LITERARY DEVICES

Literary devices refers to specific aspects of literature, in the sense of its universal function as an art form which expresses ideas through language, or with regard to a particular work, which we can recognize, identify, interpret and/or analyze. Both literary elements and literary techniques can rightly be called literary devices.

Literary elements refers to particular characteristics of a whole text. They are not “used,” per se, by authors; these are the elements of storytelling which are common to all literary and narrative forms. For example, every story has a theme, every story has a setting, every story has a conflict, every story is written from a particular point-of-view, etc. In order to be discussed legitimately as part of a textual analysis, literary elements must be specifically identified for that particular text.

Literary techniques refers to any specific, deliberate constructions or choices of language which an author uses to convey meaning. An author’s use of a literary technique usually occurs with a single word or phrase, or a particular group of words or phrases, at one single point in a text. Unlike literary elements, literary techniques are not necessarily present in every text; they represent deliberate, conscious choices by individual authors.

Some of the most used are:

Allegory - a symbolic representation

example: The blindfolded figure with scales is an allegory of justice

Simile - figure of speech involving a comparison between unlike things using like, as, or as though.

example:  It floated in like a cloud. 

Metaphor - A comparison in which one thing is said to be another

example: The cat's eyes were jewels, gleaming in the darkness

Hyperbole -  Is simply a phrase with an exaggeration that is meant to have impact

examples:   --I'm so hungry, I could eat a horse!

- You snore louder than a freight train.

- He sleeps like a log.

DRAMATIC GENRE

Dramatic genre 


The dramatic kind(genre) is that one that represents some episode or conflict of the life of the human beings by means of the dialog of the prominent figures.

The dramatic work has been created to be represented or interpreted by actors opposite to a public, being able to be written in prose or in verse or combining both. An essential characteristic is the action.

LYRIC GENRE

Lyric genre

The poetry or lyric genre is a genre in which the author expresses his(her,your) feelings and emotions. The verse and the first person is in the habit of using as habitual form. The present, past and future get confused. He(she) communicates the most intimate experiences of the man, the subjective thing. He(she) communicates mental conditions (states).

Subgenres: Song, Anthem, Ode, Elegy, Eclogue, Lira, Satire, Opera

‘The Acrobats’, de Shel Silverstein

DRAMATIC GENRE

Dramatic genre 

The dramatic genre is that one that represents some episode or conflict of the life of the human beings by means of the dialog of the prominent figures.
The dramatic work has been created to be represented or interpreted by actors opposite to a public, being able to be written in prose or in verse or combining both. An essential characteristic is the action.

LITERARY GENRES. NARRATIVE

LITERARY KINDS (GENRES)

The genres are the different groups or categories under which we can classify the literary works attending to the content. 


Narrative genre


Lyric genre


Dramatic genre




Narrative genre
The narrative genre is a literary expression that is characterized because report imaginary or fictitious histories (events or events) that constitute a history foreign to the feelings of the author. Though it(she) is imaginary, the literary history takes his(her,your) models of the real world. 
Narrative subgenres: Stories, novels, fables, myths and legends

THE MICE AND THE CAT

There lived several families of mice in a big mansion. Life was good for them as there was always an abundance of food, especially in the kitchen.

But one day, the master of the mansion brought home a cat. Since then, life became miserable for the mice.

Day or night, the cat would prowl the mansion. The mice dared not come out of their dens because the cat was always lurking around.

As the days passed, the mice became weaker and weaker because they could not venture out of their dens to find food.

Finally, an old mouse said, "We cannot go on like this, or we will all die of hunger and thirst very soon. We have to find a way to deal with the cat."

"Indeed, we have to come up with a plan," agreed another mouse. "Let’s get all the mice together tonight and see if we can think of something."

Soon, it was nightfall. All the mice had gathered at their usual meeting place in the mansion.

The eldest mouse cleared his throat and said, "I’m sure all of us have not been very happy of late because of our common enemy, the cat."

All the mice nodded their heads and muttered their agreement.

The eldest mouse continued, "We must therefore act together now and come up with a plan to deal with the cat. Or we will all end up as the cat’s meal one day"

One of the mice suggested killing the cat, and every mouse agreed it was a good idea.

So, the mice began discussing various plans about how to kill the cat. But as soon as someone proposed a new plan, others would reject it as unworkable.

Finally, a young mouse said, "We may not be able to kill the cat, but perhaps we can think of a way to know its whereabouts. That way, if we know it is coming, we will have time to run"

The other mice cheered at the suggestion.

The young mouse continued, "I have a plan. It’s very simple, really. All we need to do is to hang a bell around the cat’s neck. Wherever it goes, the bell will ring.

If the bell is really big, we can even hear when the cat is coming before it is even close!"

All the mice jumped and clapped at the idea.

Suddenly, a wise old mouse said, "That is a very brilliant idea. Now, who will hang the bell around the cat’s neck?"

Moral: It is one thing to say that something should be done, but quite another to do it.

Lineamientos curriculares en lengua extranjera

LINEAMIENTOS CURRICULARES EN LENGUA EXTRANJERA

Los Lineamientos de procesos curriculares en idiomas extranjeros son orientaciones pedagógicas para que los docentes del área se apropien de los elementos conceptuales básicos y hagan efectiva la autonomía para guiar los procesos, para atender las necesidades del diseño curricular dentro del Proyecto Educativo Institucional, (PEI), buscar oportunidades de manejo innovador del área y asumir y apropiarse de los avances científicos y tecnológicos. Así mismo se busca que a partir de los Lineamientos, los docentes puedan establecer logros alcanzables en el desarrollo de la competencia comunicativa en lengua extranjera, efectuar evaluaciones continuas y tomar decisiones que hagan que el currículo específico sea pertinente y eficaz y los aprendizajes significativos.

En este sentido la Ley General de Educación, Ley 115 de 1994, hace énfasis en una concepción de currículo centrado en procesos y competencias, con carácter flexible, participativo y abierto que propende por el desarrollo integral de las personas

El capital y la riqueza que le produce a un país el plurilingüismo se traducen en capital lingüístico para cada individuo. Ese patrimonio está representado en el desarrollo integral de la personalidad y será mucho más fructífero si se propicia desde los primeros años de escolaridad. El Ministerio de Educación Nacional considera el plurilingüismo como una prioridad educativa. Es por ello que promueve la iniciación de la enseñanza de los idiomas extranjeros desde el ciclo de primaria y el fortalecimiento de los procesos educativos que se llevan a cabo en los últimos grados de la educación básica secundaria y de la educación media. Al insistir en esta empresa, partimos del principio de que aprender una lengua es también aprender a descubrir y valorar otras culturas

El dominio u óptimo grado de competencia en idioma extranjero es un elemento de calidad de vida. En esta sociedad de culturas móviles y de acceso al conocimiento, los idiomas extranjeros se convierten en herramientas primordiales en la reconstrucción de las representaciones del mundo, en instrumentos básicos para la construcción de saberes, para llevar a cabo aprendizajes, para el manejo adecuado de las nuevas tecnologías y para el logro de una plena integración social y cultural.

Indudablemente, el docente jugará un papel determinante en la validación final de estos lineamientos y sus percepciones