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Several literary models from both contemporary and standard books that influence the adolescent are presented. The discussion is divided into three broad model categories: the question of morality, the search for self, and values and needs. The novel is the principal literary mode discussed, but other genres are also included. The exploration of actual works of literature and a discussion of student responses to these books concludes the paper. (TO)

A course in the Bible as Literature is presented. It is an examination of significant selections from the old and new testaments, representing universality in theme, diversity in literary genre, and consideration of biblical language. Performance objectives for the student include: (1) proposal of reasons for studying the Bible as literature, (2) identification of problems and themes considered in certain biblical selections, (3) contrasting of the handling of problems in a biblical selection and a contemporary selection, (4) application of literaty standards to biblical selections, (5) determination of the characteristics of Hebrew poetry, (6) recognition of the variations in biblical translations, (7) illustration of the influence of Biblical diction on subsequent language and literature, and (8) demonstration of the influence of biblical material on artists and musicians of all ages. Course content centers around overview of biblical structure, values of Bible, comparison of handling of recurring problems in biblical and contemporary literature, examination of biblical poetry, survey of history of biblical translations, examinations of selections from King James Bible, and demonstration of humanistic appeal of biblical material as influencing artists and musicians of all ages. Teacher strategies include lecturing and the use of recorded versions of the Bible. (CK)

The Indo-Anglian novelist seems to ask himself four questions: (1) For whom am I writing? (2) What should I write about? (3) Who am I? (4) What is the precise nature of my expression, the means of my communication? A country such as India, divided by some 16 languages has formidable problems of communication, and if one adds the problem of illiteracy, the plight of a professional Indian writer seeking a wide readership becomes readily apparent. In technique and structure, the Indian novel in English is not different from any other novel. It seems to be in search for the exact kind of linguistic expression that suits the Indian temper and pace of thinking and Indian rhythm of talking. In sum, the Indian novel in English is at a crossroads, and although undecided in some ways, it is clearly distinguished by its resolute will to go on, "to strive, to seek, to find, and not to yield." (CK)

This syllabus outlines a two semester course to accompany the basic textbook: THE EPIC OF RUSSIAN LITERATURE by Marc Slonim. An introduction to the guide gives a brief summary of the history of Russian literature and objectives of the course are stated, defining concepts and understandings to be developed. In addition, teaching techniques are described, suggesting activities such as group discussions, reports, comparative studies, and utilizing Russian history, geography, and culture, especially films and music. Course content is divided into chronological periods, emphasizing literary movements, major authors, historical themes, and literary genres. First semester units of study are: 1) The Beginnings; 2) Poets, Playwrights and Satirists of the Eighteenth Century; 3) The New Era; 4) From Napoleonic Invasion to the Decembrists; 5) The Golden Age (A. S. Pushkin); 6) Minor Poets Beginning 19th Century; 7) N. Gogol; and, 8) M. Lermontov. Topics for the second semester are: 1) Dreamers and Philosophers; 2) Westerners and Slavophiles; 3) The Critics and the Nihilists; 4) Literary Trends of the Sixties; 5) I. S. Turgenev; 6) F. Dostoevsky; 7) Russian Playwrites; 8) Leo Tolstoy; 9) Maxim Gorky; 10) M. Sholokhov; and, 11) B. Pasternak. (Author/JSB)

This article reviews the prose literary styles used in literary Arabic in the period following the Second World War, and attempts to explain the considerable relationship between these prose styles and the developments which characterize Arabic prose in terms of form and content in this period. The work is based on a study of 36 authors representing 12 Arab geographic areas. One or more works of each author was chosen; their prose was analyzed and categorized "in precise linguistic terms using a comprehensive description of each sentence with its components as well as its vocabulary." The analyzed products were then fed into a computer from which grammatical constructions were studied. The prose writings revealed that modern Arabic prose falls into three style types: modern simple style, pure middle style, and grandiose style. Illustrations of each style are presented and discussed. (AMM)

Derek Walcott is the major voice of the Caribbean naissance. His strength lies in the creative tension between the particularity of his Caribbean setting and the universalities of his theme and style. His stylistic influences and allusions resemble those of Donne, Marvell, Yeats, Hopkins, Pound, Ransom, Spender, Lowell, and Graves. Passages of his poetry resemble Eliot's "Prufrock" in parody, Thomas in tone, and Auden in satire. The constellation of thematic polarities is responsible for much of the creative power in the poems of Walcott. Fundamental to all of them is Walcott's understanding of the difference between the poles of the New World and the Old. Isolation is the most prominent of Walcott's themes, the isolation of the individual in the modern world, the isolation of the Caribbean from the world's centers of culture and power, and finally the isolation from history that is inherent in the New World poet and his bitter optimism. (LL)

Legitimizing the basic college mythology course depends in part on the teacher's preparedness and also on the course content and objectives. Both must derive from what the teacher can teach best, what he has sound knowledge of and can handle in an interesting way, coupled with what will best satisfy the needs of students and be of most use in their lives. The following questions should be considered before determining the content focus of a course: (1) Does the content permit preparation that narrows the range of the teacher's required knowledge or does it force the teacher to demonstrate expertise he does not have? (2) Does the content permit legitimate handling by an English teacher and allow for course objectives that are justified in a course offered by the English department? (3) Does the content promote a range of outcomes useful enough to students generally to make that content the best choice for the students' sake? and (4) Does the content meet the growing demand for the meaningful involvement of media and variety in the presentation of course substance as well as a useful variety of experiences for the student? (A description of the author's course is included.) (LL)

In this survey, the interrelationships of mainstream American literature and black literature are developed within each of the following periods: early literature--the oral tradition; early literature--literature of protest; post-civil war--literature of social consciousness; early 20th century--the American renaissance; the 30's--literature of the depression years; and the contemporary scene--alienation and identity. A comparative chart on black literature in the development of mainstream American literature and a bibliography are included. (LL)

This paper suggests basic points of literary and historical background necessary for the study of African literature and provides an annotated bibliography of literary and historical references. The first part of the paper lists threads of historical significance often found in African literature: the division of Africa into colonies in the nineteenth century; the resultant imposition of diverse cultures; English as the common language and medium of instruction; and English and French as the two literary languages. Ideas on social and cultural change in Africa are also presented based on "Africa in Social Change," by P. C. Lloyd. The dilemma of the African writer is discussed by drawing references from "Perspectives on African Culture," edited by Christopher Heywood. Finally, the annotated bibliography cites works that articulate the stratification of African society into "haves" and "have-nots" and the incipient class conflict that resulted from a European inspired elitism. Most of the citations are actual literary works, although some represent historical or critical reviews. (HOD)

This classic report on the relationship of literature and American education is an exposition of the importance of literature to the common man in a democratic society. No artificial distinction, the authors stress, is made between literature in the vernacular and literature in foreign languages. A defense of letters leads to a discussion of literature as the servant of the individual and of society. Other topics include how literature increases experience in human understanding in the quality of personal experiences, and in understanding the past. References to Hemingway, Sam Johnson, Donne, Jefferson, Arnold, Shakespeare, Montaigne, Milton, and Conant are often accompanied by selected commentary. The report attempts to liberate American education from the confines of pragmatism by illuminating intrinsic and eternal values of literary study. (RL)

A course in advanced composition and analytical reading designed for elementary school teachers is proposed. Stressing the importance of literary appreciation of works of exceptional merit, the author returns to the systematic study of English composition using literature as the basis of the composition course. Some of the authors mentioned are Shapespeare, Dostoevsky, Tennyson, Twain, Stevenson, Herrick, and Wordsworth. (RL)

Selections from world literature can increase high school students' interest in reading, their familiarity with age-old literary themes, their understanding of literary genres, their awareness of varying cultures, and their skill in analyzing and writing about literature. A world literature course with those aims introduced in a small Wisconsin high school focused on plays and novels dating from classical Greek literature to the present and including literature from Greece, England, Spain, France, Russia, Norway, and Italy. Because the class was composed of an exceptionally able group of students, methods of teaching included lectures, panel discussions, class discussions, students' reports, and student research papers. Full-length films, filmstrips, drama recordings, musical compositions, art slides, and theater productions provided supplementary material. Solicited student comments indicated varying levels of enthusiasm for the course. (JM)

If the best criticism of art is another work of art, studying the act of translation (the movement of ideas from one area or method of expression to another, such as between languages, between ancient and modern, between literature and life) can be of value to the English teacher. Bad translations, as exemplified in the condensation and simplification of masterpieces to attract a wider audience, destroy the integrity of the work of art, but good translations, such as Shakespeare's translation of Plautus in "The Comedy of Errors," create an integrity of their own. Paraphrasing, reordering, and summarizing have some uses in classroom translation, but they are nonliterary methods of teaching literature and violate the integrity of the work. Juxtaposition--the placing of two works side by side with as few preconceptions as possible about what the results will be--frequently gives insight into both works. Comparing imitations and parodies with the works that inspired them can also be enlightening. Other proven translation methods are comparing different plays on the same subject, comparing plays to films based on them, and comparing poems and paintings. (LH)

Considering four separate literatures (Serbian, Croatian, Slovenian, and Macedonian) as one general body of Yugoslav literature, the significance and evolution of current literary genres since 1945 are noted. The effects of varying political conditions, controversies over fundamental literary questions, important thematic changes, and increased awareness of foreign literatures are considered in this article. The rejection of the Russian concept of "socialist realism" by Yugoslav writers is emphasized in reference to particular works. (RL)

Able 11th- and 12th-grade students can enjoy the imagery, direct language, and indirect thought of T. S. Eliot. Eliot's treatment of the apathetic society and the isolated individual, his concern for spirituality over sensuality, and his plea for collective responsibility for evil are themes that can be traced in his major works through formalistic and historical criticism. Simon and Garfunkel's "Dangling Conversation" can introduce students to the isolation and ineffectuality of "The Hollow Men." A comparison between what students expect to find in a love song and what they find in "The Love Song of J. Alfred Prufrock" can lead the students into the message of the poem. An in-depth study of the relationship of "Murder in the Cathedral" to Greek drama and medieval morality plays, as well as intensive work in diction and prosody, can be rewarding. Oral reading of Eliot's works can illustrate one of his recurring ideas--modern man's apathy because of a need for spiritual values. Once the central themes have been established, students can broaden their understanding by reading thematically similar works by other writers, such as Camus, Kafka, and Yeats. (LH)

Described in this article is a critical procedure in the study of literature defined by the author as a method of responsive interrogation of the text. The approach is guided by a study of relevant political, sociological, literary, and intellectual circumstances. Three fundamental questions are central to the discussion of the theory: (1) What does the writer say?, (2) Why does he say this?, and (3) How does he say it? Commentary includes reference to semantics, meaning, literary translation, and structural analysis. (RL)

A review of the problems encountered in studying literary texts focuses on the dangers of treating the text as a source of linguistic data rather than as a complete work in itself. Comments pertaining to the relationship of language and literature include discussion of teaching methods, literary criticism, background information, and literary traditions. (RL)

An analysis of a Mexican essay by Samuel Ramos attempts to resolve the issue of whether or not there is a common philosophy in Latin America today. Manuel Mendoza concludes that no such philosophy exists, because the area has not had time to develop an internal character, and as a result, the intellectual and and philosophical concepts are based wholly on European ideals. Many artists in present-day Latin America are finding the means and resources to create a national philosophy. In Mexico, the revolution of 1910 uprooted the indigenous foundation and incorporated it into the prevailing culture borrowed from Europe. Mexican artists feel the effects of an exploding national spirit. Samuel Ramos' essay on the Mexicans and Mexican culture is considered to be an important milestone toward achieving a national, indigenous philosophy because (1) it is in essay form, a genre most advantageous for expounding a philosophy; (2) it is written in Spanish, a language which lends itself more readily to literary moods than to scientific or technical treatises; and (3) it recognizes the predominance of the European culture and admits to the need for assimilating local traditions into the cultural mainstream. (DS)

The processes by which man creates new literary forms is the focus of this book. Four articles concentrate on literary modes common to many societies, though written in different languages: (1) Robert A. Charles reviews Alaska's oral native folktales and the range of the contemporary writing scene in Alaska from professional authors to documentary journalists; (2) Harley D. Oberhelman compares the cowboy literature of North, Central, and South America; (3) Maurice D. Schmaier analyzes Patrick White's "Voss" as an example of a new chapter in Australian literature; and (4) Helen Topham describes a grass-roots theater developing in India. Four other articles are concerned with world literature written in English: (1) Leonard Casper finds a great range of literary achievements in the American-influences Filipino-English literature; (2) Frederic G. Cassidy discusses the distinctive style and tone of West Indian literature; (3) Lucile Clifton illustrates how South African writers shape the African image through symbols and choice of themes; and (4) Harold R. Collins reports on the Nigerians writing about the meeting and interaction of Western and native cultures. [Not available in hard copy due to marginal legibility of original document.] (JMC)

The teacher of English prose is responsible for teaching students three skills: the ability to react with appropriate sensibility to prose literature, the ability to understand written prose, and the ability to write prose that can be understood. A study of the precision and demands of the best modern novelists (Joyce, Lawrence, Woolf, Faulkner, and Hemingway) can broaden the literary response of students overexposed to the classical styles of the early 17th and 18th centuries (Browne and Johnson) or to the romantic styles that appeared in the later 18th and 19th centuries. Comparing the purpose, form, and communication success of the simple language of Robert Boyle and the Royal Society to the prose of later scientists, sociologists, and critics can illustrate the ways that style may interfere with the conveyance of ideas. In teaching writing, the heavily Latinate context of most modern grammars needs to be opposed in favor of clarity, good construction, and effective communication of the author's ideas. (LH)

Across the centuries the heroes in dramatic works develop and play out action along the same lines, although the dramas may have been created by different authors and may reflect various eras and cultures. A case in point is a comparison of the two Spanish plays "El Caballero de Illescas" by Lope de Vega (1602) and "Los Intereses Creados" by Jacinto Benavente (1907). Similarities in the fate of the two protagonists are striking. Both men arrive penniless in Naples at a bleak period of their lives anxious to improve their fortunes. Both heroes fall in love with wealthy maidens of the nobility with whom they eventually elope. The family backgrounds and origins of family fortunes have parallel details. Readers soon learn that the protagonists also had similar backgrounds. The techniques employed constitute the major difference between the two works. Lope de Vega tells all about his hero in Act 1; the action and the similarities to Benavente do not begin until Act 2. In Benavente's work, action begins immediately and the reader learns about the protagonist in the narrative. Benavente's portrayal of his hero's split personality is the best feature of his composition, while Lope da Vega's monologues are well executed. The similarities and distinctions are shown not to cite plagiarism but analyze the two dramas more extensively and to illustrate seventeenth century and twentieth century points of view. (DS)

A manuscript dated 1651 and now housed at the National Library in Florence, Italy, suggests that the document may be the first Italian adaptation of the Spanish drama, "El burlador de Sevilla y Convidado de Piedra" ("The Deceiver of Seville"). The Spanish tragedy, written in 1630 by Gabriel Tellez, known as Tirso de Molina, introduced the character of Don Juan. Four Italian seventeenth century artists are identified as possible dramatists of the Italian version but critics cannot agree on which one of them actually wrote the manuscript, "Convitato di Pietra", under scrutiny. Giacinto Andre Cicognini is alleged to have composed the work in 1650. Giovanni Battista Andreini (1651), Lionne Allacci, and Onofrio Giliberto di Solofra (1652) are also cited as possible authors although the apparent date of their plays follows the publication of the manuscript. A comparison of similarities and differences in the four versions is made. (DS)

In this paper on Hispanic studies, seven major areas of thought are developed. The classification of material includes: (1) the Spanish major in today's world, (2) learning the language, (3) history and the structures of the language, (4) literature and literary scholarship, (5) Spanish peninsular literature, (6) Spanish American literature, and (7) Portuguese and Brazilian studies. Frequent reference is made to specific literary texts. An appendix contains the 1959 guidelines of the Modern Language Association of America on qualifications of teachers of modern foreign languages. (RL)

Describes a university-level course which attempts to make intellectual history more interesting to students through the incorporation of popular classics. The lecture and discussion treatment of 12 literary works is described. (Author/DB)

The article, written in Spanish, discusses the influences of Chicano literature--the people, language, and history. (NQ)

In this era of mass media, the ideas in literature still guide lives and shape nations. (Author/KS)

Notes that an Asian American literary tradition exists which involves more than the ethnicity of a group of authors, and asks: What are the components of this tradition? What is the writer's stance before it? What is the community's stake in it? What are the writer's duties to this community? What are the issues of audience, language, style and politics. (Author/JM)

Children's literature and school texts have reflected society's relegation of women to inferior, passive roles; while there is now an awareness that stereotypes and sexist terms should be eliminated, there is the danger that overreaction will diminish literary quality. (JD)

Editors are discussed as creators of the future: the content of their ideas concerning the future, and the relationship between these notions and the directions to be taken by their publications. (MM)

Analysis of old age and literature provides some support for the position that cultural stereotypes regarding growing older, biases with considerable history, continue to be reflected in the printed word. It seems most apparent that earlier developmental stages--historically and chronologically--are more subject to constricted representations of old age. (Author)

Discusses the references of five writers of children's books to "some superconsciousness that they tap into which is greater than themselves" when they are writing. (JM)

The case studies verified the transactional theory of literary response--that each reading of a piece of literature is a unique transaction between the reader and the work. (DD)

Looks into the need for children's books to deal with emotions, specifically those concerning sexuality. (MB)

Presenting a brief biographical profile of D'Arcy McNickle, this article is written as a tribute to McNickle and his contributions to the emergence of American Indian literature. (JC)

This discussion of criteria for choosing books for young adults (including literary quality, relevance, and motivation) is followed by an annotated bibliography of quality books first appearing in 1977 for the young adult audience. (AP)