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Trabajo Fin de Máster “The Power of Graphic Novels in EFL Classroom” A Proposal Including MAUS A Survivor’s Tale and PBLL in a 4th Year of ESO Autor Haizea Olaizola Rodriguez Director María Eugenia Ossana Máster Universitario en Profesorado de Educación Secundaria Obligatoria, Bachillerato, Especialidad: Lengua Extranjera Inglés Facultad de Educación Curso 2019/2020 Table of Contents Abstract 1 1. Introduction 2 2. Purpose and Objectives 3 3. Justification and Theoretical Framework 4 4. Methodology 13 5. Unit Plan Proposal 16 5.1. Contribution to the Key Competences 17 5.2. Objectives and specific contents 19 5.3. Lesson Sequence 21 5.4. Materials 25 5.5. Evaluation tools and assessment criteria 26 6. Conclusions 27 Works cited 30 Appendices 31 Appendix 1. The necessity detected: works from other subjects. 31 Appendix 2. Objectives and Assessment Criteria. 32 Appendix 3. Lesson Sequence 33 Appendix 4. Materials 54 Appendix 5. Evaluation Rubrics 82 Abstract [English] The main aim of this paper is to propose an innovation unit plan that consists of the implementation of the graphic novel MAUS A Survivor’s Tale (1996) by Art Spiegelman in a 4th year ESO ESL classroom as the main learning tool. The reason d’être of this paper emerged with the necessity to demonstrate that literature is a useful as well as an appealing learning resource that can boost learners’ critical thinking and selfreflection in in the EFL classroom. In order to support this idea, the first part of the paper provides the theoretical background that sustains the unit plan: the Communicative Approach, Project-Based Language Learning, in general, and the importance of literature and the graphic novel in particular. The second part provides a critical analysis on the unit plan by stressing the relevance of the proposal in tune with the objectives and the key competences provided by the LOMCE and Curriculum of Aragon, the contents worked during the lessons, the learning objectives and the relevance of the different tasks in connection to cooperative work and attention to diversity. KEY WORDS: graphic novel, cooperative learning, project-based language learning, communicative language approach [Español] El objetivo central de este trabajo es diseñar una propuesta didáctica innovadora que implemente la novela gráfica de Art Spiegelman MAUS A Survivor’s Tale (1996) como herramienta pedagógica principal en la asignatura de inglés como segunda lengua en una clase de 4º de la ESO. La razón de ser de este ensayo emerge debido al deseo de demostrar que la literatura puede llegar a ser una herramienta pedagógica útil que ayude a potenciar el pensamiento crítico y la reflexión personal en las clases de EFL. Para demostrar dicha teoría, la primera parte de este trabajo trata de explicar los diferentes pilares teóricos que componen la unidad didáctica: el Enfoque Comunicativo, el Aprendizaje por Proyectos y la importancia de la literatura y, más concretamente, de la novela gráfica en la enseñanza del inglés. Asimismo, la segunda parte del trabajo consiste en exponer el análisis crítico de la propuesta didáctica, así como la relevancia de dicha propuesta en concordancia con los objetivos, las competencias claves y los contenidos específicos estipulados por el Currículo Aragonés y la LOMCE. En relación al marco legislativo, el trabajo busca exponer la relevancia de las actividades propuestas en lo que respecta al trabajo cooperativo y la atención a la diversidad. PALABRAS CLAVE: Novela gráfica, Aprendizaje cooperativo, Aprendizaje del lenguaje por proyectos, Aprendizaje comunicativo 2 1. Introduction The purpose of this dissertation is to provide a lesson plan proposal that entails the use of the graphic novel MAUS A Survivor’s Tale (Spiegelman, 1996) to deal with the topic of the Holocaust and social segregation from a critical and a true-to-life perspective. The necessity to design this innovative lesson plan has arisen due to two main reasons: the lack of use of literature as a tool in order to teach English in secondary school, and the second one was pinpointed during my first placement period in the school Agustín Gericó. In this educational context, during my first practicum I had the chance to observe different types of English lessons and I was puzzled by the way in which they were handled in 4th -year ESO (Appendix 1). To start with, the lack of exposure to authentic material for students to learn English was quite noticeable; they followed the book in a very systematic way, focusing on its contents. Secondly, students were given little opportunity to interact in a real, fluent-like communicative context. Lastly, the methodology of the sessions was teacher-centred. Simply put, the lessons followed a very traditional methodology. In this vein, the unit plan has been designed to be implemented in a 4th -year ESO classroom of the school Agustín Gericó. The group, composed of 25 students, have demonstrated an overall good level of English. I had the possibility to assess that the students have a an intermediate level of English with respect of language forms, but many of them tend to act shyly when using English in conversation; owing to the little opportunity is usually given for speaking interaction during the English sessions. Therefore, the unit plan intends to boost speaking skills and active, spontaneous participation among students. Apart from that, the lesson plan intends to work cross curricular contents, such as the Holocaust and the Second World War, by giving a different perspective from the contents provided by the History Class. All in all, what I personally intend with this paper is, on the one hand, to make students reflect on the clout that graphic novels currently have to relate facts by combining imagery and language at the same time. On the other hand, I expect to create a learning atmosphere where the graphic novel is intended as a way to enrich students’ learning path while, at the same time, to foster critical understanding of human rights to counteract negative social attitudes that are applicable on a daily basis. 3 The first part of this paper will focus on the guiding theory variables. This section will provide the theoretical justification and the methodology that will sustain the lesson plan. First, I will explain the importance of Communicative Language Teaching, the Project-based Language Learning approach and Cooperative Learning, based on research as well as on the LOMCE and the Aragonese Curriculu. This will be further related to the importance of literature in EFL classroom, more precisely, to the graphic novel MAUS A Survivor’s Tale by Art Spiegelman (1996). The second part of this dissertation will focus on the implementation of the didactic proposal in relation to the legislative framework that defines this unit plan. The proposal intends to promote activities by means of which English is seen as a tool for communication in order to overcome mechanical and grammar-focused tasks, both individually and cooperatively. The proposed activities will promote interaction and the expression of personal opinions on the topics discussed by boosting language use in both written and oral discourse. By the same token, the suggested tasks will pursue the use of visual literacy as a powerful complement to language use. Unfortunately, due to the COVID-19 situation, the unit plan has not been implemented. That is why this paper will be a reflection on the expected results of the objectives to attain. 2. Purpose and Objectives The purpose of this dissertation is to examine the use of literature, concretely the use of the graphic novel, in order to create a unit plan based on this genre as the main learning pillar to boost learners’ self-reflection and teamwork. By so doing, it is intended that learners could deal with the topic of the Holocaust linked to human rights in a critical and a creative way. Among the subsidiary objectives this dissertation evinces, the unit plan will endeavour to provide another perspective of a historical fact such as the Holocaust. At the same time, it will seek to trigger students’ curiosity towards the graphic novel as an appealing learning tool. Owing to these facts, the main objective students need to fulfil in this proposal is to create a comic about a story that deals with social discrimination while involved in cooperative group dynamics. To do so, students will be exposed to different tasks and lesson stages that would lead them to the fulfilment of this final product such as the reading of MAUS, the completion of a story map portfolio on the graphic novel, 4 and different participative tasks that would encourage them to demonstrate their ability to reflect on the topics of the novel, both in written and oral tasks. This project will be evaluated considering the linguistic competence, connected to the development of teamwork skills and the use of creativity by means of different tasks and the use of ICTs. In other words, this unit plan intends to fulfil the key competences of Linguistic Communication, Digital Competence, Learning to Learn, Social and Civic Competences, Sense of Initiative and Entrepreneurship and Cultural Awareness and Expression stated by the LOMCE. In order to achieve this, this proposal seeks to provide different opportunities for students to reflect, interact and cooperate in a Project-based Language Learning environment that will deal with the topic of the Holocaust in connection to other segregation issues in the contemporary society such as identity, race, belonging, discrimination, among the most salient. In this regard, the learners’ autonomy and awareness of metacognition processes will be important variables in this unit plan, both individually and cooperatively. Thus, these aspects will be integrated in the assessment dynamics to a great extent. Among other significant objectives this learning unit pursues is to assess whether the understanding of the graphic novel itself, and the application of such understanding —through different discursive and written strategies— could allow students to express their opinion about topics of social concern. Therefore, during these sessions, the practice of the four skills will be fostered, putting special emphasis on reading comprehension and the written and oral production based on the genre of the graphic novel as the main model. 3. Justification and Theoretical Framework The Need to Foster the Communicative Approach and Project-Based Learning in the EFL Classroom As H. Douglas Brown suggests, before considering the techniques as well as the different theories it is crucial to know the situational context in which they could be developed, in his own words, “a principled approach to language teaching encourages the language teacher to engage carefully crafted process of diagnosis, treatment, and assessment” (2002). 5 Fortunately, in my case, I had the chance to observe the class to which I will address this learning unit during my first practicum period. As mentioned in the introduction, the classroom consists of 25 4th year ESO students that attend Agustín Gericó School in the neighbourhood of San José in Zaragoza. The average profile of these students is that of the low-middle class, and in recent years, there has been an increase in the number of students who belong to families of immigrants. The classroom shows a variety of learners coming from different cultural backgrounds, although the predominant profile is that of the students who appertain to local families. In the same line, the class shows an overall comity since the students seem show a congenial disposition to each other. This includes the few students who are immigrants, who are well integrated in the group. In terms of language level and learning competencies, an average number of students can be categorized in the “medium achiever” linguistic profile (Kagan Online Magazine, 1998). In addition, less of half of the class is composed by the so-called “high achievers,” who have an excellent competence level in the language, and also a few of them, “slow achievers,” who have failed the subject in the second semester. Similarly, it is important to highlight that the methodology used by the teacher, briefly stated, could be described as traditional and teacher-centred. The main aim seems to be learning the grammatical aspects of the language and students are meant to do most of the activities on their own. Bearing this traditional pedagogical methodology in mind, it is necessary to stress the currently promoted Communicative Teaching Approach stipulated in the current legislative framework and the values propounded by the Aragonese Curriculum: “Todos los elementos del currículo deben estar al servicio del objetivo último que debe alcanzar un estudiante: ser capaz de comunicarse en inglés en distintos contextos comunicativos y con distintos fines”1 (Aragonese Curriculum 26th May 2016). As stated in the aforementioned paragraph, the LOMCE puts forth the idea that teaching and learning interaction should be implemented within the framework propounded by the Communicative Approach —which in the last decades has gained reliability and strength. In tune with these teaching assumptions, I have devised a unit 1 [My translation] “All the elements in the curriculum must serve to promote the last objective the students have to fulfil: they need to be able to communicate in English in different communicative contexts and with different purposes” 6 plan within the Communicative Language Teaching approach through the graphic novel and exploited it through Project-Based Language learning. By taking advantage of students’ already-competent level of reading comprehension, I have focused on this skill as an opportunity for students to interact collaboratively and develop their spoken and written fluency on certain topics —as I will subsequently explain in the section of Methodology. In line with the national legal framework, the Aragonese curriculum complies with by explaining the main features of the communicative competence, which encompasses many different components, as it follows: “La competencia comunicativa engloba varios componentes: el lingüístico, el sociolingüístico y el pragmático; y cada uno de ellos comprende, en concreto, conocimientos, destrezas y habilidades”2 (Aragonese Curriculum 26th May 2016). As such, the communicative competence includes the mastery of discourse —cohesion and coherence— the acknowledgment of the different types or forms of textual representations (which are neither necessarily oral nor written), and the different pragmatic and literary meanings which underlie a message such as the metaphors, ulterior motives and such subsidiary variables. In this vein, many are the authors that state different features that would result in an effective achievement of the Communicative Competence according to Second Language Acquisition (SLA) theories. The CLT Approach Communicative Language Teaching has been regarded as one of the most effective contemporary approaches which contributes to the attainment of the communicative competence and that can similarly promote students’ motivation. In this aspect, Dörnyei himself defends in his article CLT in the 21st Century (2009) the component of the situational meaning, defined as “the conception underlying learning within CLT was confined to the widespread assumption that the learners’ communicative competence develops automatically through their active participation in meaningful communicative tasks” (34). Therefore, and contrary to assumptions of previous methodologies, CLT seeks a learner-centered pedagogy, within which the goal of the lessons is the communicative outcome which seeks to directly engage learners in communicative, reallife-like intercourse. 2 [My translation] “The communicative competence encompasses several components: the linguistic, the sociolinguistic and the pragmatic; and each of them include, concretely, knowledge, abilities and skills” 7 In the same line, authors like D. H. Brown state that the CLT approach is a paradigm composed by different methods and it still “probes the nature of social, cultural and pragmatic features of language.” Repeatedly, and against the teacher-centred and vertical teaching pedagogies, Brown points out that “we are trying to get our learners to develop linguistic fluency, and not just the accuracy that once consumed out predecessors” (2007: 46). In this regard, the aspects that CLT has been defending alongside this decade are closely related to the authenticity of materials and the communicative outcome as the main goal. Jack C. Richards notes that the implications of CLT in terms of methodology that fosters meaningful and real communication “provides a better opportunity for learning that through a grammar-based approach” (2006: 12). He continues by stating that CLT makes “real communication the focus of language learning” (12). These communicative situations are created due to the freedom the teacher grants learners for them to experiment with language and apply what they know in a spontaneous manner. Hence, these communicative situations allow teachers to apply the four macro skills together, as it occurs in real life. Other salient aspects of CLT are the priority given to fluency over accuracy by means of which learners’ communicative success is achieved through the different attempts to communicate and discover grammar rules by themselves; that is, through the implementation of trial and error, “the learner is building up his or her communicative competence” (Richards, 2006: 13). The Project-Based Language Learning Approach Now that the CLT approach has been defined, it is worth considering how to link these premises with the following assumptions: how do teachers create a space in which real communication happens in a real-life like manner? Is it possible to pursue significant adaptations in tune with learners’ competencies and language levels, without undermining their self-esteem and motivation towards the L2? Zoltan Dörnyei lists a range of different motivational strategies in his article Motivation and Motivating in the Foreign Language Classroom (1994) that can generate motivation in the EFL classroom. Thus, we can highlight the ones affecting the learning situation. This author states that learning specific motivational components should foster, to start with, a relevant syllabus based on “needs analysis and involving the students in the actual planning of the course programme” (276). Secondly, there must be an increase 14 scaffolding, by providing each step with different tasks that promote their learning progress until they achieve the ultimate goal: the understanding of the graphic novel, its components as well as its implications. Eventually, the students will produce their own comic story. By so doing, students will be encouraged to develop discover and explore strategies, which in PBLL are intricately connected to Flipped Classroom Learning, as students need to discover and investigate on their own. That is why individual reflection will be carried out by using the Flipped Classroom technique —students will be asked to work and reflect on MAUS by themselves to express their own opinions and understanding on the novel. This kind of technique allows students to create their own space for reflection and structure their ideas before coming to class. In this manner, the teacher will facilitate learning through templates that could help them demonstrate understanding of the graphic novel. Activities such as Story Maps will favour students’ reflection when reading the novel before the sessions and individual reflection will precede subsequent group discussion with their peers. By so doing, learners will practise writing and reading comprehension in an innovative manner. By the same token, the combination of individual work through the Flipped Classroom technique together with cooperative work intends to build a positive interdependence among peers. In Kagan’s words, “positive interdependence drives cooperation. If I know you are doing well and this helps me, I work with you, helping and encouraging you” (Kagan Online Magazine, 1999). By creating a learning atmosphere were every student compensates each other’s understanding gaps, scaffolding will be carried out in a horizontal way; that is between learners. That is why it is similarly important to settle an appropriate seating arrangement that would favour their team as well as their pair work. According to Kagan, “we come to understand, appreciate, and celebrate our individual differences. If there were but one way to be smart, each person would rank below some individuals and above others in intelligences” (Kagan Online Magazine, 1998). For this reason, the first step is to recognise there is not a universal way to address learners’ intelligence, and that the best option is to create a cooperative atmosphere where students with different learning profiles, high, medium and slow achievers, are cooperating with each other, compensating each other’s learning and understanding gaps, at the same time they acquire social skills, improve their social relations and feel better about themselves. To boost this 15 dynamic, the Jigsaw technique proposed by Kagan will be implemented (Appendix 4) and will be further justified in the second part of the paper. As far as assessment is concerned, formative and summative evaluation will be implemented through different thinking routines and activities via observation charts. These tasks will also help learners make their learning process visible and will provide them with different steps to reflect in order to achieve the final goal at the end of the unit; that is, a cooperative final task that consists of a comic as the main narrative to relate a story of the learners’ choice. 16 5. Unit Plan Proposal After introducing the literature on which this didactic unit is based, this second part of the dissertation aims at providing a critical analysis of the proposal. The main aim of this is to create a space for interaction and communication in English where students have the chance to express their opinions and ideas about literature using the format of the graphic novel, social issues and empathy by using their critical and creative skills. In order to do so, the graphic novel MAUS has been the tool chosen as the focal point to develop the different contents to deal with throughout the lessons, whereas PBLL together with cooperative learning have guided the whole learning process of the students. The fact that learners are meant to create a comic in cooperative groups gives them the chance to boost their team spirit, by creating a positive interdependence among them. As mentioned in the theoretical framework, Kagan’s cooperative seating arrangement, the so-called Jigsaw arrangement, deals with the different learning pace that each student is required. Simply put, these groups should be formed by one “High Achiever,” two “Medium Achievers” and one “Slow Achiever” (see Appendix 2). This does not mean that students will be working in groups all the time, but cooperative dynamics will hopefully promote learning and develop interactive skills. This seating arrangement facilitates pair work too, since students can work with their peer, the so-called “shoulder-partner.” In addition, students can also work individually if the tasks so require. For a positive interdependence to develop, and for students to provide mutual scaffolding, the unit plan has been designed to create instances for individual reflection. For example, one of the most relevant spaces for individual introspection in this unit plan is the one dedicated to the while-reading stage of MAUS, which will be further explained in the Lesson Sequence section. In this manner, this proposal seeks to address different learning rhythms and to imprint confidence in such a class, with heterogeneous levels, while fostering the acquisition of the communicative skills required by the Aragonese curriculum. By the same token, students will be led to reflect on different social issues such as discrimination, empathy, social action, and new literary representations like the comic. 17 5.1. Contribution to the Key Competences Having introduced the raison d’être of the lesson plan, it is necessary to demonstrate how it contributes to the fulfilment of the key competences stated in the LOMCE curriculum. Competence in linguistic communication (CLC). As stated in previous sections, in the English subject and precisely through this learning unit we intend to create the need for communication. In other words, the goal of this unit is not to use English as such, but by presenting the challenges, which are, on the one hand, to read MAUS and to create a comic in cooperative groups based on the reading comprehension task, on the other. Thus, the learning unit pursues the use of the communicative competence as the necessary as well as the unique way for students to achieve all the outcomes presented. As such, there are some instances where students are encouraged to be part of oral debates such as in Lesson 1, or in the last session once they all publish their comics. In the same line, the unit encourages the creation of atmospheres for authentic debates, within which students can communicate their thoughts about the novel or provide other cooperative teams feedback on their comics. Finally, and referring back to the fact that the communicative competence in this unit is closely related to the comprehension and the analysis of the graphic novel per se, it is worth noting the main communicative purpose for which this unit plan has been designed: to make students aware of the communicative strength of the combination of image and words via the WAGOLL model provided, MAUS. By reading and analysing this graphic novel, students are exposed to new forms of expression and can get acquainted with new topics related to, say, discrimination, in order for them to be able to apply examples of such topics and when creating their own comic. Digital competence (DC). This competence is developed through the different technological resources students will be using as a tool for creation, reflection and assessment. Different digital sources such as Google Drive, Mentimeter, YouTube or Pixton are expected to contribute to students’ insight on the appropriate, autonomous and responsible use of the ICTs. On the one hand, the ICTs will contribute positively in the while-reading stage, since students are meant to do these tasks from their homes via a Google Drive portfolio called Story-Map (see Appendix 4, Homework), which will allow them to have an online interaction with the teacher while they are reading MAUS. In 18 instances such as this one, the ICTs are a remarkably interesting option to foster online teacher-student interaction. Apart from this, other useful tools such as Mentimeter (see Appendix 4, Lesson 3) have contributed to alternative manners in which students can interact with one another inside the classroom. Precisely, in lesson 3 Mentimeter generates a class forum, where students can publish different statements simultaneously using their mobile phones. More importantly, the use of ICTs is greatly fostered during the creative stage of the comics (see Appendix 3, Lesson 6). This lesson provides students with the chance to make use of online dictionaries and editors to correct their language and to use comic design tools such as Pixton, or photo editors like Google Photos. Nevertheless, it is worth pointing out that the use of these design tools has been offered to learners as a possibility, and not as an obligation. One of the ideas defended at the creative stage —and that strongly fits with the idea of “responsible use of ICTs”— is that students should consider new technologies as the tools that could ensure them to achieve better results. That is why, the possibility to create the comics through their own photos, or even hand-made drawings will be equally welcomed. Learning to learn (LL). The structure of the didactic proposal will foster students’ acquisition of working habits and the ability to organise ideas. Here, we can highlight activities such as the Story Map (see Appendix 4, Homework), the Story Chart (see Appendix 4, Lesson 2) or the Comic Plot Outline (see Appendix 4, Lesson 5), all of which are designed for students to make their ideas visible and well-structured. By the same token, activities such as Keys to Think (see Appendix 4, Lesson 5) contribute to students’ decision making since they offer different questions to be answered, and guide them on the topic they want to write the comic about. As such, these kinds of activities provide consistent scaffolding and help them to unlock critical and creative thinking skills that all students have. Social and civic competences (SC). This unit plan creates a space for reflection about the past as well as the present situations on social discrimination. By reflecting on MAUS, learners will be exposed to topics such as family, belonging, race, identity, and social unity versus discrimination, among others. This is mostly done in lessons 3 and 4, during which students are meant to deepen and hypothesize about the different contemporary instances of social discrimination (see Appendix 3). In both sessions, there are tasks that encourage students’ extrapolation of ideas from MAUS and seek to reflect 19 on different assumptions about how abuse and discrimination is carried out nowadays. Therefore, the unit pursues to spark students’ awareness of the different multicultural backgrounds and the social reality in which they live. In this regard, it can be said that the unit plan, overall, especially through these lessons, encourages students think of contemporary social issues about the aforementioned themes, with the objective to boost students critical thinking and sense of social activism. Sense of initiative and entrepreneurship (SIE). This learning unit pursues the sense of initiative and entrepreneurship by fostering learners’ active participation in their own learning process. For example, the creation of the comic contains an important motivational component, which is the publication of it and the awards to be received (see Appendix 4, Lesson 2). In this way, the challenge engages students in an authentic project context, where they are responsible for choosing the topics for their comics, and the way in which they want to carry out the creative process. Apart from this, the unit plan has pursued the idea of engaging students in the learning process in a significant manner as it can be seen in Lesson 7 with the self and peer assessment questionnaire (see Appendix 4). Thus, learners are meant to reflect on their own as well as on their peers’ attitude alongside the unit, to provide different suggestions to improve the unit and to rank the comics in terms of language, originality, and design. Cultural awareness and expression (CAE). By means of the graphic novel, this unit plan intends to demonstrate the appreciation of literature in the form of the graphic novel, as an appealing way to get informed and inspired. In order to achieve this competence, teacher talk plays an important role; for example, by making students reflect on the cover or the epigraph in Lesson 1, or by explaining the way in which images and words are a powerful way to convey meaning in Lesson 5 (see Appendix 3). 5.2. Objectives and specific contents This unit plan pursues the attainment of two main skills: to understand the graphic novel and scrutinize it in terms of content and structure in order for them to be able to assimilate the input and portray it through their own comics —using similar themes and similar components based on the model provided. Therefore, the learning objectives and specific contents taken into consideration are, on the one hand, those related to the comprehension of the graphic novel and the demonstration of that understanding via written and oral 20 production; and, on the other hand, the ability of students to imitate the reading model and to create their own writing product. In this vein, the selection of both the contents and the objectives to be achieved follow a procedural syllabus criterion. As the name indicates, one of the aims of this unit is to assess the different procedures needed to be carried out throughout the different stages until the project fulfilment. Owing to this, the main learning objectives of this unit have been formulated by making an incise on two main macro skills: Comprehension of Written Texts [Block 3], and the Production of Written Texts [Block 4]. The Comprehension of Written Texts is carried out in the homework task through the Story Map, in Lesson 2 where students identify and decide on the ideas of the graphic novel cooperatively though a Story Chart and in Lesson 3 —students are meant to go deeper into the structure of the content of MAUS and demonstrate understanding on how images and words put together are able to convey meaning. Therefore, the main objective is that students are able to extract general and specific information from the graphic novel in terms of its characters, setting, topics and relevant events individually; and the ultimate demonstration of their knowledge will be assessed via the Story-Map. In this particular instance, contents revolve around skills and strategies related to reading comprehension in connection to the understanding of general and specific information in MAUS and the ability to interpret messages by detecting different sequences within the plot. This entails the identification of relevant topics and sub-topics and the distinction between what the plot is about and their personal view about the graphic novel. All these contents will, in turn, be repeated anew in Lesson 2, where students are required to fill in a Story Chart by putting ideas together in cooperative groups. In Lesson 3, however, comprehension of written texts is extrapolated in that students are not only required to understand general and specific information about MAUS; but also, at the end of the lesson, students will hopefully be able to interpret the message, and collect specific evidence of how images may convey language meaning via a Visible Thinking chart. In this session, the production of written texts is considered to be a sub-skill since it requires students to make use of comic terms and vocabulary of the Holocaust as well as comic structures to comment on different images of the comic (see Appendix 3, Lesson 3). 21 The macro-skill that corresponds to the production of written texts is mainly carried out in Lesson 4, Lesson 5 and Lesson 6. In Lesson 4, students begin to extrapolate the topics found in MAUS and apply them to different instances that affect contemporary society. Hence, students will begin to generate their own ideas inspired by the novel, create a short text on topical issues such as discrimination, racism, identity, and such like matters. On account of this, students will be asked to develop contents such as the description of diverse experiences or contexts regarding discrimination, by using the conditional tense (see Appendix 3, Lesson 4). Indeed, by doing this writing task, students will be encouraged to develop sociocultural skills, they are expected to develop critical thinking towards pre-established social patterns and stereotypes and to respect other ways of thinking. What is more, the session will rest on oral production as another sub-skill, as students are meant to be able to share their written ideas in a pair conversation. In Lessons 5 and 6, students are meant to be able to use their knowledge on the comic structure, first by planning the plot outline through the Comic Plot activity in Lesson 5, and afterwards, by producing the final comic in Lesson 6. In both lessons written production is the main skill to be developed. In Lesson 5, written production is more attuned to planning strategies —in which students could activate and coordinate communicative competencies with the aim of fulfilling the final comic efficiently through the Comic Plot activity or the Task Planner (see Appendix 3, Lesson 5). Finally, Lesson 6 addresses the so-called final project, through which students are meant to produce their own comic —by activating the different skills developed alongside the learning unit. In this regard, students will be bound to take advantage of the previous ideas discussed in class, they will make use of the Comic Plot Outline and the Task Planner, they will develop speaking interaction skills in order to exchange ideas and thoughts with their peers. Thus, they will be able to create their own text by adjusting to the WAGOLL model provided in the reading sessions; that is, MAUS. 5.3. Lesson Sequence As far as the lesson sequencing is concerned, and as stated in the section Methodology, the lesson plan has been designed in order to fulfil the seven steps of Project-Based Language Learning: activation, discovery, deepening, planning, creation, publishing and reflection. These seven steps are meant to be implemented to provide gradual authentic input. Thus, the lessons are meant to unfold in an environment that promotes selfconfidence in which key knowledge on the topic, understanding and success skills are 22 paramount for learners to complete their learning process. Allegedly, this input will be evidenced through the production of a final product since students are meant to create their own comic that includes the components of the graphic novel. For a more detailed explanation of each session, see Appendix 3. At the stage of activation, students will be exposed to different activities that will stimulate pre-existing schemata to introduce the reading challenge. As such, one can consider this stage as a pre-reading task. In this sense, the first lesson of the unit introduces different vocabulary items that students will be processing while reading MAUS —most of them connected with content learners already know. Hence, they will revise what they have already studied about Holocaust in the History class. This is an advantage for them because they will have the chance to revise those concepts in their L1 first, and hence, it will become easier for them to associate the terms in English. The reading challenge is presented through the cover and the epigraph of MAUS. By posing different questions on what they observe in the graphic novel cover and what their assumptions are in connection to its epigraph, their curiosity will likely to be sparked in relation to MAUS. For students’ reflection to be more effective, they will interact in pairs whereas the teacher will supervise the tasks and clarify doubts. The while-reading reading stage is necessary for students to structure the different ideas that can emerge when they begin to read individually. This reflection will be carried out using the Flipped Learning technique. First, students will reflect on MAUS on their own before they begin to share and negotiate their individual thoughts together with other points of view in the upcoming sessions. These ideas will be structured via an individual Story Map where students will be asked to structure different variables about each chapter. Although this task is designed to be done at home, learners will find themselves accompanied during the reading stage through the comments the teacher will leave online while they complete this online portfolio. This will allow a more personal way of providing feedback and it can be beneficial for them to reinforce their understanding of the novel. Similarly, by using the Flipped Classroom technique, learners will be given the chance to do their own individual research to generate their own ideas before they begin to work in cooperative groups. By the time students get to the next face-to-face session (Lesson 2), they will already have the chance to structure the chapters through the main themes, characters, settings and their opinion about the different chapters through their own Story Maps. In 23 this regard, the post-reading task becomes, in terms of PBLL approach, the stage of Discovery. At this juncture, students are meant to demonstrate understanding of MAUS by completing a Story Chart in their cooperative groups. That is why from this session onwards, students will be sitting in cooperative groups arranged via Kagan's Jigsaw technique (Appendix 1). In this session, students will be given cooperative roles with different responsibilities for the fulfilment of the Story Chart Task. The roles assigned will be the summarizer, the character connector, the strip selector and the speaker and time controller (Appendix 4, Lesson 2). The teacher will need to assign these roles to the low achievers since it is important to give them a role that they could be responsible for. Regardless of this, the use of roles in this kind of task helps learners to orient their responsibilities towards the effective fulfilment of the Story Chart. At the same time, it can boost learners’ self-esteem and their sense of initiative since they are active part of the dynamics carried out in the lesson. In this vein, the class becomes a relaxed context for students to interact, while the teacher will emerge as the facilitator of ideas to guide students through the learning. Apart from that, at the discovery stage, once students have gotten deeper into the graphic novel and shared their ideas within their teams, it is important to present the challenge that would sustain the interest in the upcoming sessions. Although the challenge is normally presented in the activation stage, in this case, it has not been implemented in this way to avoid confusion and unnecessary stress before learners get to read the graphic novel. It is important to introduce the reading challenge once students are confident with what they have read. The hurdle will show them the reason why they needed to read and understand the novel. In this manner, the deepening stage —carried out in Lesson 3 and 4— will be directed to create a space for an in-depth analysis of some variables in MAUS. At the same time, the students might begin to extrapolate ideas and themes from the novel that can be applicable to every-day life and can later portray in their own comics. During this stage, the teacher talk is especially important, as she will provide key explanations on how the structure of images in combination with language are able to convey meaning. Similarly, it is important for students’ interaction and class debate. All in all, the deepening stage gives students the chance to enlighten their thinking and get inspired by the themes depicted in MAUS through communication and collective thinking —through which they can generate new ideas and hypothesize about them. 30 Works cited DÖRNYEI, Z. 1994. “Motivation and Motivating in the Foreign Language Classroom”. The Modern Language Journal 78.3: 273-284. DÖRNYEI, Z. 2009. “Communicative language teaching in the 21st century: The ‘Principled communicative approach’ in Perspectives, 36(2), 33-43. Cambridge: Cambridge University Press. BROWN, H. D. 2002. “English Language Teaching in the “Post-Method” Era: Toward Better Diagnosis, Treatment, and Assessment”. In Richards & Denandya. Methodology in Language Teaching. Cambridge: Cambridge University Press. BROWN, D. H. 2007. “The Postmethod Era: Towards Informed Approaches”, in Teaching by Principles: An Interactive Approach to Language Pedagogy. New York: Pearson Longman, 40-61. Currículo LOMCE para Aragón: Orden ECD/2016 de 26 de mayo. KAGAN, S. (1999). “Positive Interdependence”. Kagan Online Magazine. Retrieved May 2, 2020, from https://www.kaganonline.com/free_articles/dr_spencer_kagan/286/PositiveInterdependence KAGAN, S. (1998) “Cooperative Learning and Multiple Intelligences. What Are the Connections?”. Kagan Online Magazine. Retrieved May 8, 2020, from https://www.kaganonline.com/free_articles/dr_spencer_kagan/260/CooperativeLearning-and-Multiple-Intelligences-What-are-the-Connections? FAROUC, I. (2016). “A Project-Based Language Learning Model for Improving the Willingness to Communicate of EFL Students”. In SYSTEMICS, CYBERNETICS AND INFORMATICS. Vol. 14, No. 2. Japan: Otaru University of Commerce. LAZAR, G. (1993). Literature and language teaching: a guide for teachers and trainers. Cambridge: Cambridge University Press. MCCLOUD, S. (1994). Understanding Comics: The invisible Art. New York. HarperCollins Publishers. ORTELLS, E. (2013) Teaching English as a foreign language in Spanish secondary schools: The value of literature. English Teaching: Practice and Critique,12 (1), 91-10. PELLICER-ORTÍN, S. and ROMO-MAYOR, P. 2020. Using Literature in the EFL Classroom: Guide for Secondary Education Teachers. Zaragoza: Prensas de la Universidad de Zaragoza. RICHARDS. J.C. 2006. Communicative Language Teaching Today. Cambridge: Cambridge University Press. SPIEGELMAN, A. (1996). The Complete MAUS: A Survivor’s Tale My Father’s Bleed Story and Here My Troubles Began. New York: Pantheon Books. 31 Appendices All the Appendices except for the Rubric of The Comic Evaluation, are pieces of own authorship. The Rubric of the Final Comic Evaluation has been an adaptation of the Cambridge Rubrics for Writing Assessment taken from https://www.cambridgeenglish.org/images/231794-cambridge-english-assessingwriting-performance-at-level-b1.pdf. Appendix 1. The necessity detected: works from other subjects. 1. Practicum 1 Porfolio: Memoria del prácticum I: Link to the PDF document: https://drive.google.com/file/d/1a4qTpEuXuiWpCkXLhYCKhnNsnYZAMiu1/view?usp=sharing This portfolio provides, in the shape of a diary, a brief description of the different situations I had the chance to observe alongside my first placement period at the Agustín Gerico. Among those descriptions, we can find the reflection about the day I had the chance to observe the 4th year ESO classroom. 2. PBLL Unit Plan Canva: Teaching Writing Through PBLL Link to the PDF document: https://drive.google.com/file/d/1rRjMtLq-x7V46ZDKTGkJynLKNOKXSnjU/view?usp=sharing This work explains the different steps carried out for the fulfilment of a unit plan based on the principles of Project-Based Language Learning. This work has been taken as a reference to design this Unit Plan, by taking its values, ideas to create the learning materials. Also, a similar lesson sequence has been followed. 32 Appendix 2. Specific Evaluation Criteria The criteria below follow the Curriculum specifications to set objectives of the unit plan and evaluate the students. At the end of this unit, students will be able to: OBJECTIVE CRITERIA COMPETENCES STANDARD • Organize information about the plot of the graphic novel MAUS guided by the Story Map portfolio, as a strategy to understand its plot in terms of characters, the settings and the relevant events in each of the chapters. Crit.IN.3.1 CLC-DC-LL-SC-CAE Est.IN.3.1.1. • Read the graphic novel MAUS autonomously, demonstrating its comprehension In the Story Map portfolio. Crit.IN.3.1 CLC-DC-LL-SC-CAE Est.IN.3.1.2. • Describe the abstract and the concrete features of the plot, the characters and specific strips in MAUS, guided by the Story Chart, by briefly justifying their opinion, describe their impressions and feelings and by pointing at aspects they consider relevant. Crit.IN.4.1. CLC-LL-SC-SIECAE Est.IN.4.1.2. • Interpret information of specific comic vignettes taken from the graphic novel MAUS, by completing a Visible Thinking Chart as a tool to classify the visual information, the overall interpretation of each vignette and its possible implications. Crit.IN.3.1. CLC-LL-SC-SIE-CAE Est.IN.3.1.1. • Write a simple, short paragraph by means of the appropriate use of the second conditional to express their opinion about social segregation matters. Crit.IN.4.1. CLC-LL-SC-SIE-CAE Est.IN.4.1.1 • Produce oral texts with an adequate register and correct language structures in order to make questions and provide constructive feedback to other classmates. Crit.IN.2.1. CLC-LL-SC-SIE-CAE Est.IN.2.1.2. • Write and design from 5 to 7 comic strips about stories on social segregation, by using writing process planning guided by the Comic Plot Outline, and by utilizing the features of the graphic novel analyzed previously in class. Crit. IN. 4.2. CLC-DC-LL-SC-SIECAE Est.IN.4.2.1 33 Appendix 3. Lesson Sequence LESSON 1: A Practical Guide to Understand the Holocaust Learning Objectives At the end of the lesson, students should... • Classify vocabulary on the Holocaust with their corresponding definition. • Recognize vocabulary concepts worked in the History Class on the topic of WWII in the English Language. • Use vocabulary on the Holocaust to portray their thoughts about the cover of the graphic novel MAUS. Success Criteria At the end of the lesson, students can... • Use Talking Donuts to produce different impressions about the cover and the epigraph of MAUS, by using specific structures for opinion and vocabulary about the Holocaust. Skills Students can... • Identify definitions about the Holocaust terms in a YouTube video. / Exchange information with the teacher and their classmates. [Listening] • Associate definitions about Holocaust terms. [Reading] • Talk about the first impression of MAUS concerning the cover and the epigraph. [Speaking] Curricular Contents Skills and strategies for oral comprehension: • Understanding of general and specific information transmitted via communicative sources (Youtube). Use of comprehension strategies: • Activation of previous knowledge about the Holocaust. Skills and strategies for oral production: Syntax and discourse structures: • Vocabulary: the Holocaust. • Discourse structures: structures to express opinion (I see, I think, I wonder, I believe, I think). • Verb tenses: present simple, present continuous, future tense. Cross-curricular Content [Bloque 5] – Historia y Geografía “La época de “Entreguerras” (1919-1945) - El nazismo alemán. Lesson objectives Activity description Time Interaction pattern Key Competences 1.To activate the topic through vocabulary terms. - The teacher will show a range of flashcards that depict terminology related to the Holocaust (Appendix 4, Lesson 1). - The teacher plays the video about the Holocaust. Students reflect on the video and relate the terminology shown in the flashcards. 25’ In pairs CCL-CMCT-CD-CAA-CSC-CCEC 34 - Students will be given the different definitions about the concepts shown in the screen (Appendix 4, Lesson 1). * TEACHER TALK: “Now that you’ve watched the video, I give to each pair a definition. Each of the definitions corresponds to one of the images I showed you at the beginning. So, if you think your definition matches the image that appears in the projector then you have to stand up”. 2.To classify the first ideas on MAUS A Survivor’s Tale - The teacher shows the cover of the graphic novel MAUS and makes questions about its content to activate students’ previous knowledge. * TEACHER TALK: “Now that we know a bit more about this in English... What is the symbol that appears in the cover?” “What animals appear in the cover?” “Why does the illustrator has thought of cat and mouse/mice?” “What is the symbol that appears with the cat, right behind the two mice?”;”What does it represent?” - The teacher may spark the debate by showing Hitler’s statement in the graphic novel. (Appendix 4, Lesson 1) * TEACHER TALK: “Who was Hitler?” “What do you think Hitler would be in the story, a cat or a mouse? Why?” - Talking Donuts (Appendix 4, Lesson 1) will be used to encourage students brainstorm about the ideas they have about the graphic novel at first glance. 20’ Teacher-Students in pairs Students in pairsTeacher 3.To present the reading challenge - TEACHER TALK: “You will be reading MAUS during the Easter Holidays. I will provide you with a template via email that you will need to 10’ Teacher-student 35 fill in whenever you finish a chapter; I will keep a track of it and add comments meanwhile”. - The teacher shows the story map (Appendix 4, Homework) template and answers students doubts in the L1. Materials and resources • Images & Concepts Flashcards (Appendix 4, Lesson 1) • Youtube video: https://www.youtube.com/watch?v=EoyUSYymLxo • Cover & Epigraph of MAUS A Survivor’s Tale (Appendix 4, Lesson 1) • Talking Donuts (Appendix 4, Lesson 1) Homework • Reading on MAUS A Survivor’s Tale; fill in the Story Map. (Appendix 4, Homework) Scaffolding/attention to diversity • Pair activities promote horizontal scaffolding. • Teacher talk may spark students’ interest towards the topics, by making questions that would push their critical thinking. • Talking Donuts promote interaction and intends to motivate students, as the purpose is to spend as many talking donuts as possible by scoring points at the end of the activity (it benefits both their intrinsic as well as their intrinsic motivation). • It gives students opinion chunks that allow them to follow a semi-fluent debate, the more complicated the sentence they choose to produce, the more points they get when they speak. • Similarly, they practice spoken communication, vocabulary of the Holocaust, and activate their thinking before they begin to read MAUS. 36 HOMEWORK: While-Reading MAUS Learning Objectives At the end of the reading, students should... • List the different characters in each chapter of MAUS. • List the different places where that appear in each chapter of MAUS. • Explain the plot & themes in MAUS through short sentences in present tenses. • Apply vocabulary related to the Holocaust and the graphic novel (bubbles, panels) to express opinion or explanations. • Critique the chapters in MAUS through short sentences by using “I like it because” / “I don’t like it because”. Success Criteria At the end of the reading, students can • Complete a Story Map about the graphic novel. Skills Students can... • Analyse the plot of MAUS. [Reading] • Fill in the Story Map on by providing information about the different characters, places, important events and their own opinions about each chapter in MAUS. [Writing] Curricular Contents Skills and strategies for reading comprehension: • Understanding of general and specific information in authentic texts: MAUS A Survivor’s Tale. • Message interpretation: different sequences within the plot, the main topic and the subtopics, the distincition between the plot and their personal opinion. Use of comprehension strategies: • Prediction of meaning through lingüistic and non-lingüistic elements: Imagery as a complement to lingüistic information in comics. Cross-curricular Contents [Bloque 5] – Historia y Geografía “La época de “Entreguerras” (1919-1945) - El nazismo alemán. Lesson objectives Activity description Time Interaction pattern Evaluation Criteria & Key Competences 1.To fill-in a Story Map Students read at their homes and fill-in an online portfolio (Story-Map, Appendix 4, Homework) The teacher provides them comments and feedback to clarify their doubts about the novel. Flipped Classroom Individually Teacher-Student (online comments) CCL-CMCT-CD-CAA-CSC-CIEE-CCEC 37 Materials and resources • Graphic novel MAUS A Survivor’s Tale • Story-Map portfolio (OneDrive) (Appendix 4, Homework) Scaffolding/attention to diversity - Each of the sections that students need to reflect about (characters/setting/important events/opinion) have an example as a reference for them to know what they need to write in each part. - The fact that they can access this material through OneDrive allows the teacher to keep track of each students’ reading process, and the teacher can add feedback on their story maps. Plus, students can have access the document at any moment even through their mobile phones. 38 LESSON 2: Why MAUS? Discovering the comic Learning Objectives At the end of the lesson, students should... • Demonstrate understanding on the plot of MAUS both orally and written. • Discuss about the different aspects regarding the plot of MAUS both orally and written. Success Criteria At the end of the lesson, students can • Create a story-chart about the graphic novel. Skills Students can... • Exchange information with the teacher and the classmates. [listening] • Fill in the story-chart following the instructions. [reading] • Fill in the story-chart on the summary of the graphic novel, the explanation of the characters and the explanation of an important passage that they choose. [writing] • Exchange information with the teacher and the classmates. [speaking] Curricular Contents Skills and strategies for oral production: • Spontaneous participation in classroom communicative situations, by answering questions regarding the activities done in class. • To reflect and to apply strategies of auto-correction and auto-assessment in order to improve the oral expression; acknowledge the error as a part of the learning process. • Ask for help, clarification, communicate cooperatively. Skills and strategies for written production: Syntactic and discursive structures: • Vocabulary: adjectives (generous, hard-working, honest, kind, mean, nice, nervous, polite, quiet, rude, selfish, serious, smart, stupid, breathtaking, moving, interesting, etc). • Time (when, as, while, until, after, before, since, as soon as) • Place (where, wherever; e.g. You can go wherever you like.) • Reason or cause (because, as, since) • Verbs: Tense review: present simple/present continuous; past simple/past continuous; will, be going to; present simple and continuous with future meaning; used to; present perfect simple; past perfect simple. 39 Lesson objectives Activity description Time Interaction pattern Key Competences 1.To create cooperative groups (Groups of 4 students) - Grouping will be done according to the Jigsaw technique (Appendix 1) The teacher will provide flashcards with roles for students: summarizer, character connector, strip selector, speaker and time controller (Appendix 4, Lesson 2). - Students divide the roles among the members and negotiate a name on their group. 10’ Student-Student Coop. Groups CCL-CMCT-CD-CAA-CSC-CIEE-CCEC 2.To fill-in a mind-map on the graphic novel in cooperative groups - The teacher will provide students with a StoryChart (Appendix 4, Lesson 2) they need to fill in during the activity: * TEACHER TALK “Each group has a mind map that you’ll need to fill in, each person in the group is in charge of something. Each person in the group must participate, so: when the summarizer is doing his/her part, the person on his/her left needs to write down what she/he is saying. To ensure everybody wrote something down, you’ll be using different colour pens; each person has 5-7 minutes to finish his/her part! So, speaker & time keeper, you have to control that properly, when the clock has state it has been around 20 minutes, I will ask the speakers in each group about what you have put”. - After the activity, speakers in each group share their groups’ ideas with the whole class. -The teacher collects the story maps. 30’ Student-student Round Table technique 4.To present the challenge: advertisement on comic exposition and contest - The teacher shows students an advertisement of a comic exposition (Appendix 4, Lesson 2): *TEACHER TALK: “At the end of this unit there will be a comic exposition, where each group will need to create their own story; there 10’ Teacher-Student Student-Teacher 46 • Keys to Think (Appendix 4, Lesson 4) Homework None Scaffolding/attention to diversity • In the writing task, the introductory sentence written in the whiteboard will determinate the grammar form. This will provide a deductive technique of grammatical explanation; students will accidentally use the form via the sentences provided by the teacher and this will make them use the grammatical form while they reflect on the question itself. • In the oral activity, students will be given a Cheat Sheet for them to follow some chunks for a semi-fluent conversation. This activity will be done in pairs. Kagan’s round robin technique will be used for every student of the team to participate in the conversation. Although a bit forced, this will foster students’ interaction as if in real life. 47 LESSON 5: Time to get down to business: getting ready to create the comics. Learning Objectives At the end of the lesson, students should... • Sketch the main ideas for their comic. • Schedule the responsibilities within their cooperative team through a project planner. • Demonstrate knowledge with ICT tools such as GoogleDocs, Google Drive, Internet browsers, Pixton, Paint and Google Photos. Success Criteria At the end of the lesson, students can • Fill in a Comic Plot Outline. • Fill in a Project Planner. • Demonstrate overall knowledge with the ICT tools used to create the project. Skills Students can... • Exchange information with the teacher and the classmates. [Listening & Speaking] • Understand the information provided in the tasks as well as in the ICT tools provided. [Reading] • Write the draft about their project and fill in a project organizer. [Writing] Contents Skills and strategies for written production • Creation of creative short texts on topical issues (different examples of social discrimination). • Planification: to activate and coordinate the general and communicative competencies with the aim of fulfilling the task efficiently (review what they know about the topic, brainstorming, organizing paragraphs, planning the tasks, etc). Performance: • To take advantage of previous knowledge worked in class. • To write texts via models and guided activities. • Interest to look after the presentation and appearance of the written text. • To reflect and to apply strategies of auto-correction and auto-assessment in order to improve the oral expression; acknowledge the error as a part of the learning process. Sociocultural and sociolinguistic aspects: • To value cultures, attitudes and beliefs; to develop critical attitude towards pre-establishments and stereotypes; to respect other ways of thinking. Syntactic and discursive structures: Verbs: • Tense review: present simple/present continuous; past simple/past continuous; will, be going to; present simple and continuous with future meaning; used to; present perfect simple; past perfect simple • Aspect: progressive (was writing), perfective (have written) 48 • Modality: Ability (can, be able to, could); possibility (could, may, might); prediction (will), positive deduction (must); negative deduction (can’t); obligation (must, have to); no obligation/no necessity (needn’t, don’t need to, don’t have to); prohibition (mustn’t, can’t); advice (should); permission/request (can, could, may) • Voice: Passive (present, past and future); passive questions • Verbs + preposition (e.g. fall in love with, dream about, think of, get married to) • Time relations: Time when (at, on, in); duration (from … to, for, since); prep. + noun (e.g. at/after/until/before midnight) • Support, opposition (for, against) Vocabulary: • Vocabulary of common use; use of vocabulary worked in previous lectures. Use of specific signs and conventions: • Use of digital editors and dictionaries to solve ortho-typographic doubts. Lesson objectives Activity description Time Interaction pattern Key Competences 1.To create a draft of the plot. The teacher hands in the Comic Plot Outline (Appendix 4, Lesson 5) for the draft. Cooperative groups will fill this in using the Round Table technique used in other sessions: each member of the group will be in charge of writing down the whole groups’ ideas in each of the sections; whereas the fourth member (the speaker, chosen by the group and not necessarily the same one as in previous sessions) tracks the time and speaks to the teacher with the main ideas when she approaches. TEACHER TALK: “Remember for example that in MAUS the author makes use of animals to represent humans. You can do the same by using different animals or objects”. “As in MAUS, you can use different pictures to show different things, such as black and white filters, or more colourful filters to depict happiness”. The teacher walks around the cooperative groups and helps students and clarifies doubts/she provides in situ feedback and allows students keep the template as a model to follow when they begin creating the plot. 20’ Student-Student Round Table technique Teacher-student Student-teacher CCL-CMCT-CD-CAA-CSC-CIEE-CCEC 49 2.To organize the resposibilities in each cooperative group. Students will be given a Project Organizer (Appendix 14). Students are required to list the different sorts of responsibilities in order to fulfil the comic and to name each member of the group in one of the tasks. The teacher walks around and supervises the groups. She collects the Project Organizer to review who will oversee what. 10’ 2.To start creating the comic Each student will start developing their tasks according to the planner they handed in. Students will make use of the ICTs in order to develop the different responsibilities to fulfil the project. 20’ Materials and resources • Comic Plot Outline (Appendix 4, Lesson 5) • Project Organizer (Appendix 4, Lesson 5) • Online sources: Google Drive, Browsers, Pixton, Paint, Google Photos, Online Dictionaries (Cambridge/Wordreference/Linguee). Homework None Scaffolding/attention to diversity • Teacher talk will spark students’ inspiration, by providing ideas related to MAUS. • In order to guide students with the different responsibilities to be carried out for the project, the teacher provides a list of different things that need to be done (write the script, choose images and so on). After, students will have the choice to pick how they are going to carry out each responsibility and which member will oversee each of the tasks. LESSON 6: Teamwork creation Learning Objectives At the end of the lesson, students should... • Formulate different sentences to be included in a conversation bubble. • Investigate about the topic of the story they want to write about. • Design a story sequence by means of comic strips. • Create different comic strips that contribute to the meaning of their story. Success Criteria At the end of the lesson, students can • Design a comic about a story on social minorities in danger of discrimination. 50 Skills Students can… • Exchange information with the teacher and the classmates. [Listening & Speaking] • Read instructions and information via different online sources. [Reading] • Create different written content for their own comics. [Writing] Contents Skills and strategies for written production • Creation of creative short texts on topical issues (different sentences of a conversation). • Planification: to activate and coordinate the general and communicative competencies with the aim of fulfilling the task efficiently (review what they know about the topic, brainstorming, organizing paragraphs, planning the tasks, revise the draft, etc). Performance: • To take advantage of previous knowledge worked in class. • To write texts with clarity, adjusting to the model (the graphic novel). • Interest to look after the presentation and appearance of the written text. • To reflect and to apply strategies of auto-correction and auto-assessment in order to improve the oral expression; acknowledge the error as a part of the learning process. Sociocultural and sociolinguistic aspects: • To value cultures, attitudes and beliefs; to develop critical attitude towards pre-establishments and stereotypes; to respect other ways of thinking. Syntactic and discursive structures: Verbs: • Tense review: present simple/present continuous; past simple/past continuous; will, be going to; present simple and continuous with future meaning; used to; present perfect simple; past perfect simple • Aspect: progressive (was writing), perfective (have written) • Modality: Ability (can, be able to, could); possibility (could, may, might); prediction (will), positive deduction (must); negative deduction (can’t); obligation (must, have to); no obligation/no necessity (needn’t, don’t need to, don’t have to); prohibition (mustn’t, can’t); advice (should); permission/request (can, could, may) • Voice: Passive (present, past and future); passive questions • Verbs + preposition (e.g. fall in love with, dream about, think of, get married to) • Time relations: Time when (at, on, in); duration (from … to, for, since); prep. + noun (e.g. at/after/until/before midnight) • Support, opposition (for, against) Vocabulary: • Vocabulary of common use; use of vocabulary worked in previous lectures. Use of punctual signs and conventions: • Use of digital editors and dictionaries to solve ortho-typographic doubts. 51 Lesson objectives Activity description Time Interaction pattern Key Competences To create the comic. - A whole session will be addressed for students to enjoy the creative process. - The role of the teacher will be to supervise students’ work and to help them whenever they need so. Here students will be considered as the ‘professionals’ who do their job whereas the teachers’ role will be that of the facilitator of knowledge. *TEACHER TALK: “Today you will have the whole session to create your projects. Remember who is in charge of doing what and use your computers to do your task within the team. Remember that everyone is responsible of something, but you can help each other in case you are free or have some cool idea that can positively contribute to the comic, I will be here walking around and supervising your progress. At the end of the lesson you will have to send me the comic finished and we will print it for tomorrow’s exposition”. 50’ Student-Student Student-Teacher CCL-CMCT-CD-CAA-CSC-CIEE-CCEC Materials and resources • Online sources: Google Drive, Browsers, Pixton (Appendix 4, Lesson 6), Paint, Google Photos, Online Dictionaries (Cambridge/Wordreference/Linguee). • Comic draft: comic plot outline from the previous lesson. Homework None Scaffolding/attention to diversity By providing a whole session for students to be “free” to create will make them feel autonomous and the only responsible for their project. The teacher here plays an important role as she will be guiding them in case of doubts or need for ideas. Interaction would be free, it is usual that students may use the L1, especially when the teacher puts herself aside. However, the teacher will use silent or reactive feedback in case she needs to correct students’ language mistakes or needs to make emphasis on the use of English. 52 LESSON 7: Publishing our comics, exposition, and awards Learning Objectives At the end of the lesson, students should... • Evaluate their job within their cooperative teams. • Evaluate their peers’ job within their cooperative teams. • Formulate questions to other teams regarding their comics. • Critique others’ comics in a positive way. Success Criteria At the end of the lesson, students can • Present their comics in front of the class. • Use talking chips to make questions/give opinion about other teams’ comics. • Complete the Google Forms questionnaire. Skills Students can... • Present their comics in front of the class and answer to different questions formulated by their classmates. [Listening & Speaking] • Complete the Google Forms questionnaire. [Reading & Writing] Contents Skills and strategies for oral production: • Description and opinion about experiences and diverse contents: social discrimination. • Spontaneous participation in communicative situations within the classroom: use of conventional language forms (make questions, ask for clarifications). Performance • To draw upon previous knowledge: extract ideas taken from previous tasks and the graphic novel. • To reflect and to apply strategies of auto-correction and auto-assessment in order to improve the oral expression; acknowledge the error as a part of the learning process. • To compensate linguistic lacks through linguistic processes such as chunks or talking chips for a semi-fluent communication. Lesson name: Publishing & Reflection: Presenting the Exposition and Reflecting on the project Lesson objectives Activity description Time Interaction pattern Key Competences 1.To present the comics. The speaker chosen for each team will present the comic briefly. 15’ Student-Student CCL-CMCT-CD-CAA-CSC-CIEE-CCEC 2.To expose their works. Each team presents their comics that will be put all throughout the classroom, whereas the rest of the class would have the chance to make questions regarding the comics. There will be talking chips for extra participation. 25’ Student-Student 53 3. To reflect on the project. The teacher will make a brief comment on their work alongside the sessions and provide them with the link to do the Google Forms (Appendix 4, Lesson 7) This questionnaire will contain different questions regarding students’ opinion about the project, the topic and their role within their teams. Also, they will be asked to choose two of the comics done by other teams for the awards. After, the teacher will proclaim the awards/diplomas for the better short films. 10’ Teacher-Student Materials and resources • Students’ printed comics • Talking chips (Appendix 4, Lesson 7) • Google Forms questionnaire (Appendix 4, Lesson 7) https://docs.google.com/forms/d/e/1FAIpQLScjRzcItYEXZMOmJI8D0vtYQXLLvwmmPyG86SUWaUUzZWJ37A/viewform Homework None Scaffolding/attention to diversity • Talking chips is advisable to foster students’ spoken interaction and participation. • The ranking will not affect their marks. There will be different ways to rank each of the groups (such as aesthetics, the language used, originality...) every student will have to choose 2 films to promote diversity and that at least, every short is chosen by some student (this increases the chances). This could show them that there are many criteria for assessment. And that language competence is not the only criterion for success. • The evaluation will allow the students to reflect on their works and attitudes alongside the learning unit. In this way, this would be a good starting point for the teacher to be aware of the features students liked or disliked for further improvements in following learning projects. What is more, this way students will see themselves involved in the assessment at the same time they reflect on their peers and their own work during the process of the project. Also, this questionnaire will serve for the teacher to see if there are things to improve for future projects. 54 Appendix 4. Materials SEATING ARRANGEMENT: Jigsaw technique (Kagan) BLACKBOARD AND PROJECTOR AREA TEACHER’S DESK Group 1 High achiever Medium achiever Medium achiever Slow achiever Group 2 High achiever Medium achiever Medium achiever Slow achiever Group 3 High achiever Medium achiever Medium achiever Slow achiever Group 4 High Achiever Medium Achiever Medium achiever Slow Achiever Group 5 High achiever Medium achiever Medium achiever Slow achiever Group 6 Slow achiever High achiever Medium achiever Medium achiever Slow achiever 55 LESSON 1: Flashcards & Definitions on the Holocaust *Definitions are meant to be cut and randomly distributed among the shoulder partners in class. THE JEWS Members of the people and cultural community whose traditional religion is Judaism and who originated from the Hebrew people of Israel. These were the most affected victims in the World War II; a total of 6 million Jews were killed during the war. ANTISEMITISM Prejudice towards, or discrimination against, Jews. Antisemitism was not new to Nazi Germany or Europe; feelings of hatred and distrust of Jews had existed there for centuries. However, it was just before the World War II where the massive hate towards the Jews began, through fake news and propaganda about them. 62 DEHUMANIZATION The intention to change how a person or group of people are seen in the society. Dehumanization humiliates that person or that group to objects or animals in a negative way, making society believe they are no longer human and worthy of human rights or dignity. This was done by identifying people by numbers in place of their names, or as animals like “pigs” or “rats”. 63 DISCRIMINATION An action that stems from prejudicial thinking that denies justice and fair treatment in employment, education, housing, or legal and civil rights. 64 LESSON 1: Talking Donuts for the pre-reading debate Cut the donuts and use them to speak in class! The more donuts you spend, the more points you will score at the end of the activity. MY OPINION IS... 1 point I THINK THAT... 1 point MY OPINION IS …..... BECAUSE....... 2 points I THINK THAT.... MY REASON IS.... 2 points I BELIEVE... 1 point IN MY VIEW... 1 point I THINK …... DO YOU AGREE? 2 points I DON’T AGREE WITH THAT... I BELIEVE THAT... 2 points 65 HOMEWORK: Story-Map Power Point Portfolio Link to the whole PWP: https://unizares-my.sharepoint.com/:b:/g/personal/803790_unizar_es/EUYCjqf5PXJLs4UFqOKnIlYBbowsB59HHgqLFo201LIMnA?e=cMZEci 66 LESSON 2: Cooperative Roles Flashcards 67 LESSON 2: Story Chart Fill-in the following story-chart in cooperative teams. Remember: you have to write the thoughts of your classmate who sits on your left, in the section that corresponds to your role. Speaker & Time-Keeper: Please! Make sure of the timing! Each member has 5 minutes to write his/her part! Title: Author: Summary: MAUS tells the story of __________________________ who lived in ___________________. Vladek tells Artie about his life in _____________________________ where he experienced ___________________________________. (Write three more sentences of your choice to summarize the novel). ____________________________________________________________________________________________________ ____________________________________________________________________________________________________ ____________________________________________________________________________________________________ ____________________________________________________________________________________________________ _____ Characters: write a sentence describing the main characters of the story. You can describe the characters with many adjectives like: brave, simple, evil, clever, coward, friendly, funny, generous, hard-working, honest, kind, mean, nice, nervous, polite, quiet, rude, selfish, serious, smart, stupid, unlucky, wise. For example: 1.Vladek is a brave character because... Strip selection: the group chooses a part in the comic and the strip selector writes down the ideas on the page. • Pages: The strips we choose are in pages _________________ • What happens in the strips? Briefly describe what is happening. There is/there are... ________________________________________________________________________________. We can see in the strips that... ______________________________________________________________________________________________ __________________________________________________________________. 68 The characters are doing/talking/chatting/playing/fighting,etc. ___________________ because they _______________________________________________________. (Add one more sentence of your choice to describe the strips) ________________________________________________________________________________ ________________________________________________________________________________ Why do you think these strips are important in the novel? We think the strips show/express... ________________________________________________________________________________. In our opinion these strips are interesting/breathtaking/moving/sad/dark/tough because... ________________________________________________________________________________. 69 LESSON 2: Comic Exposition Advertisement (Presentation of the Challenge) 70 LESSON 3: Vignettes from MAUS PICTURE 1 PICTURE 2 PICTURE 3 PICTURE 4 PICTURE 5: 71 LESSON 3: Collective Visible Thinking Chart Use pens with different colours. Each member must comment 1 picture. I SEE 👀... Describe the picture I THINK 💬 ... What do you think is going on? I WONDER 💭... What does it make you wonder? 1. 2. 3. 4. 5. 78 79 LESSON 7: Talking Chips for debate CLARIFY WHAT YOU MEAN BY... CAN YOU PLEASE EXPLAIN … I REALLY LIKED HOW... I HAVE A QUESTION REGARDING … LESSON 7: Google Forms Link to the questionnaire: https://forms.gle/K73JjGKu2mr3qRe46 80 81 82 Appendix 5. Evaluation Rubrics RUBRIC 1. STORY MAP Story-map evaluation rubric (30%) 4 – excellent, 3 – satisfactory, 2 – below average, 1 – unsatisfactory. Aspects Grade Comments 1. Characters: Demonstrates knowledge about the characters that appear in the graphic novel. 2. Settings: Demonstrates knowledge about the different settings that appear in the graphic novel. 3. Relevant events: Can identify relevant events in the graphic novel by connecting the characters and the settings. 4. Opinion: Can provide a critical opinion about the graphic novel. 5. Language: • Makes use of vocabulary (holocaust) and grammar (past tenses) in context to talk about the plot. • Makes use of vocabulary (holocaust, comic terminology, opinion linkers) and grammar (present tenses) to express opinion. 83 RUBRIC 2. Participation Checklist Student’s name: ___________________ Group: ____________________ Participation: 4 – excellent, 3satisfactory, 2 – Below average, 1 – unsatisfactory *Cooperative tasks will be graded as a group, unless there is some evidence that proves some member’s lack of participation or sense of initiative. This can be proved as students are required to write with different pens in the same sheet of paper to ensure their participation. Lesson Activity ✓ / X Participation (1-4) Comments 2 Cooperative: Story Chart 3 Cooperative: Thinking Chart 4 Individual: Writing Task “How would you act if...” 4 Pairs: Conversation Task “How would you act if...” 5 Cooperative: Plot Outline 7 Individual Talking Chips: Ask questions / comment other groups’ work 84 RUBRIC 3. The final project: Comic Final task evaluation rubric: Comic (40%) Group: Members: Below Standard 1 Approaching Standard 2 Meeting Standard 3 Exceeding Standard 4 Introducti on - presentati on of the comic Does not introduce the topic in any way. Does not introduce the topic accurately. Explanations are very vague. Introduces the topic but does not make very clear what kind of story they are going to present. Introduces the topic in a clear and accurate way, explaining what exactly the comic is going to talk about. Organizati on/ Struct ure Comic is not structured nor connected through the strips. There is not a sequence in the story to be followed. Comic is vaguely connected. Many ideas are repeated alongside the strips. Comic is connected and coherent, strips are interdependent, and the plot can be followed. Comic is well organised and coherent; the plot can be easily followed and there is an effective use of strip divisions and vocabulary that connote transition in the story. Content Content is totally irrelevant. Target reader is not informed. Irrelevances and misinterpretation of t ask may be present. Target reader is minimally informed. Minor irrelevancies mostly focused on the main topic. The target reader is overall informed. All content is relevant to the topic. The target reader is fully informed about the story. Language used Uses basic vocabulary. Uses grammatical forms with mistakes. Errors may impede meaning. Uses basic vocabulary reasonably appr opriately. Uses simple grammatical forms with some d egree of control. Errors may impede m eaning at times. Uses everyday vocabulary generally appr opriately, while occasionally overusing ce rtain lexis. Uses simple grammatical forms with a good de gree of control. Uses a range of simple and some complex grammatical forms with a go od degree of control. Errors do not impede com munication. Presentati on/aestheti cs Does not take care of the aesthetic presentation. Basic images and plain aesthetic purpose. Appealing design still images lack an aesthetic purpose. The comic shows there has been an overall effort to create something aesthetically pleasant. The comic is aesthetically creative and original. It shows there has been an effort to create something aesthetically pleasant. 85