for my dentist
said and relies on tone to appointment next week.” (relies on
impart meaning. tone to reveal its meaning);
Situational irony refers to a Stepping to avoid a sprinkler and
situation’s outcome which is instead falling into a fish pond
vastly different to what was would be an example of situational
expected. irony.
Hyperbole An over-exaggeration to I have enough food here to feed an
emphasise a point. army.
Litotes Uses a negative and an He is no Einstein (he is academically
opposite to understate what is weak).
intended.
Innuendo To imply something without Asking somebody who got drunk
directly saying it. the night before “So, how is your
head this morning?”

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Figures of Speech Summary Table

Figure of Speech Function Example
Euphemism Expresses an unpleasant or He passed away (he died).
uncomfortable situation in a
more sensitive, kind and tactful He is not well-off (he is poor).
manner.
Pun (also known as a Clever play on words, alike in Cricket captain stumped!
double entendre) sound but different in meaning.
Rhetorical question A question that expects no What could he possibly have been
answer and is asked to thinking when he drove off of that
strengthen an argument. cliff?
Malapropism Not really a figure of speech – “I asked you pacifically, to do your
it is an error. homework (specifically)”.
Unintentional use of a similar We request your presents at the
sounding but incorrect word. wedding …
(presence)
He should of resigned
(should have)
Parody Again, not really a figure of Bored of the Rings: A parody of JRR
speech but a style of writing, it Tolkien’s Lord of the Rings.
mocks a well-known style or
piece of writing.
Satire Like parody, it too is a style of Parker and Stone’s South Park
writing and not a figure of animated series; Jonathan Swift’s
speech. Satires mock people or Gulliver’s Travels.
events in a humorous way to
bring about change.
Bathos A rhetorical device that builds The ballerina rose gracefully en
up tension and then ends in pointe and extended one slender
anti-climax or a silly surprise. leg behind her, like a dog at a fire
hydrant (Jennifer Hart);

“The ships hung in the sky in much

the same way that bricks don’t”
(Douglas Adams, The Hitchhiker’s
Guide to the Galaxy)
Synecdoche A part is substituted for the South Africa played New Zealand
whole, or vice versa. yesterday;
The pen is mightier than the sword.

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Figures of Speech Summary Table

Figure of Speech Function Example
Metonymy A term denoting one thing is Hollywood, for example is used to
used to refer to a related thing refer to American Cinema;
(synecdoche is therefore often Word, refers to a promise or
considered a subclass of conversation, etc.
metonymy).

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Additional Prescribed Content for Learning Unit 3

Theme 2 Content

1. Literary forms and genres

Before we begin this section, it is important to note that different sources refer to literary genres
and forms as slightly different things. Some people categorise different forms as genres, which
is not wrong, but might be a little confusing since genres might appear in all forms of literature!
However, for the purposes of this module, we have clearly differentiated between literary forms
and literary genres. Please bear this in mind when responding to any questions or when analysing
any texts in this module and try not to become confused when other sources refer to forms as
genres.

1.1. Forms

At this point, you are likely to have come across literary forms such as plays (drama), poetry,
short stories, novels and even novellas (short novels). In this module, we will discuss novels,
poetry and drama in a little more detail, since the literature you will deal with this year falls into
these categories.

1.1.1. Poetry

Although poetry has been around in English format since at least 700 CE, we know that poetry
has been around even longer - it actually predates literacy (Vansina, 1985). Evidence shows that
the earliest poetry was sung or orally recited, most likely because the repetition and rhythm
would have made long stories easier to remember (Ibid).

Poetry then has evolved from simple stories and prayers in tribal rituals, and through a number
of forms like the epic, sonnet and free verse, into a variety of new forms including rap and slam
poetry. This module will take you through different periods in history, thereby providing an
overview of these different kinds of poetry.

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Then finally, while it is important to note that not all Metre in poetry refers to the unit
poetry rhymes, it does require rhythm, which is given to of rhythm or pattern of beats
poetry by the choice of metre and wording. used by the poet. Technically,
metre is made up of feet, which
Shakespeare, for example, used mostly iambic each include either two or three
pentameter in his sonnets, which means that each line syllables. Different meters are
of poetry had five ‘feet’ each, with every second syllable formed depending on where the
being stressed. For now, you do not need to be able to stress lies in each of these
analyse metre in any great detail, but it is a fascinating syllables. For more information,
area of poetry. Believe it or not, rap and hip hop also visit The University of
often uses this form of metre! If you would like to see Pennsylvania’s writing page
this in action, visit Ms. Cronk’s (2011) class example of [Link]
Eminem’s ‘Lose Yourself’ song at filreis/88/[Link]
[Link]
pentameter.

1.1.2. Drama

Dramas are plays: works designed to be performed in the theatre. Actors take the roles of
characters and perform the action as dictated by the playwright.

In poetic drama, the dialogue is written in verse: be it rhyming couplets or blank verse, for
example. Many dramas use writing without rhythm and rhyme though and instead choose to
portray their dialogue as closer to natural speech.

You are probably aware of Shakespeare’s plays from school and the plays of dramatists like Oscar
Wilde and Arthur Miller are also well-known. For this module, however, we will focus on a South
African play called Boesman and Lena by Athol Fugard.

1.1.3. Novels

Novels are part of prose fiction and are extended stand-alone narratives. For this module, it is
important that you are able to identify the essential features of a novel, namely plot, structure,
many characters and several interconnecting storylines or conflicts, so that you are able to
analyse the prescribed set work thoroughly.

In short, novels tell a story through the use of a plot (even if at times the plot is not very good).
Plot is the organisation of narrative into cause-and-effect action, or the series of events that
make up the story. A typical tried-and-tested version of this is:

Boy meets girl > boy + girl fall in love > big crisis > resolution + “happily ever after.”

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Obviously much more detail goes into the creation of a plot, but there are a few essential
formulae that act as templates and which most authors work from when deciding on a plot.

Novels also have structure. This refers to the way the author uses time and arranges the novel’s
chapters. Anyone who has ever read a book that hops and skips around to different times in
history or a character’s life knows that this can be very confusing. For this reason, a typical linear
or chronological perspective is the most frequently used format, although reverse chronology,
in which the author starts in the present and then works back to the past, is also a popular
structure.

Novels typically also have many characters who are then developed (to varying degrees) through
their story lines. Highly developed or complex characters are described as ‘round’ and, the
authors usually give us great insight into these characters’ thinking, motivations and behaviours.

The protagonist (or central character of a story) is also usually a rounded character, but it is
important to remember that protagonists are not always admirable – in fact, sometimes authors
can make readers feel empathy for apparently awful characters, in which case we would refer
to them as anti-heroes! Have you ever, for example, felt sorry for a criminal in a movie or book
because the director or author gave you a great deal of insight into their motivations and back
stories? In these cases, we tend to empathise with the main character, even if they are doing
something we would otherwise not approve of because of the focus on the character and the
author’s ability to manipulate his or her readers’ feelings!

In terms of characters, in your reading of novels you will also likely find a number of ‘flat’
characters, who are not complex, and who simply exhibit one kind of personality trait or
characteristic. These characters are not likely to develop or progress at all in the novel and are
used to support the plot and the protagonist’s development through the story.

An additional feature of the novel is that there are often several interconnecting storylines or
conflicts that are designed to evoke specific reactions or emotions from the reader. In this
regard, you should consider that the kinds of conflicts or storylines used by authors will strongly
depend on the environment in which the author finds him/herself. In the 19 th Century, for
example, a marriage was often the culminating point of novels, but after World War II, authors
started looking at the inner streams of consciousness of characters and often rejected the
previous generations’ focus on ‘happy endings’. What do you think the focus is of today’s
literature?

Finally, like movies and other forms of literature, you should also remember that novels may also
be classified into their relevant genres, as outlined in the next section.

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1.2. Genres

While there are many kinds of genres available, you are probably already familiar with some of
the more popular ones – especially those that feature often in films. Action, adventure, comedy,
fantasy, sci-fi, and drama are just a few of the genres that you have undoubtedly had first-hand
experience of, either as a reader, a viewer or an audience member.

Novels and plays largely conform to these genres too, and for the purposes of this module, it
may help to have a short description of some of the main genres. Please remember though, that
the short summary below is just a sample of the kinds of genres you might come across – there
are a number of other genres and subgenres within these and sometimes a literary work can
include more than just one!

Genre Description
Adventure This is usually about a protagonist who travels to an epic, unknown
or distant location to achieve something – this is often linked to
other genres because of its open nature. The Hobbit and Lord of the
Flies are good examples of this genre.
Biography/ These are technically factual accounts of a particular person, i.e.
Autobiography (arguably) not works of fiction and increasingly popular. Biographies
are accounts of a person’s life written by another person, while
autobiographies refer to stories written by the person him/herself. A
Long Walk to Freedom, about Nelson Mandela is a good example of
an autobiography.
Comedy There are a number of different subgenres of comedy, including
parody, romantic comedy, comic fantasy, black comedy, and even
more recently, zombie comedy! The important thing to remember
about this genre is that its main goal is to make its audience or
reader laugh. Bridget Jones’s Diary by Helen Fielding is a good
example of a comedy genre novel.
Classic While novels from different genres may feature in this category,
classic books are those accepted as being noteworthy or great.
What usually sets these apart is their apparent ability to withstand
time and to maintain relevance regardless of the period in history.
For example, F. Scott Fitzgerald’s novel, The Great Gatsby, is over 90
years old, and yet remains popular today – both for purposes of
analysis and leisure reading.
Crime Crime genres usually feature an actual crime and the story around
its perpetration or investigation – again, there are many subgenres
in this field, including courtroom dramas, detective stories, or

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murder mysteries. The Girl with the Dragon Tattoo by Stieg Larsson
is a good example of a crime genre novel.
Drama In film and television, drama refers to a work of narrative fiction that
is more serious than comedy in terms of tone and usually focuses on
the development of real characters and realistic emotional
struggles. The 2014 movie The Fault in our Stars is a good example
of this genre. Please remember though that this kind of drama is not
synonymous with the format of ‘drama’ that we refer to in
plays/stage productions!
Fairy Tale Fairy tales are often treated as a subgenre of fantasy, but the sheer
wealth of (usually European) literature in this area makes it worth
noting. Fairy tales typically feature fantasy characters like unicorns,
fairies, witches and mermaids and will also often make use of the
fictional ‘once upon a time …’. Although contemporary stories of
this genre usually end with ‘and they lived happily ever after’, the
original versions of these stories were often quite dark and
inappropriate for children! The Brothers Grimm’s Rapunzel is just
one example of the fairy tale.
Fantasy The fantasy genre usually deals with magic or supernatural forces,
but may often also include elements of other genres such as science
fiction. These include fables, legends, dark fantasy, contemporary
fantasy and newer subgenres like urban fantasy. The prescribed
novel Haroun and the Sea of Stories fits into the contemporary
fantasy subgenre as an example!
Historical fiction This genre is sometimes jokingly called ‘fact-ion’, since it integrates
what is known about a real historical character or event with several
fictional elements and characters. Conn Iggulden is a popular author
of this genre and has written a number of works of fiction on Julius
Caesar, Genghis Khan and British royalty. He includes a great deal of
research on these individuals blended with elements of a traditional
novel.
Horror The horror genre deliberately sets out to terrify an audience
through suspense violence or shock, and also includes a number of
different subgenres. Slasher ‘flicks’, werewolf fiction, vampire
literature, or ghost stories are some of the most common forms of
this genre, e.g. Twilight.
Mythology Like fairy tales, mythology is often included under fantasy. Most
cultures have their own mythology, a unique collection of traditional
stories that attempt to explain creation, culture and institutions.
Unlike legends, which usually feature humans as their main
characters, myths include main characters in the forms of gods,

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demigods or supernatural humans. Rick Riordan’s series Percy

Jackson and the Olympians is a good example of a modern
adaptation of an earlier myth – the main character is loosely based
on characters from Greek mythology, but is also based on the
author’s son.
Science Fiction Sci-Fi is one of the ever-popular genres in film and novels and
usually revolves around the effects of aliens, computers, machines,
or other technologies. Ender’s Game, a novel (and film) by Orson
Scott Card and the film Independence Day are good examples.

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