The complete Maus: A survivor’s tale (1996): A proposal for using graphic narrative in the EFL classroom

FACULTAD DE FILOSOFÍA Y LETRAS DEPARTAMENTO DE FILOLOGÍA INGLESA MÁSTER EN PROFESOR DE EDUCACIÓN SECUNDARIA Y BACHILLERATO, FORMACIÓN PROFESIONAL Y ENSEÑANZA DE IDIOMAS ESPECIALIDAD: LENGUA EXTRANJERA (INGLÉS) Curso 2019-2020 Trabajo Fin de Máster The complete Maus: A survivor’s tale (1996): A proposal for using graphic narrative in the EFL classroom Autora: Irene Sández Muñoz Directora: Rosa M ª Pérez Alonso Vº Bº Abstract This paper aims to present the benefits of using graphic narratives in the EFL classroom, through a proposal based on Art Spiegelman’s The Complete Maus: A Survivors Tale (1996) for a fourth of ESO group. In order to prove this theory, I present how literature and history are included in the EFL syllabus and their importance as a tool in the EFL classroom. Then, I show the main benefits of intruding comic-like literary works in the EFL classroom, specially graphic narratives. Besides, the proposal for intervention based on Maus (1996) is explained in terms of the objectives that it pursues, the core competences that it aims to achieve, the methodological approach that its implementation follows, etc. Finally, a description of the proposal concerning the sessions that compose it and the activities that are implemented is presented. Key Words: The Complete Maus: A Survivor’s Tale, Spiegelman, Holocaust, Nazism, graphic narrative, education. Este TFM pretende mostrar los beneficios del uso de narrativas gráficas en el aula de inglés como lengua extranjera, a través de una propuesta dirigida a un grupo de cuarto de la ESO basada en The Complete Maus: A Survivors Tale (1996) escrito por Art Spiegelman. Para demostrar esta teoría, presento cómo la literatura y la historia están incluidas en el currículo de Inglés como lengua extranjera y su importancia como herramienta en el aula. A continuación, muestro los principales beneficios de introducir obras literarias en formato de comic en el aula de lengua extranjera, en especial narrativas gráficas. Además, explico la propuesta de intervención basada en Maus (1996) en cuanto a los objetivos que persigue, las competencias básicas que pretende alcanzar, el enfoque metodológico que sigue su aplicación, etc. Por último, se presenta una descripción de la propuesta relativa a las sesiones que la componen y las actividades que se llevan a cabo en la misma. Palabras Clave: The Complete Maus: A Survivor’s Tale, Spiegelman, Holocausto, Nazismo, narrativa gráfica, educación. Table of Contents List of figures and tables ................................................................................................ 7 Figures........................................................................................................................... 7 Tables ............................................................................................................................ 7 Introduction .................................................................................................................... 9 1. Literature in the EFL classroom ............................................................................. 11 1.1. Literature in the EFL syllabus.............................................................................. 11 1.2. Literature as a tool in the EFL classroom ............................................................ 12 2. History in the EFL classroom .................................................................................. 15 2.1. History in the EFL syllabus ................................................................................. 15 2.2. History as a tool in the EFL classroom ................................................................ 17 3. Comics in the EFL classroom: Graphic narratives ............................................... 19 4. The complete Maus: A survivor’s tale (1996) ........................................................ 23 4.1. Literary and historical value of The complete Maus: A survivor’s tale (1996) .. 23 4.2. Pedagogical value of The complete Maus: A survivor’s tale (1996) .................. 29 5. Proposal for intervention ......................................................................................... 33 5.1 Introduction ........................................................................................................... 33 5.2 Objectives ............................................................................................................. 34 5.3 Core competences ................................................................................................. 37 5.4 General contents, evaluation criteria, and learning standards ............................... 38 5.5. Methodology ........................................................................................................ 44 5.6 Assessment ............................................................................................................ 47 5.7 Diversity outreach ................................................................................................. 49 6. Description of the proposal ...................................................................................... 51 6.1 General chart ......................................................................................................... 51 6.2 Session charts ........................................................................................................ 52 6.3 Activity charts ....................................................................................................... 61 Conclusions.................................................................................................................... 79 Appendix........................................................................................................................ 81 I. Proposal for Intervention ..................................................................................... 81 References.................................................................................................................... 111 List of figures and tables Figures Figure 1. Cartoon from Der Sturmer (March 1937)…………………………………………....25 Figure 2. Cartoon from Der Sturmer (October 1937)………………………….……………….25 Figure 3. From The Complete Maus: A Survivor's Tale (1996, p. 14)………………...……….26 Figure 4. From The Complete Maus: A Survivor's Tale (1996, p. 127)……………..…...……26 Tables Table 1. General contents, evaluation criteria, and learning standards of block 1……………...40 Table 2. General contents, evaluation criteria, and learning standards of block 2……………...41 Table 3. General contents, evaluation criteria and learning standards of block 3……………....43 Table 4. General contents, evaluation criteria and learning standards of block 4……………....44 Table 5. Rubric 1: Oral production…..…………..……………………………………….……..48 Table 6. Rubric 2: Written production…......……....…………………………………………...48 Table 7. Rubric 3: Oral comprehension……...……...……….…………………………………48 Table 8. Rubric 4: Written comprehension…….…......………………………...…….………...49 9 Irene Sández Muñoz Universidad de Valladolid Introduction In recent years, there has been much interest in comic-like literary works, which leads to their current relevance in the literary scene. Indeed, the popularity of this type of publications has heavily increased with the release of new comic-like literary pieces, like the collection of L’Arabe du Futur (2014-2018) by Riad Sattouf, or the revival of certain comic-like works thanks to other media, TV series or films, like the ones about Marvel superheroes. As the popularity of this genre and its multiple subgenres have increased in the previous years, it may be expected that different fields have embraced the use of this kind of literary pieces as subject of study. For instance, there are several examples of studies about the use of comic, graphic novels and graphic narratives in the educational sphere and, mainly, in subjects like English as a Foreign Language (EFL), such as the one by Megawati and Anugerahwati (2012). Indeed, comic-like literary pieces are very attractive for young readers, like secondary education students, because of the visual nature of this kind of literary works. Among all the subgenres that are part of the genre of comic, graphic narratives can be considered one of the most beneficial and useful for secondary students. Indeed, according to the classification made by Chute (2008), graphic narratives are non-fictional comic books. Therefore, as this type of comic-like literary work combine literary and historical elements, graphic narratives can be considered one of the most complete and useful comic-like pieces of literature for secondary EFL students. Regarding the situation previously mentioned, in this paper a proposal for intervention based on Art Spiegelman’s graphic narrative The Complete Maus: A Survivor’s Tale (1996) is presented. In fact, Spiegelman’s literary work can be considered one of the most important graphic narratives of the twentieth century, since it depicts Spiegelman’s parents Holocaust experience in the concentration camp of Auschwitz. On the one hand, Maus (1996) has a great literary value, because of Spiegelman’s metaphorical use of the drawings, as a way of depicting different groups depending on religion or country of origin, and his ideas about Nazism. On the other hand, its historical value lays on its intimist representation of actual historical events through the eyes of Spiegelman’s father. However, Maus (1996) is not only a good option for introducing 16 Irene Sández Muñoz Universidad de Valladolid On the one hand, the “Competencias Sociales y Cívicas” are closely related to history. This competence is intended to acknowledge the importance of the values of democratic societies, which promote equality, solidarity, and justice. Besides, it aims to acknowledge interculturality as one of the most important basis of European nations. Indeed, the importance of these values can be studied by teaching their development throughout time. In order to do so, teachers may focus on the fact that nowadays societies have developed in order to become better ones by respecting key values as equality, solidarity and justice, meaning democratic values. Besides, students should be aware of the complexity of these values and even their fragility, since there were periods in our history in which they were not respected. Therefore, by showing certain periods of history students can be more conscious of the nature of their own societies and can avoid previous mistakes. On the other hand, the competence of “Conciencia y Expresiones Culturales” is directly related to the importance of valuing different cultural and historical heritage. Moreover, it aims to develop different thinking abilities, as well as ethical sense. Consequently, working on this core competence intends to cultivate students’ sensitivity towards cultural and historical expressions. Finally, these regulations could find their meaning in the EFL classroom through the indications presented by The Common European Framework of Reference for Languages: Learning, Teaching and Assessment (Council of Europe, 2001). The Council of Europe states in this document that a greatly globalized society, like the one of nowadays, requires proficient language users. However, being “proficient” in a language does no only refer to mastering the four language skills. In fact, it is extremely important to have a well-settled knowledge about the cultural and historical values of the society in which a language is spoken. Indeed, the approach adopted by this institution is action-oriented based, which means that “it views users and learners of a language primarily as social agents” (Council of Europe, 2001, p. 9). Therefore, the role of users and learners of a language is not only focused in communication as such, but also in intercultural interaction. The concept of intercultural interaction is based on the fact that users of a language need to know some specific characteristics of the society in which a language is spoken in order to accomplish 17 Irene Sández Muñoz Universidad de Valladolid their purposes in communication. In fact, the main characteristics of a society that the users of a specific language should know are mainly its values and beliefs, its taboos and its history. The result of getting to know some of the most important cultural and historical characteristics of a society is the achievement of plurilinguism and pluriculturalism. Both concepts are closely related since mastering a great variety of languages necessarily means mastering several different cultures. Therefore, knowing some of the most important cultural and, specially, historical aspects of a society will bring learners and users of a language closer to it and to its speaking community, which is actually a key element in globalized societies like ours. 2.2. History as a tool in the EFL classroom As seen previously, history and culture can be seen as positive tools in the teaching of EFL. However, the inclusion of history-based contents in the EFL classroom may have greater purposes than being in the syllabus. In fact, history, as seen before, develops not only a more varied perspective of the world in which we live, but a conscience of the self. This means that history may move students’ perspectives and thoughts in order to contribute to their development as human beings. Even though the importance of history for the students’ academic and personal development is essential and it can have its own room in the teaching of English as a Foreign Language, there are not many examples of the use of history as a tool in the EFL classroom. However, there is a key aspect that can be taught through the use of history that is considered in the EFL classroom: Peace education. According to Duffy “peace education is concerned with helping learners develop an awareness of the processes and skills that are necessary for achieving understanding, tolerance, and good will in the world today” (as cited in Fujioka, 2012, p. 24). For that reason, peace education can be seen as a key element of nowadays education, which can be included in the classroom through history. Indeed, the main reason to include history in the EFL classroom as a tool for learning peace education is showing humans’ past behaviour and actions to the students. By this way, learners examine the importance of specific values of our society which are crucial for avoiding future conflicts. 18 Irene Sández Muñoz Universidad de Valladolid For that reason, as explained by Fujioka (2012), three main aspects may be differentiated in order to determine the main purposes of peace education in the classroom. Firstly, the inclusion of peace education in the EFL classroom through history leads to a discussion and examination of different cultural values and attitudes resulting into tolerance and acceptance of diversity. Besides, the development of communicative skills is extremely important to promote peaceful values and problem-solving skills. Finally, the acquisition of problem-solving skills leads students to having a critical perspective towards conflicts and violence. Therefore, the inclusion of peace education in the EFL classroom through history develops awareness of the importance of peace, communication, and critical thinking among the students. In fact, the acquisition of these values has the possibility of preparing students to become better citizens and to have better relations in their daily lives. One of the most successful ways to include peace education through history in the EFL classroom is by distancing students from the text book. In fact, the use of nonfictional stories and novels has the possibility of transforming the class dynamics. As a result, the lessons would become more interesting for the learners. In short, history can be a great tool to develop peace education in the EFL classroom and even a great cross curricular topic in itself. Since students are exposed to past experiences, their empathy, tolerance and critical thinking grow. Therefore, the inclusion of history through non fictional literature in the EFL classroom as a tool to develop peace education and cultural and historical values is extremely important for turning into better human beings and societies. 19 Irene Sández Muñoz Universidad de Valladolid 3. Comics in the EFL classroom: Graphic narratives In general terms, comics have always been considered a childish genre; thus, they have not been regarded as serious or as high quality literary pieces. However, nowadays this conception has changed and there are several scholars who already consider comics and their subgenres as valuable literary works. Their complexity is such, that scholars like Hillary Chute (2008) examines the different terms used for their diverse subgenres and their definitions as it is going to be shown in the following paragraphs. Indeed, the classification made by Chute (2008) is going to be followed throughout this paper, since it is one of the most detailed. Firstly, it is important to differentiate between cartoons and comics. On the one hand, according to Chute (2008), cartoons are single-panel images in which visual and verbal messages are transmitted. On the other hand, comics have multiple frames in which visual and verbal messages are encoded. Consequently, cartoons are simpler works than comics. In fact, comics can be divided into comic strips and comic books. The latter ones are a compilation of the former ones, meaning that comic strips can be part of comic books. Regarding comic books, Chute argues that a difference may be stablished between the ones dealing with fictional stories, called graphic novels, and the ones dealing with non-fiction, graphic narratives. Even though comics, graphic novels and graphic narratives have gained a great popularity and the attention of multiple scholars, so far there is no agreement regarding terminology, since different authors have their own interpretation of the genre and of its multiple subgenres. Indeed, scholars’ different interpretation of the genre, and consequently, their different definitions of terminology, is based on the use of different standards: the length of the work, themes, fictional character of the story, etc. However, the different terminology used is not a huge concern in the description of the value of this genre for teaching languages. Indeed, in this case, the focus will be located in the value of graphic narratives, for teaching English as a Foreign Language. As Hecke depicts (2011), graphic narratives are incredibly valuable in the EFL classroom, since they share multiple characteristics with traditional literary works. In fact, graphic narratives deserve major attention since, as Hecke explains, their readers have to make a greater effort while reading them because of the combination of written text and 20 Irene Sández Muñoz Universidad de Valladolid images. Consequently, the use of graphic narratives in the EFL classroom is highly recommended. Indeed, some of the most important reasons that make comic like literary texts, specially graphic narratives, suitable for an EFL classroom, according to Hecke, are going to be explained in the following paragraphs. As a matter of fact, students have usually had previous positive experiences with comics, thus these experiences provoke an increase in their interest in the material used and they are more willing to participate in activities based on graphic narratives. Besides, this previous experience with comics awakes students’ mental imagery, which has a great importance in the decoding of the message this type of works enclosures both in the written text and in the images presented in them. In addition to this advantage, students who are exposed to material based on graphic narratives in the EFL classroom experiment an improvement in their cognitive and affective faculties thanks to the nature of this type of literary work. As previously said, graphic narratives encode messages not only in their written text, but also in their images. On the one hand, students’ knowledge of visual codes highly increases thanks to the use of comic-like pieces of literature´, like graphic narratives, since they can be gathered in the so called “visual literacy” meaning that readers need to interpret text and images while reading. Consequently, reading this type of texts is harder and needs a more active reading than others. As reading graphic narratives is harder and more demanding, it can be considered not appropriate for EFL students. However, the images that compose this kind of texts give clues to the meaning of the most difficult vocabulary of their written parts making graphic narratives suitable for the majority of EFL students. This development of students’ cognitive faculties provokes that, while reading comic-like literary works, students are engaged in the search for the meaning encoded in the written text and also in the images. On the other hand, students’ affective faculties are highly developed by reading graphic narratives. Indeed, as they have to understand the encoded messages presented within the written text and the images, they develop their capacities to understand people better, thus empathy. Besides, as their empathy increases their class performance 21 Irene Sández Muñoz Universidad de Valladolid significantly progresses. In fact, they have more respect and acceptance towards their classmates. Consequently, the relations within the class group are reinforced. As part of literature, graphic narratives contribute to intercultural learning. In fact, through this type of comic-like pieces of literature students can discover different cultures which are unknown for them or of which they have a misconception. For instance, it is remarkable the case presented by Golewski and Schmidt (2011) whose students were working in the graphic narrative Persepolis (2009), by the Iranian author Marjane Satrapi, in which she presents her teenage years in Iran. They concluded that thanks to reading and working on this graphic narrative, they know more about Iranian society and, even more important, this graphic narrative destroys some of the misconceptions they had about Iran and its people. Therefore, reading this type of works improves students’ intercultural skills making them more prepared, thus more confident, for real-life intercultural interaction in the target language. Moreover, they are more aware of the stereotypes and prejudices society have towards some population groups. Similarly, according to Fujioka (2012), non-fiction literature can be used in the EFL classroom in order to develop students’ skills related to personal and democratic values. Indeed, non-fictional comic books, like graphic narratives, can act as a transmitting tool of those kind of values (Chute, 2008). As discussed in previous sections of this paper, the inclusion of literature in the EFL classroom has great results, since students have the possibility of empathizing with the characters’ experiences. For that reason, non-fictional literature is even more effective in those terms than other types of literature, since students have the possibility of empathizing with real characters and stories. On the one hand, difficult experiences shown in non-fictional literature can be inspirational for the great majority of the students. Indeed, as learners empathize with the characters’ difficult experiences they learn how to endure hard episodes in real life and to value the importance of maintaining peace. On the other hand, as the difficult situations presented are real ones, students realize that difficulties in life can come in any time and there is always a threat to peace continuing. Therefore, they could have the characters’ behaviour as models of which actions are recommended to be done and which ones are clear mistakes. 22 Irene Sández Muñoz Universidad de Valladolid Therefore, it can be assumed that graphic narratives are extremely valuable and useful in English as a Foreign Language classrooms, since they are one of the most complete literary pieces. Indeed the dual nature of the genre, as a container of written and visual production, provokes that students develop all their potential in the EFL classroom becoming proficient, thus native-like, speakers of the target language. Moreover, graphic narratives, comic-like pieces of literature dealing with non-fiction, may be considered even more valuable, since the use of this type of comic-like literary works also cultivate students’ cultural and democratic values. 23 Irene Sández Muñoz Universidad de Valladolid 4. The complete Maus: A survivor’s tale (1996) 4.1. Literary and historical value of The complete Maus: A survivor’s tale (1996) Art Spiegelman’s Pulitzer Prize-winning work The Complete Maus: A Survivor’s Tale (1996) is the combination of two volumes, “My Father Bleeds History” and “And Here My Troubles Began”, published in Raw magazine between 1980 and 1991 and the comic Prisoner of the Hell Planet published in the anthology Short Order Comix in 1973. Maus: A Survivor’s Tale (1996) is the author’s reconstruction of his parents’, Vladek and Anja Spiegelman, experience as Polish Jews during the Second World War suffering the Holocaust and being sent to the concentration camp of Auschwitz. In this work, the author makes explicit the process of gathering the information he includes in it based on his father’s memories and trauma. In fact, throughout this process, the reader can be aware of the problematic relation between father and son and how the traumatic experience of the Holocaust has influenced the lives of all the members of the family. One of the main problems that critics and academics encountered when The Complete Maus: A Survivor’s Tale (1996) was published was the genre in which this literary work can be classified. In fact, as explained by Doherty (1996) The Pulitzer Price Committee had problems to classify it into a category, since it can be seen as a biography in a comic-like form as well as a comic about past events. This problem in the genre of this work is based on the new way in which it represents the topic of the Holocaust. In fact, there are two aspects in which Spiegelman’s representation of the Holocaust in this work is problematic: The form in which this topic is depicted and the historical accuracy of the story. As explained by Doherty (1996), traditionally, literary works dealing with the Holocaust clearly differentiate the topic from the form. That means that a topic as prominent as the Holocaust has always prevailed over the form in which it is represented. For that reason, this vision of the Holocaust is confronted with the representation made in Maus (1996), since comic-like literary works have been seen as childish and trivial from a traditional point of view. 24 Irene Sández Muñoz Universidad de Valladolid However, Maus: A Survivor’s Tale (1996) is a groundbreaking example of a piece of literature dealing with the Holocaust. Indeed, in this literary work the topic and the form are closely bound, meaning that the comic-like form of this literary work does not trivialize the topic. In fact, the representation of the Holocaust made by Art Spiegelman through Maus (1996) is actually a state of his thoughts and opinions about Nazi art and ideology, as well as an appropriate artistic form to represent the Holocaust traumatic experience. Regarding the Nazi artistic aesthetics, it is important to bear in mind that it was seen as a way of transmitting its ideology. In fact, as explained by Doherty (1996), Nazi artistic aesthetics were focused on showing the ideals of the Nazi ideology, like the importance of the Aryan race, meaning perfection. For that reason, artistic movements belonging to the avant-garde movements, such as Abstract Impressionism, Modernism and Expressionism, were seen as “degenerate art”. In fact, due to the fact that Nazi art and ideology were extremely bound, since one was the vehicle of transmission of the other, it was controlled and regulated by the Reichministry for Popular Enlightenment and Propaganda whose chief was Joseph Goebbles. Some of the most important examples of the union between Nazi art and ideology are the films Triumph of the Will (1935) and Olympia (1938) by Leni Riefenstahl. The former one reproduces the Nazi Party Rally that took place in Nuremberg in 1934 and the later one is based on the eleventh Olympic Games, which took place in Berlin in 1936. In fact, both films praise the nationalistic sentiment of Nazi Germany as well as the power of the Nazi party and leader, Adolf Hitler, shown in an heroic way (Potter, 2016, p. 5). As part of the Nazi artistic propaganda, it is important to bear in mind the role of cartoons and comic strips. Indeed, the comic-like works created in the Nazi era were not a realistic representation of life, but a caricature of it. As a result, cartoons were one of the greatest media to represent the discordant social groups according to the Nazi party, such as, Jews. As a result, Nazism usually represents Jews physically like rats in order to dehumanize them, and show them as a plague and vermin (Doherty, 2016). For instance, in anti-Semitic broadsheets like “Der Sturmer”, there were several cartoons in which Jews were represented directly like rats, as in Figure 1 (as cited in Doherty, 2016, p. 75), or with some animal-like traces imitating rodent features, as in Figure 2 (Bytwerk, 19982020). 25 Irene Sández Muñoz Universidad de Valladolid Figure 2. Cartoon from Der Sturmer (March 1937). Figure 2. Cartoon from Der Sturmer (October 1937). Therefore, Maus: A Survivor’s Tale (1996) can be considered a deconstruction of the Nazi vision of Jews using the same physical stereotypes presented in Nazi propaganda. For that reason, Spiegelman continues to use the metaphor of Jews as rodents, but with a completely different meaning since the mice shown in Spiegelman’s work are totally humanized. However, Spiegelman’s use of Nazi stereotypes against Jewish people goes further, since in his work every character is a different animal depending on their nationality, religion or political ideas. For instance, Nazis are cats, Polish people are pigs, people from the United States are dogs, French people are frogs, etc. The metaphorical use of animals is a literary resource used throughout time. For instance, in one of the best known works by George Orwell, Animal Farm (1945), animals such as pigs, horses, hens, etc. represent some of the most important figures of the Russian Revolution and the Soviet Union like Stalin or Trotsky. However, in the case of Maus (1996) different animals represent, as said before, people depending on their religion, political ideas or nationality. In fact, as explained by Kohli (2012), the use of animals as characters in Spiegelman’s work is not banal, since it represents different relations among the different depicted groups. 32 Irene Sández Muñoz Universidad de Valladolid Finally, through the “transformed practice” students can apply what they have learnt by reading, analysing and reflecting on Maus (1996). For instance, they could write their own or someone else’s experiences in a kind of dialogical graphic narrative, as Spiegelman did in Maus (1996). This way, Spiegelman’s work becomes a model for the EFL students in order to describe autobiographical or biographical experiences. In short, apart from the great literary and historical value that The Complete Maus: A Survivor’s Tale (1996) has, it is also a valuable graphic narrative in itself for the EFL classroom. Indeed, its nature as a literary comic-like work about a historical event retold from a personal point of view gives numerous possibilities in the educational environment. Spiegelman’s work can cultivate the students’ interest in reading, as well as their visual and critical capacities, due to its comic-like form and its literary and historical values. Besides, this graphic narrative has the possibility of leading the students to an analytical and critical learning which is of a great importance nowadays. In fact, the rising diversity and the new ways of communication that are part of our societies need individuals who are able to manage in different cultures and with great amounts of information. Even though Maus (1996) topic can be apparently far from EFL students’ experiences, it can make students reflect about similar situations that are accurate nowadays. 33 Irene Sández Muñoz Universidad de Valladolid 5. Proposal for intervention 5.1 Introduction Even in the twenty-first century, several conflicts are still present in our societies. Indeed, in countries that can be considered civilized and modern, there are still conflicts related to democratic and social values such as religion, race, political ideas, sexual orientation, etc. For instance, in March 2019 two mosques in New Zealand were attacked by a terrorist who retransmitted this massacre in which several people died. Therefore, it is important to reflect about the causes of these kind of attacks and conflicts in our societies. In fact, it is not easy to determine the reasons why certain people commit these type of cruel acts. However, there is something that may eradicate them: education. The teenager years are fundamental for the development and consolidation of people’s personality and personal values. For that reason, secondary education possibly has an essential role in the development of teenagers’ personalities and the strengthening of the ethical values that will accompany them throughout their entire lives. Indeed, education may be the weapon with which fighting all the radical messages that bomb teenagers’ social media every day and which in the end can influence them. Therefore, subjects like English as a Foreign Language have the possibility of showing the students how multiculturalism and cooperation among nations and people can create a better and more peaceful world. Regarding this situation, the implementation of this proposal can be a great tool to show the horrible consequences of radicalization and violence. In fact, this proposal may have a great impact in students, since the activities that conform it are based on the graphic narrative The Complete Maus: A Survivor’s Tale (1996) by Art Spiegelman. This graphic narrative can be considered a clear and accurate description of the Holocaust and how radicalization can lead to fatal consequences towards the oppressed ones. Indeed, the activities that conform this proposal for intervention aim to personally enrich the students and contribute to their communicative skills. However, the implementation of contents based on Spiegelman’s Maus, like this proposal for intervention, is not only beneficial in terms of its accuracy. Indeed, it may be considered a great choice for students of fourth of ESO, since it deals with the topics of World War II, Nazism and the Holocaust which are part of the syllabus of the subject 34 Irene Sández Muñoz Universidad de Valladolid of History according to the ORDER EDU/362/2015 de 4 de mayo, por la que se establece el currículo y se regula la implantación, evaluación y desarrollo de la educación secundaria obligatoria en la Comunidad de Castilla y León. For that reason, this proposal for intervention is intended to be implemented in a class of fourth of ESO students as part of the syllabus of English as a Foreign Language. In relation to the group in which this proposal could be implemented, it would be composed of approximately thirty students with the language level of A2 according to the Council of Europe (2001) at the end of the ESO stage they should reach an. Indeed, the comic-like form of Spiegelman’s work makes it easier to understand its message, since drawings support students’ comprehension of the written text. This proposal is composed of twenty activities for six sessions. Therefore, it would be implemented during two weeks, since students of fourth grade of ESO have three hours of First Foreign Language, in this case English, per week. Besides, this proposal can be adapted or even implemented in a class of first of Bachillerato, both of Humanities and Social Sciences, and Arts. In fact, in the ORDEN EDU/363/2015, de 4 de mayo, por la que se establece el currículo y se regula la implantación, evaluación y desarrollo del bachillerato en la Comunidad de Castilla y León the topics of World War II, Nazism and the Holocaust are part of the contents that students of first of Bachillerato of Humanities and Social Sciences, and Arts may learn in the subject of History (Historia del mundo contemporáneo). In brief, this proposal could contribute to the students’ personal development as members of a multicultural society in which racism has no room. Besides, it is adapted to the students’ interests and needs, since it addresses literature and history in a lighter way making possible that the students empathize with Vladek’s real story. 5.2 Objectives The objectives that are pursued by the implementation of this proposal for intervention are part of the ones that ESO students may reach in this education level, as they are presented in the Real Decreto 1105/2014, de 26 de diciembre, por el que se establece el currículo básico de la Educación Secundaria Obligatoria y del Bachillerato. Indeed, in this proposal for intervention, there may be differentiated the main objectives from the secondary objectives. 35 Irene Sández Muñoz Universidad de Valladolid Regarding the main objectives, the implementation of this proposal in an English as a Foreign Language class of fourth of ESO aims to achieve objectives i) and j). On the one hand, objective i) “Comprender y expresarse en una o más lenguas extranjeras de manera apropiada” is related to communicating in a foreign language, in this case, English. As this proposal for intervention is based on a communicative methodology and is composed of activities that aim to stimulate the students’ communicative capacities, this objective is essential. On the other hand, objective j) “Conocer, valorar y respetar los aspectos básicos de la cultura y la historia propias y de los demás, así como el patrimonio artístico y cultural” refers to the knowledge and respect that ESO students may have for the culture, the history and the artistical heritage of other countries. Indeed, in a subject such as English as a Foreign Language, this may be a key purpose. In fact, in this proposal this objective is even more important, since it is based on the implementation of contents based on a graphic narrative, Maus, in which important historical events as World War II, Nazism and the Holocaust are represented. Therefore, it could be important for students to learn about these historical events and their global importance. Regarding the secondary objectives of this proposal for intervention, it pursues mainly three of them: d) “Fortalecer sus capacidades afectivas en todos los ámbitos de la personalidad y en sus relaciones con los demás, así como rechazar la violencia, los prejuicios de cualquier tipo, los comportamientos sexistas y resolver pacíficamente los conflictos”, e) “Desarrollar destrezas básicas en la utilización de las fuentes de información para, con sentido crítico, adquirir nuevos conocimientos. Adquirir una preparación básica en el campo de las tecnologías, especialmente las de la información y la comunicación”, g) “Desarrollar el espíritu emprendedor y la confianza en sí mismo, la participación, el sentido crítico, la iniciativa personal y la capacidad para aprender a aprender, planificar, tomar decisiones y asumir responsabilidades”. In relation to objective d), it is related to two differentiated spheres. On the one hand, this objective refers to the development of the students’ affective capacities. In the classroom sphere, this can mean that students may stablish positive relations among them and with their teacher. On the other hand, the achievement of this purpose may reinforce the students’ values concerning the rejection of violence and prejudices. Both spheres have their own room in the development of this proposal, since by group work the 36 Irene Sández Muñoz Universidad de Valladolid relationship among the students may improve. Moreover, the link between the teacher and the group of students may be more positive, as the teacher can present his or her experience and own knowledge about the topics of World War II, Nazism, and the Holocaust. For instance, the teacher can relate to exhibitions about these topics, visits to concentration camps, etc. By learning through Spiegelman’s graphic narrative, students witness how racism and prejudices towards different groups of people can result in horrifying experiences that have occurred throughout history, such as the Holocaust, and can empathize with the victims. As for objective e), it is related to the use of new technologies as a way of obtaining information about different topics and the importance of developing a critical view towards it. Indeed, in this proposal for intervention students may investigate about different historical figures and events by using new technologies. Therefore, it is important to develop students’ capacities of searching for information and critical thinking, since in nowadays societies fake news and information are part of their daily lives. Finally, objective g) can be related to the students’ academic growth and how it affects their personal development. Indeed, it is connected to the students’ development of their learning capacities and how this process contributes to their personal growth. This process implies the improvement of their critical thinking capacities and being aware of the way in which they learn. Therefore, as they are more conscious of their learning processes they become more independent. In relation to the activities that are part of this proposal, some of them may cultivate the students’ independent learning, meaning that students search for information about different topics without taking the teacher -who becomes a monitor or guideas a model. In short, the main purposes of this proposal are related to the principal objectives of the subject of English as a Foreign Language: developing students’ capacities to communicate in the foreign language and making them aware of the history and culture of a foreign country. Moreover, implementing this proposal of intervention has other objectives, secondary objectives, related to the development of students’ capacities of working in groups, creating a positive atmosphere in the class, searching for information to get knowledge and develop critical thinking, and cultivating different ways to make the students learn how to learn and get knowledge about different topics. 37 Irene Sández Muñoz Universidad de Valladolid 5.3 Core competences In order to stablish the activities that are part of this proposal of intervention, it is important to take into account the different core competences or “competencias claves presented in the Orden ECD/65/2015, de 21 de enero, por la que se describen las relaciones entre las competencias, los contenidos y los criterios de evaluación de la educación primaria, la educación secundaria obligatoria y el bachillerato. This proposal is intended to be developed in a class of English as a Foreign Language of fourth grade of ESO, for that reason the main core competence that should be developed is the one related to communication, “Comunicación Lingüística”. However, this core competence is not the only one developed by the implementation of this proposal. Indeed, as it combines different types of activities, several core competencies are developed by their implementation. Firstly, as said before, the main core competence developed by the implementation of this proposal is the one connected to communication, “Comunicación Lingüística”. Indeed, this proposal is based on a communicative methodology, in which the communication among the students and between them and the teacher is essential for the learning process. Indeed, the students’ capacities of transmitting their ideas, opinions or information are even more than the grammatical correctness of the messages. Therefore, due to the methodology that is intended to be implemented in this proposal, the communicative approach, this core competence is a key aspect of the proposal. Besides, this proposal develops the core competence of “Sentido de iniciativa y espíritu emprendedor”. Indeed, this core competence is connected to the one related to communication, since it is based on the students’ initiative to express their ideas and opinions and make them real. For that reason, this core competence is clearly developed in this proposal, since it aims to improve the students’ ways of communicating and expressing themselves. In addition to the aforementioned core competences, the ones of “Competencias Sociales y Cívicas” and “Conciencia y Expresiones Culturales” may be developed by implementing this proposal of intervention. In relation to the former one, it is related to understanding the differences between societies and how they even change throughout time. Besides, it is related to respecting the democratic values that compose modern societies and searching for positive ways to solve conflicts. Therefore, the importance of 38 Irene Sández Muñoz Universidad de Valladolid this core competence in the development of this proposal lays in the fact that Maus depicts different situations in which democratic and cultural values of specific groups of people are not respected and how these kind of situations leads to a horrible reality. Regarding the later one, it is focused on the appreciation of different cultural, historical and artistical elements of different societies. Indeed, the use of a graphic narrative, such as Spiegelman’s Maus, as a way of learning history and the literary value of a comic-like piece of literature in a EFL classroom lead to the appreciation of this literary piece as such. Another core competence that is developed in this proposal is the “Competencia Digital”. Indeed, this core competence is related to the use of new technologies. In this case, the use of new technologies focuses on the Internet as a way of getting knowledge. Therefore, in this proposal of intervention new technologies are seeing as a tool for knowledge, thus the use of them is very restricted and may be monitored by the teacher as a way of teaching the students the use of new technologies and the Internet to get information about different topics. In addition to the core competence just mentioned, there is another one related to it that is also developed in this proposal: “Aprender a aprender”. They are connected in the way that the first one is the tool by which the students learn by themselves. Therefore, the core competence “Aprender a aprender” is related to the importance and development of students’ self-learning by giving them little pieces of knowledge that they have to expand. In brief, this proposal for intervention aims to develop the majority of the core competences stablished by the Spanish educational regulations, in order to make the students reach the main requirements of the ESO period. 5.4 General contents, evaluation criteria, and learning standards According to the general contents, evaluation criteria and learning standards contained in ORDEN EDU/362/2015 de 4 de mayo, por la que se establece el currículo y se regula la implantación, evaluación y desarrollo de la educación secundaria obligatoria en la Comunidad de Castilla y León, those indicated for the learning of the first foreign language for students in the fourth year of compulsory secondary education have been selected. Indeed, in this proposal the four blocks in which language learning 39 Irene Sández Muñoz Universidad de Valladolid can be divided are taken into account: comprehension of oral texts, production of oral texts, comprehension of written texts and production of written texts. The main criterium of selection of the general contents, evaluation criteria and language standards has been the development of communicative skills by the implementation of this proposal for intervention. Besides, all of them are oriented to the learning of historical features related to World War II, Nazism, the Holocaust and the reading and analysis of the graphic narrative The Complete Maus: A Survivor’s Tale (1996). In regards to the ones chosen from the first block, comprehension of oral texts, the selected contents for this proposal are related to the mobilization of previous knowledge to understand oral messages and the comprehension of the narration of past events. As for the proposed evaluation criteria from this block, they are connected to the comprehension of oral texts in which information related to specific topics, such as World War II, Nazism, the Holocaust and Maus is presented. Finally, in relation to the selected learning standards from the first block, in this proposal the identification of the main information in informal oral conversation is developed. Contenidos Criterios de evaluación Estándares de aprendizaje evaluables 1. Estrategias de comprensión: 1.1 Movilización de información previa sobre tipo de tarea y tema. 3. Funciones comunicativas: 3.3 Narración de acontecimientos pasados puntuales y habituales, descripción de estados y situaciones presentes, y expresión de sucesos futuros. 1. Identificar el sentido general, la información esencial, los puntos principales y los detalles más relevantes en textos orales breves o de longitud media, claramente estructurados, y transmitidos de viva voz o por medios técnicos y articulados a una velocidad media, en un registro formal, informal o neutro, y que traten de aspectos concretos o abstractos de temas generales, sobre asuntos cotidianos en situaciones corrientes o menos habituales, o sobre los 3. Identifica las ideas principales y detalles relevantes de una conversación formal o informal de cierta duración entre dos o más interlocutores que tiene lugar en su presencia y en la que se tratan temas conocidos o de carácter general o cotidiano, cuando el discurso está articulado con claridad y en una variedad estándar de la lengua. 40 Irene Sández Muñoz Universidad de Valladolid propios intereses en los ámbitos personal, público, educativo y ocupacional/laboral, siempre que las condiciones acústicas no distorsionen el mensaje y se pueda volver a escuchar lo dicho Table 1. General contents, evaluation criteria, and learning standards of block 1 As for the second block, production of oral texts, the contents are selected in terms of the prime purpose of language: communication. Therefore, the contents introduced in this proposal aim to compensate a possible lack of knowledge by paraphrasing or defining difficult terms and by creating different oral texts, such as narration of past events, descriptions of places or objects and creating hypotheses. In terms of the evaluation criteria selected from block 2, they are connected to the ones determined from block 1. Indeed, they relate to the identification of information concerning World War II, Nazism, the Holocaust and the graphic narrative Maus. The learning standards from the second block adopted in this proposal are related to the participation in an informal oral conversation that can take place in the educational environment. Contenidos Criterios de evaluación Estándares de aprendizaje evaluables 1. Estrategias de comprensión: 1.2 Ejecución 1.2.d Compensar las carencias lingüísticas mediante procedimientos lingüísticos, paralingüísticos o paratextuales: 1.2.d.1 Lingüísticos: Modificar palabras de significado 1. Producir textos breves o de longitud media, tanto en conversación cara a cara como por teléfono u otros medios técnicos, en un registro formal, neutro o informal, en los que se intercambian información, ideas y opiniones, se justifican de manera simple pero suficiente los motivos de acciones y planes, y se formulan hipótesis, aunque a veces haya titubeos para buscar 3. Participa adecuadamente en conversaciones informales cara a cara o por teléfono u otros medios técnicos, sobre asuntos cotidianos o menos habituales, en las que intercambia información y expresa y justifica brevemente opiniones y puntos de vista; narra y describe de forma coherente hechos ocurridos en el pasado o planes de futuro reales o 41 Irene Sández Muñoz Universidad de Valladolid parecido. Definir o parafrasear un término o expresión 3. Funciones comunicativas: 3.2 Descripción de cualidades físicas y abstractas de personas, objetos, lugares y actividades. 3.3 Narración de acontecimientos pasados puntuales y habituales, descripción de estados y situaciones presentes, y expresión de sucesos futuros. 3.8 Formulación de sugerencias, deseos, condiciones e hipótesis. expresiones, pausas para reformular y organizar el discurso y sea necesario repetir lo dicho para ayudar al interlocutor a comprender algunos detalles. inventados; formula hipótesis; hace sugerencias; pide y da indicaciones o instrucciones con cierto detalle; expresa y justifica sentimientos, y describe aspectos concretos y abstractos de temas como, por ejemplo, la música, el cine, la literatura o los temas de actualidad. Table 2. General contents, evaluation criteria, and learning standards of block 2 Since in this proposal for intervention the main material used is Spiegelman’s graphic narrative Maus, the third block has a great importance as it is related to the comprehension of written texts. As for the contents selected for this proposal from block 3, they are mainly related to working with materials like Maus, a graphic narrative, since they are connected to the identification of the text typology, sociocultural aspects and non-verbal communication and the narration of past events. Therefore, these contents perfectly fit the comic-like nature of Maus and one of the main topics that is treated in this graphic narrative, World War II, Nazism and the Holocaust. In relation to the evaluation criteria from the third block that are included in this proposal, they are related to the identification of information in webpages; the application of different strategies depending on the textual typology of the written text, in this case a comic-like piece of literature; and using sociocultural and sociolinguistic aspects to get a better understanding of the text, such as historical circumstances. As for the learning 48 Irene Sández Muñoz Universidad de Valladolid a fragment of Maus and orally produce. For that reason, the oral production and the written comprehension count a thirty percent of the final mark respectively and the written production and the oral comprehension a twenty percent each. In relation to the assessment of the written production (Activities 8, 11, 14, 17, and 20) each of the activities count a four percent out of the twenty percent. Oral Production 10 Mark: Participation 4 Adequate contents: Clear ideas expressed in a simple way 2 Different mechanisms to express ideas 1,5 Variety of Vocabulary 1,5 Grammar correctness 1 Table 5. Rubric 1: oral production Written Production 10 Mark: Adequate contents: Clear ideas expressed in a simple way 4 Clear organization (cohesion and text organization) 2 Correctness and variety of vocabulary and expressions 1,5 Careful presentation (proof-reading, accurate format) 1,5 Grammar correctness 1 Table 6. Rubric 2: written production Oral Comprehension 10 Mark: Active listening and concentration 5 Understanding of the general meaning 2,5 Understanding of details 2,5 Table 7. Rubric 3: oral comprehension Written Comprehension 10 Mark: The questions about the written text are answered correctly 4 Draw conclusions 2 49 Irene Sández Muñoz Universidad de Valladolid Determine the main idea and the details 1,5 Support their comprehension with the comic convention (Format, drawings, etc.) 1,5 Recall what happens in different fragments of the written text 1 Table 8. Rubric 4: written comprehension 5.7 Diversity outreach In order to take into account the variety of students that can compose a class, measures to ensure their learning and education should be considered. For that reason, educational regulations such as the Real Decreto 1105/2014, de 26 de diciembre, por el que se establece el currículo básico de la Educación Secundaria Obligatoria y del Bachillerato (Article 9, Chapter I) may be contemplated. Besides, the education centre in which this proposal is implemented may take into consideration its own institutional documents. Indeed, the Plan of measures of diversity outreach or “Plan de medidas de atención a la diversidad” is the institutional document in which education centres introduce the protocol implemented with students with special educational needs. In addition to the regulations or institutional documents that could facilitate the adaptations required, this proposal for intervention can have the possibility to be adapted to the needs of the students who compose the group in which it is implemented. In fact, the teacher can put into action different measures in order to facilitate and contribute to the academic and personal development of the students with special educational needs. For instance, (1) the time considered for each activity can be extended or reduced; (2) the written text and images included in the materials can be adapted; (3) the teacher can adapt the methodology, introducing extra activities, etc. Indeed, this proposal can be considered in itself inclusive and open to the students’ different ways of learning and educational needs. On the one hand, a great part of the activities proposed are intended for group work. Therefore, as students should work in group, their abilities and capacities are complemented with the ones of each member and vice versa. Besides, group work may have positive results with students with special educational needs in terms of their personal growth, since it can cultivate self-esteem. By 50 Irene Sández Muñoz Universidad de Valladolid working in groups, these students feel included in the class group, as they participate and contribute in the activities they should do in a positive way. On the other hand, the main material used in this proposal is the graphic narrative Maus, whose comic-like form has the possibility to help the students’ comprehension. Therefore, using a literary piece with such characteristics may be beneficial for students with more learning difficulties or with different learning styles. 51 Irene Sández Muñoz Universidad de Valladolid 6. Description of the proposal 6.1 General chart Stage, level and course General Aim(s) Contents Activities E.S.O. A2 4º RD 1105/2014, Art. 11: i) j) d) e) g) B1: 1.1 3.3 B2: 1.2.d.1 3.2 3.3 3.8 B3: 1.2 2 3.3 B4: 1.1.a 3.3 3.8 Session 1 1. Let’s talk about Maus. 2. Let’s talk about WWII, Nazism and the Holocaust. 3. Who is Vladek? 4. Maus: the beginning of Nazism in Europe. Session 2 5. The war broke up. 6. Into the ghetto. 7. Let’s search. 8. Trapped. Session 3 9. Images of Auschwitz. 10. Auschwitz: Looking for information. 11. A tattoo for no one. Session 4 12. Bright lightsMaksymilian Kolbe. 13. Darkness-Dr. Joseph Mengele. 14. German or Jew? Session 5 15. Death Marches. 16. Comic creators. 17. At last. Session 6 18. Symposium-PreAuschwitz. 19. SymposiumAuschwitz and release 20. Final reflection Time Assessment Criteria Assessable Learning Standards 52 Irene Sández Muñoz Universidad de Valladolid 6 sessions (2 weeks, 3h/week) B1: 1 B2: 1 B3: 1, 2, 3 B4: 1, 3 B1: 3 B2: 3 B3: 6, 7 B4: 5 Core Competences − Competence in Linguistic Communication. − Digital Competence. − Learning to learn. − Social and Civic Competence. − Entrepreneurship Competence. − Cultural awareness and expression Competence. 6.2 Session charts Session 1: Introduction Activities Assessment Criteria 1. Let’s talk about Maus 2. Let’s talk about WWII, Nazism, and the Holocaust 3. Who is Vladek? 4. Maus: The beginning of Nazism in Europe B1: 1 B2: 1 B3: 2, 3 Students should be able to: - Outline the main information of brief oral texts about the graphic narrative Maus. - Demonstrate understanding of the main information included in brief oral texts about World War II, Nazism, and the Holocaust. - Construct brief oral statements about the graphic narrative Maus. - Elaborate brief oral statements about World War II, Nazism, and the Holocaust. - Make use of the most useful strategies to infer the main information provided by the graphic narrative Maus. - Apply their historical knowledge about World War II, Nazism, and the Holocaust to understand the information included in the graphic narrative Maus. 53 Irene Sández Muñoz Universidad de Valladolid Time Contents 50’ B1: 1.1 B2: 1.2.d.1 B3: 1.2, 2 Learning Standards The student: - (B1: 3.1) Demonstrates comprehension of the main information in an informal oral conversation about the graphic narrative Maus. - (B1: 3. 2) Infers the main information in an informal oral conversation about World War II, Nazism, and the Holocaust. - (B2: 3.1) Builds oral statements to participate in an informal conversation about the graphic narrative Maus. - (B2: 3.2) Elaborates oral statements to participate in an informal conversation about World War II, Nazism and the Holocaust. - (B3: 7.1) Demonstrates understanding of the main information provided in the graphic narrative Maus related to its characters and their historical circumstance. 54 Irene Sández Muñoz Universidad de Valladolid Session 2: Pre-Auschwitz. Activities Assessment Criteria 5. The War broke up. 6. Into the Ghetto. 7. Let’s search. 8. Trapped. B1: 1 B2: 1 B3: 1, 2, 3 B4: 1 Students should be able to: - Outline the main information of brief oral texts about the graphic narrative Maus. - Demonstrate understanding of the main information included in brief oral texts about World War II, Nazism, and the Holocaust. - Construct brief oral statements about the graphic narrative Maus. - Elaborate brief oral statements about World War II, Nazism, and the Holocaust. - Outline the main information of online texts about World War II, Nazism, and the Holocaust in a neutral register. - Make use of the most useful strategies to infer the main information provided by the graphic narrative Maus. - Apply their historical knowledge about World War II, Nazism, and the Holocaust to understand the information included in the graphic narrative Maus. - Compose brief written texts expressing predictions about the plot of the graphic narrative Maus. Time Contents 50’ B1: 1.1, 3.3 B2: 3.3, 3.8 B3: 1.2, 3.3 B4:3.8 Learning Standards The Student: 55 Irene Sández Muñoz Universidad de Valladolid - (B1: 3.1) Demonstrates comprehension of the main information in an informal oral conversation about the graphic narrative Maus. - (B1: 3. 2) Infers the main information in an informal oral conversation about World War II, Nazism, and the Holocaust. - (B2: 3.1) Builds oral statements to participate in an informal conversation about the graphic narrative Maus. - (B2: 3.2) Elaborates oral statements to participate in an informal conversation about World War II, Nazism and the Holocaust. - (B3: 6.1) Outlines the main information provided in web pages about World War II, Nazism and the Holocaust. - (B3: 7.1) Demonstrates understanding of the main information provided in the graphic narrative Maus related to its characters and their historical circumstance. - (B4: 5.1) Creates brief written texts describing a hypothetical future related to the graphic narrative Maus. Session 3: In Auschwitz (part I) Activities Assessment Criteria 9. Images of Auschwitz 10. Auschwitz: Looking for information 11. A tattoo for no one B1: 1 B2: 1 B3: 1,3 B4:3 Students should be able to: - Outline the main information of brief oral texts about the graphic narrative Maus. - Demonstrate understanding of the main information included in brief oral texts about World War II, Nazism, and the Holocaust. - Elaborate brief oral statements about World War II, Nazism, and the Holocaust. - Outline the main information of online texts about World War II, Nazism, and the Holocaust in a neutral register. 56 Irene Sández Muñoz Universidad de Valladolid - Apply their historical knowledge about World War II, Nazism, and the Holocaust to understand the information included in the graphic narrative Maus. - Apply their sociocultural and historical knowledge about World War II, Nazism, and the Holocaust to construct brief written texts about the characters’ feelings. Time Contents 50’ B1: 1.1 B2: 3.2, 3.3 B3: 1.2, 3.3 B4: 3.3 Learning Standards The student: - (B1: 3.1) Demonstrates comprehension of the main information in an informal oral conversation about the graphic narrative Maus. - (B1: 3.2) Infers the main information in an informal oral conversation about World War II, Nazism, and the Holocaust. - (B2: 3.2) Elaborates oral statements to participate in an informal conversation about World War II, Nazism and the Holocaust. - (B3: 6.1) Outlines the main information provided in web pages about World War II, Nazism and the Holocaust. - (B3: 7.1) Demonstrates understanding of the main information provided in the graphic narrative Maus related to its characters and their historical circumstance. - (B4: 5.2) Creates brief written texts reflecting on the main character’s feelings of the graphic narrative Maus. 57 Irene Sández Muñoz Universidad de Valladolid Session 4: In Auschwitz (part II) Activities Assessment Criteria 12. Bright lights-Maksymilian Kolbe 13. Darkness-Dr. Joseph Mengele 14. German or Jew? B1: 1 B2: 1 B3:1, 3 B4: 3 Students should be able to: - Outline the main information of brief oral texts about the graphic narrative Maus. - Demonstrate understanding of the main information included in brief oral texts about important figures of the World War II, Nazism, and the Holocaust. - Construct brief oral statements about the graphic narrative Maus. - Elaborate brief oral statements about important figures of World War II, Nazism, and the Holocaust. - Outline the main information of online texts about important figures of World War II, Nazism, and the Holocaust in a neutral register. - Apply their historical knowledge about World War II, Nazism, and the Holocaust to understand the information included in the graphic narrative Maus. - Apply their sociocultural and historical knowledge about World War II, Nazism, and the Holocaust to construct brief written texts. Time Contents 50’ B1: 1.1, 3.3 64 Irene Sández Muñoz Universidad de Valladolid now that you have more information about Art’s book, what do you think the graphic narrative is about? (…) Good job! Now we are going to see. ” Activity nº: 4 Session nº: 1 Title: Maus: The beginning of Nazism in Europe. Type: Reinforcement Timing: 15’ Classroom Management: Students work in groups of approximately five members. Resources: Photocopies of Maus provided by the teacher (pp. 34 and 35). Assessable Learning Standards: (B1: 3.2). (B2: 3.2). (B3: 7.1). Linguistic Input: “So, now to finish the class of today, we are going to read a little bit more of Maus and then we are going to comment this passage [the teacher gives the photocopies to the students and lets them read for some minutes]. So, can you explain what is represented in this passage of Maus? (…) Yes, they realize the importance of Nazism. In fact, this happens before World War II. Indeed, as you have told me, Nazism was in power before World War II, since 1933. Ok! And what else does this fragment depict? (…) Sure! Anti-Semitic attitudes. In relation to the representation of the characters, can you tell me something? (…) Perfect! Nazis are cats and Jews are mice. Finally, what do you think that Vladek felt at this moment? (…) Good job, guys!” 65 Irene Sández Muñoz Universidad de Valladolid Activity nº: 5 Session nº: 2 Title: The war broke up. Type: Introduction. Timing: 10’ Classroom Management: Students work in groups of approximately five members. Resources: - Photocopies of Maus provided by the teacher (with and without the text) (p.40). - Computer. - Digital whiteboard. - Projector. - Map of occupied Poland included in Maus. Assessable Learning Standards: (B1: 3.1). (B1: 3.2). (B2: 3.1). (B2: 3.2). (B3: 7.1). Linguistic Input: “Good morning, guys. How are you today? (…) Oh! Fine, thank you! So, today we are going to continue with Vladek’s story and his experience as a Jew during World War II. So, please, in groups, you are going to look at this page of Maus. You can see that it has no written text, only the drawings. So, you have to infer what is happening to Vladek. Then, we are going to share your deductions and then we are going to check them by reading the original page and commenting on it, ok? (…) Any doubt? (…)So, let’s start [the teacher gives the photocopies without the written text to the students and lets them discuss with their groups. Besides, the teacher goes around the different groups to monitor their work and participation to ensure that they talk in English]. Well, can any group explain what happens in this passage? (…) Yes! Another group? (…) Ok! So, we are going to see [the teacher shows the original page and lets them read]. 66 Irene Sández Muñoz Universidad de Valladolid Vladek goes to the frontline, but against whom is he going to fight? (…) Sure, it is August 1939, so he is going to defend Poland from the Nazi invasion. Which consequences did this invasion have? (…) Yes! The Nazi invaded Poland and World War II started 1st September 1939. Indeed, I’m going to show you a map that Art included in Maus [the teacher shows a map of occupied Poland included in Maus]. ” Activity nº: 6 Session nº: 2 Title: Into the ghetto. Type: Reinforcement. Timing: 10’ Classroom Management: Students work in groups of approximately five members. Resources: - Photocopies of Maus provided by the teacher (p.84). - Questions about the reading. Assessable Learning Standards: (B1: 3.1). (B1: 3.2). (B2: 3.1). (B2: 3.2). (B3: 7.1). Linguistic Input: “So, let’s continue reading! We are going to read a brief passage, ok? (…) So, you are going to read it and try to answer the questions that are below the text. Then, you are going to share your answers with the rest of your group, ok? (…) Any doubt? (…) Remember! Maus is a graphic narrative, so the drawings are also important to understand the context in which the story takes place. Indeed, in Vladek’s story they 67 Irene Sández Muñoz Universidad de Valladolid are still more important, as it is a true story [the teacher gives the photocopies to the students and lets them read and work for some minutes]. So, now, it’s time to share your answers with your group, come on! [The students discuss with the members of their group their different answers and the teacher goes around monitoring their participation to ensure that they speak in English] Well, as you have inferred, Vladek and his family are confined in a ghetto by the Nazis and Jews suffered multiple kinds of oppression by the Nazis. Indeed, you can see the signs in which it is shown some anti-Semitic politics. Do you know any other ghetto built during World War II? (…) Ok, maybe they are not so popular like extermination camps, but the living conditions there were also horrible. Any other comment? (…) Fantastic! Well done, guys!” Activity nº: 7 Session nº: 2 Title: Let’s search. Type: Reinforcement. Timing: 15’ Classroom Management: Students work in groups of approximately five members in a computers room. Resources: - One or two computers for each group. - Guide questions. Assessable Learning Standards: (B2: 3.2). (B3: 6.1). Linguistic Input: “Thanks to Maus, we have seen that a ghetto was a way of repressing Jewish people by the Nazis. Now, I want you to look for information about ghettos in World War II. [The teacher gives the students some questions to guide their searching] You can answer these questions to guide your searching, but any other additional information would be fantastic! Remember, that you have to search for the information in serious websites. So, let’s start! If you have any question, you can ask me. [The teacher let them work for some minutes and goes around the different groups to monitor their work and participation and to ensure that they find the information in serious webpages in 68 Irene Sández Muñoz Universidad de Valladolid English.] Ok! So, let’s share the information. Please, group 1! [The speaker of each group shares the information they have found] Fantastic, guys! Now we know a little bit more about these places, which were horrifying, but not so far from the present time… ” Activity nº: 8 Session nº: 2 Title: Trapped. Type: Reinforcement Timing: 15’ Classroom Management: Students work individually. Resources: - Photocopies of Maus provided by the teacher (pp. 159). - Office supplies. Assessable Learning Standards: (B3: 7.1). (B4: 5.1). Linguistic Input: “To finish today’s session, we are going to read a fragment of Maus. Will Vladek and his wife Anja be safe? Let’s read to know it! [The teacher gives the photocopies to the students and lets them read for some minutes]. So, now we know that they will endure the horrors of Auschwitz… but, how do you think that Vladek and Anja will experience Auschwitz? I mean, do you think that they will encounter someone of their family or friends? Will both survive? In order to explain this hypothetical future, I want you to write it down. A short text will be enough, Ok? (…) Any doubt? (…) Please, remember that I want you to write texts with a clear message, so the content will be very important. So, let’s start! [The teacher lets them work for some minutes and goes around the class to answer the possible doubts. At the end of the class, the teacher collects the students’ papers]. Well done, guys! Bye, have a nice day! Activity nº: 9 Session nº: 3 Title: Images of Auschwitz. Type: Introduction. Timing: 15’ 69 Irene Sández Muñoz Universidad de Valladolid Classroom Management: Students work individually. Resources: - Photos of Auschwitz (Real material). - Computer. - Digital whiteboard. - Projector. Assessable Learning Standards: (B1: 3.2). (B2: 3.2). Linguistic Input: “Good morning, guys! (…) How are you today? (…) Fantastic! So, I have read your predictions about Vladek and Anja’s experience in Auschwitz and I’ve found them very interesting. Good job! So, in today’s session we are going to continue with Vladek’s story [The teacher shows in the digital whiteboard some of the photos of Auschwitz I and Auschwitz II-Birkenau and of the gas chambers]. So, can anyone describe this picture? (…) Yes! And this one what can it represent? (…) ok! What can it be? (…) Yes, they seem to represent even a peaceful place, a place you can visit, but indeed, they represent a horrifying reality. These are photos that I have taken when I visited Auschwitz some years ago. So, they are real photos They were taken in Auschwitz I and Auschwitz II-Birkenau and this is the gas chamber of Auschwitz one, the only one which was not destroyed by the Nazis. ” Activity nº: 10 Session nº: 3 Title: Auschwitz: Looking for information. Type: Reinforcement. Timing: 20’ Classroom Management: Students work in groups of approximately five members in a computers room. Resources: - One or two computers for each group. - Worksheet with questions. - Photocopies of Maus provided by the teacher (p. 211) (pp. 210 and 231). Assessable Learning Standards: (B1: 3.2). 70 Irene Sández Muñoz Universidad de Valladolid (B2: 3.2). (B3: 6.1). (B3: 7.1). Linguistic Input: “Now, in groups, we are going to read Vladek’s description of Auschwitz and the gas chambers and answer some of the questions about these places [The teacher gives the photocopies and a worksheet with some questions to the students]. For answering some of the questions, you will have to look for some information on the Internet, Besides, you can add any other that you consider interesting. So, let’s search! [The teacher lets them work for some minutes and goes around the different groups to monitor their work and participation and to ensure that they find the information in serious webpages in English]. Have you finished? (…) More or less? (…) Don’t worry, because if we don’t have some of the information, we can learn from the other groups [The speakers of each group share the information they have found] Ok! So now, we can know a little more Auschwitz, Birkenau and the gas chambers and how horrifying were and still are these places. Well done, guys!” Activity nº: 11 Session nº: 3 Title: A tattoo for no one. Type: Reinforcement. Timing: 15’ Classroom Management: Students work individually. Resources: Photocopies of Maus provided by the teacher (pp. 185 and 186). Assessable Learning Standards: (B3: 7.1). (B4: 5.2). Linguistic Input: “Well, now let’s finish this session by reflecting a little bit about Vladek’s first moments in Auschwitz. So, now you are going to read this fragment of Maus and write your thoughts about the meaning that these moments and, mainly, the moment in which he is tattooed have for him. You can write it under the guide questions. You can answer 71 Irene Sández Muñoz Universidad de Valladolid these guide questions, in order to write your reflection. If you have any doubt, feel free to ask me please [The teacher gives the guide questions and the photocopies to the students and lets them read for some minutes. After that, the students write their reflections and the teacher goes around to answer some questions]. Good job, guys. See you next day! ” Activity nº: 12 Session nº: 4 Title: Bright lightsMaksymiliam Kolbe. Type: Reinforcement. Timing: 15’ Classroom Management: Students work in groups of approximately five members in a computers room. Resources: - Photocopies of Maus provided by the teacher (p. 188). - One or two computers for each group. Assessable Learning Standards: (B1: 3.1). (B1: 3.3). (B2: 3.2). (B2: 3.3). (B3: 6.1). Linguistic Input: “Good morning, guys! (…) How are you today? (…) Fine, thanks! Today we are going to continue learning about Auschwitz and Vladek’s experiences there. However, today we are going to focus on some figures that brought hope and horrors in the camp. Firstly, we are going to read the following fragment of Maus please [The teacher gives the photocopies to the students and lets them read for some minutes] Well, Can you explain what has happened in this fragment? (…) Perfect! Do you think that the priest gave hope to Vladek in such a difficult moment? (…) Yes! I think so. Any other comment? (…) Ok! Indeed, there were several catholic priests imprisoned in Auschwitz. Now I want you to do a quick search for some information about a very famous catholic priest who experienced the horrors of Auschwitz. You have some guide questions below the text to help you organize the information you find [The 72 Irene Sández Muñoz Universidad de Valladolid teacher lets them work for some minutes and goes around the different groups to monitor their work and participation and to ensure that they find the information in serious webpages in English]. So, group 3, what have you found? (…) Yes! Maksymiliam Kolbe. Another group, why was he imprisoned? (…) Ok! And why is he famous? (…) Yes! He sacrificed his life for another prisoner of Auschwitz. Well, do you think that the priest that comforted Vladek was Kolbe? (…) Well, it could be. Good job!” Activity nº: 13 Session nº: 4 Title: DarknessDr. Joseph Mengele. Type: Reinforcement. Timing: 15’ Classroom Management: Students work in groups of approximately five members in a computers room. Resources: - Photocopies of Maus provided by the teacher (p. 218). - One or two computers for each group. Assessable Learning Standards: (B1: 3.1). (B1: 3.3). (B2: 3.2). (B2: 3.3). (B3: 6.1). Linguistic Input: “Now, we are going to continue with Vladek’s story by reading a little bit of it [The teacher gives the photocopies to the students and lets them read for some minutes]. So, can anyone explain what was a ‘selektion’? (…) Perfect! Do you know who is Dr. Mengele? (…) Ok! So now, we are going to search for information about Mengele, because he has a very important role in Auschwitz, and then we are going to share the information we have found. In order to do so, as in the previous activities, there are some questions at the bottom of the page to guide your searching [The teacher let them 73 Irene Sández Muñoz Universidad de Valladolid work for some minutes and goes around the different groups to monitor their work and participation and to ensure that they find the information in serious webpages in English]. Well, group 1, can you start sharing the information you have found? [The speaker of each group shares the information they have found] Fantastic, guys! So, now you are aware of one of the most important and cruelest figures of Nazism thanks to Vladek’s story.” Activity nº: 14 Session nº: 4 Title: German or Jew? Type: Reinforcement. Timing: 20’ Classroom Management: Students work individually. Resources: - Photocopies of Maus provided by the teacher (with and without the written text) (p. 210). - Office supplies. Assessable Learning Standards: (B3: 7.1). (B4: 5.2). Linguistic Input: “Well, to finish with today’s class, I want you to look at the following page of Maus [The teacher gives the photocopy without the written text to the students]. There is something missing, don’t you think so? (…) Yes! There is no written text! So, this activity is similar to the one we did some days before, but you are going to write what you think that may be written/missing?. In order to do so, you can interpret the pictures: Which animal is each character, their clothes, their expressions, etc. Are you ready? (…) Let’s start! [The teacher lets them work for some minutes and goes around them to answer their questions]. Now, that you have written what you think that the characters say and what happens, let’s see what is actually written. [The teacher shows them the photocopy with the written text] Is it more or less what you have written? (…) Fantastic! Good job, guys. See you next day!” 80 Irene Sández Muñoz Universidad de Valladolid In spite of all of these circumstances, this paper demonstrates that comic-like literary pieces can be a great tool for teaching English as a Foreign Language, especially the graphic narrative Maus (1996) due to its historical, literary and pedagogical value. For that reason, teachers should be encouraged to use a proposal like the one presented in this paper and to go deeper in the introduction of this kind of literary pieces in the English as a Foreign Language classroom by further research and experimentation. 81 Irene Sández Muñoz Universidad de Valladolid Appendix I. Proposal for Intervention Activity 1: Let’s talk about Maus. Cover of The Complete Maus: A Survivor’s Tale 82 Irene Sández Muñoz Universidad de Valladolid Activity 3: Who is Vladek? Pages 13 and 14 of Maus. 83 Irene Sández Muñoz Universidad de Valladolid 84 Irene Sández Muñoz Universidad de Valladolid Activity 4: Maus: The beginning of Nazism in Europe. Pages 34 and 35 of Maus. 85 Irene Sández Muñoz Universidad de Valladolid 86 Irene Sández Muñoz Universidad de Valladolid 87 Irene Sández Muñoz Universidad de Valladolid Activity 5: The war broke up. Page 40 of Maus. 88 Irene Sández Muñoz Universidad de Valladolid 89 Irene Sández Muñoz Universidad de Valladolid Map of occupied Poland included in Maus. 96 Irene Sández Muñoz Universidad de Valladolid Page 211 of Maus 97 Irene Sández Muñoz Universidad de Valladolid Pages 230 and 231 of Maus. 98 Irene Sández Muñoz Universidad de Valladolid 99 Irene Sández Muñoz Universidad de Valladolid Activity 11: A tatto for no one Pages 185 and 186 of Maus. Reflection Task These pages describe the first moments of Vladek in Auschwitz. Do you think that he and the rest of the prisoners were treated in a correct way? Were they treated like human beings? What do you think that the tattoo meant to Vladek? 100 Irene Sández Muñoz Universidad de Valladolid 101 Irene Sández Muñoz Universidad de Valladolid 102 Irene Sández Muñoz Universidad de Valladolid Activity 12: Bright lights-Maksymiliam Kolbe Page 188 of Maus. Guide Questions for the online searching 1. Which was the name of a famous priest who was imprisioned in Auschwitz? 2. Why was he imprisioned? 3. Why is he famous? 103 Irene Sández Muñoz Universidad de Valladolid Activity 13: Darkness-Dr. Joseph Mengele. Page 218 of Maus. Guide Questions for the online searching 1. Who was Dr. Mengele? 2. Why was he famous? 3. What did he do when the war was over? 104 Irene Sández Muñoz Universidad de Valladolid Activity 14: German or Jew? Page 210 of Maus 105 Irene Sández Muñoz Universidad de Valladolid 112 Irene Sández Muñoz Universidad de Valladolid España. Orden EDU/362/2015, de 4 de mayo, por la que se establece el currículo y se regula la implantación, evaluación y desarrollo de la educación secundaria obligatoria en la Comunidad de Castilla y León. Boletín Oficial de Castilla y León, 8 de mayo de 2015, núm. 86, pp. 32252-32259, 32150-32151. España. Orden EDU/363/2015, de 4 de mayo, por la que se establece el currículo y se regula la implantación, evaluación y desarrollo del bachillerato en la Comunidad de Castilla y León. Boletín Oficial de Castilla y León, 8 de mayo de 2015, núm. 86, pp. 32716-32717. España. Real Decreto 310/2016, de 29 de julio, por el que se regulan las evaluaciones finales de Educación Secundaria Obligatoria y de Bachillerato. Boletín Oficial de Estado, 30 de julio de 2016, núm. 183, p. 53053. España. Real Decreto 1105/2014, de 26 de diciembre, por el que se establece el currículo básico de la Educación Secundaria Obligatoria y del Bachillerato. 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