Verena Hinteregger

'Bend it like Beckham' in the ELT - Classroom

Interlinking Language-, Literary- and Cultural Learning

DIPLOMA THESIS

submitted in fulfilment of the requirements for the degree of

Magistra der Philosophie

Programme: Teacher Training Programme Subject: English Subject: Italian

Alpen-Adria-Universität Klagenfurt

Evaluator Univ.-Prof. Mag. Dr. Werner Delanoy Alpen-Adria-Universität Klagenfurt Institut für Anglistik und Amerikanistik

Klagenfurt, February 2020

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Affidavit

I hereby declare in lieu of an oath that

- the submitted academic paper is entirely my own work and that no auxiliary materials

have been used other than those indicated,

- I have fully disclosed all assistance received from third parties during the process of

writing the thesis, including any significant advice from supervisors,

- any contents taken from the works of third parties or my own works that have been

included either literally or in spirit have been appropriately marked and the respective

source of the information has been clearly identified with precise bibliographical

references (e.g. in footnotes),

- to date, I have not submitted this paper to an examining authority either in Austria or

abroad and that

- when passing on copies of the academic thesis (e.g. in bound, printed or digital form),

I will ensure that each copy is fully consistent with the submitted digital version.

I understand that the digital version of the academic thesis submitted will be used for the

purpose of conducting a plagiarism assessment.

I am aware that a declaration contrary to the facts will have legal consequences.

Verena Hinteregger m.p. Klagenfurt, February 2020

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Table of Contents

1. Introduction ......................................................................................................................... 1

2. Pedagogical Orientations and Educational Standards ......................................................... 3

2.1 Communicative Approaches to Language Teaching ........................................................ 4

2.1.1 Competence Orientation and Communicative Competence ...................................... 4

2.1.2 Content and Authenticity ........................................................................................... 5

2.1.3 Focus on the Learner .................................................................................................. 7

2.1.4 Methodological Approaches ...................................................................................... 9

2.2 Multimedia Learning Environments ............................................................................... 11

2.2.1 Multimodality and Multimediality ........................................................................... 12

2.2.2 Adaptation Theory ................................................................................................... 12

2.3 The Common European Framework of Reference ......................................................... 14

2.3.1 The CEFR Continued ............................................................................................... 15

2.3.2 Competences ............................................................................................................ 16

2.3.3 Reception ................................................................................................................. 17

2.3.4 Production ................................................................................................................ 18

2.3.5 Interaction ................................................................................................................ 19

2.3.6 Mediation ................................................................................................................. 19

3. Focusing on Literature in Teaching .................................................................................. 21

3.1 Defining the Concept of Literature ................................................................................. 22

3.1.1 Aesthetic Reading and Multiple Literacies .............................................................. 23

3.2 A Rationale for Teaching Literary Texts and Films in the EFL Context ....................... 24

3.2.1 The Motivational-affective Dimension .................................................................... 25

3.2.2 The Aesthetic and Formal Dimension ..................................................................... 26

3.2.3 The Dimension of Language Learning and Competence Development .................. 26

3.2.4 The Cultural Dimension ........................................................................................... 27

3.3 Theories and Approaches to Teaching Literature ........................................................... 27

3.3.1 Reader Response Criticism ...................................................................................... 28

3.4 Teaching Methodologies ................................................................................................ 29

3.4.1 Pre-reading/listening/viewing .................................................................................. 30

3.4.2 While-reading/listening/viewing .............................................................................. 30

3.4.3 Post-reading/listening/viewing ................................................................................ 31

3.4.4 Educational Challenges ............................................................................................ 32

4. Focusing on Culture in Teaching ...................................................................................... 34

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4.1 Connecting the Dots ....................................................................................................... 35

4.1.1 Culture in the EFL Context ...................................................................................... 35

4.1.2 Literature as a Means for Cultural Teaching ........................................................... 36

4.2 A Glimpse into Cultural Studies ..................................................................................... 37

4.2.1 The Concept of Culture ............................................................................................ 37

4.2.2 Multiculturalism, Interculturality, Transculturality, Pluriculturalism ..................... 39

4.2.3 Hybridity and Third Space ....................................................................................... 40

4.2.4 Intercultural Communicative Competence and Symbolic Competence .................. 41

4.3 Structuring Dialogic Learning Processes in Cultural Contexts ...................................... 43

4.3.1 Dialogic Competence ............................................................................................... 43

4.3.2 Evocation ................................................................................................................. 44

4.3.3 Interpretation ............................................................................................................ 46

4.3.4 Positive Affective Response .................................................................................... 46

4.3.5 Levels of Perspective – Taking ................................................................................ 47

4.4 Educational Aims and Challenges .................................................................................. 47

5. Teaching ‘Bend it like Beckham’ ..................................................................................... 50

5.1 Introducing ‘Bend it like Beckham’ as Literary Text and Film ..................................... 51

5.1.1 Synopsis ................................................................................................................... 51

5.1.2 The Implications of Mode, Medium and Adaptation ............................................... 54

5.2 Exploring and Theorizing the Context of ‘Bend it like Beckham’ ................................. 56

5.2.1 Multiethnic Society and Migration .......................................................................... 56

5.2.2 Culture and Identity ................................................................................................. 57

5.3 A Critical Stance on Representations of Culture ............................................................ 60

5.3.1 An Analysis of Cultural Representations ................................................................. 61

5.3.2 Audio-visual Representations of Culture ................................................................. 67

5.3.3 A Confrontation of Differing Interpretations ........................................................... 70

5.4 A Rationale for Working with ‘Bend it like Beckham’ in the EFL Classroom ............. 73

6. Entering a Practical Dimension – Activities for the EFL Classroom ............................... 76

6.1 Suggested Activities ....................................................................................................... 77

7. Conclusion ........................................................................................................................ 98

References .............................................................................................................................. 101

Appendix ................................................................................................................................ 105

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1. Introduction

This diploma thesis aims to bridge the gap between theoretical foundations in pedagogy and

practical implications for teaching English as a foreign language in German-speaking countries.

My field of interest regards literature teaching in today’s globalized modernity in the pursuit of

language- and cultural learning aims, based on principles of communicative language-teaching

approaches. Thus, the main objective of my research lies in elaborating how to foster language-

and cultural learning with literary texts and films in general and by implementing Gurinder

Chadha’s ‘Bend it like Beckham’ in the EFL classroom in particular. The chapters two to four

seek to provide timely theoretical frameworks each with a distinct focus, embracing the realms

of language pedagogy, literature- and culture teaching. In chapters five and six, attention will

be devoted to the film ‘Bend it like Beckham’ including the book adaptation for young adults.

Chapter 2 - Pedagogical Orientations and Educational Standards sets out with an

examination of the foundational principles of communicative approaches to Teaching English

as a Foreign Language (TEFL). Such a perspective needs to be inclusive of our contemporary

media environment; hence I will contemplate the implications and increased possibilities for

the teaching context. Connecting the argument to internationally acknowledged achievement

standards, I will investigate how these orientations in state-of-the-art communicative language

teaching are reflected in the Common European Framework of Reference for Languages

(CEFR).

In Chapter 3 - Focusing on Literature in Teaching, after examining the concept of

‘literature’, a range of benefits will be displayed that learners can enjoy through engaging with

literary texts and films in the EFL classroom. With regard to teaching literature, I will offer

suggestions for theoretical starting points and methodological approaches. Thereby, I will

emphasize a communicative language teaching agenda and reflect about possible challenges

that are to be expected.

Chapter 4 - Focusing on Culture in Teaching targets at defining cultural learning aims and

at exploring how these can be fostered with the help of literature, thus steering towards an

intersection of the three realms of language pedagogy, literature and culture. In the light of these

insights, an approach to teaching culture will be indicated where I will propose a meaningful

structuring of learning processes, presuming dialogically competent learners. Moreover, the

models are in correspondence with the methodological structure suggested for literature

teaching and with the principles of communicative language teaching. Additionally, I will shine

light upon challenges teachers have to consider with regard to cultural learning.

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In Chapter 5 - Teaching ‘Bend it like Beckham’, theoretical concepts elaborated throughout

the preceding chapters will be transferred onto concrete literary works, precisely Gurinder

Chadha’s cinematic version of ‘Bend it like Beckham’ and Narinder Dhami’s book adaptation.

My readers will be familiarized with the storyline in a brief introduction of the work. Ensuing,

I will lay a focus on critical considerations that need to be taken into account for teaching ‘Bend

it like Beckham’ by providing a critical, in-depth analysis and interpretation of the text’s

cultural implications. Ultimately, I will compare different interpretational stances and highlight

interesting factors concerning the implementation of ‘Bend it like Beckham’ in EFL contexts

with the aim of illustrating its high potential.

Chapter 6 - Entering a Practical Dimension - Activities for the EFL Classroom centers on

demonstrating how the presented theories can be translated into teaching practice. In this sense,

I will offer suggestions for different pre-, while-, and after-reading/viewing activities for

purposeful work with ‘Bend it like Beckham’ in the classroom. Thereby, I will specify

obtainable learning objectives that, on a macrostructural level, enhance communicative

language- and cultural competences. Moreover, I will link my ideas to the theories discussed

and refer to challenges that might occur when engaging in these activities.

Chapter 7 – Conclusion is the final chapter, which seeks to recapitulate the most crucial

insights and findings, thus summing up the key considerations outlined in chapters two to six.

My personal ambition is to highlight how well selected narratives and tasks can spark interest

among young adults and boost participation in classroom settings, contrary to less learner-

oriented approaches to literature teaching that I experienced in my secondary school education.

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2. Pedagogical Orientations and Educational Standards

In this chapter, a solid basis in the realm of pedagogy will be provided, embracing the

foundational principles of communicative approaches to teaching English as a foreign language

and incorporating an outlook on the growing media repertoire with its impact on teaching

practice. In addition, educational standards in language learning and teaching as outlined in the

Common European Framework of Reference will be examined.

Current pedagogical orientations serve as fundamental guiding principles for teachers. In

Communicative Approaches to Language Teaching, the central ideas of such approaches will

be introduced, followed by a discussion of key principles that have transformed language

teaching within a post-method paradigm. In this regard, I want to explain the notions of

competence orientation and communicative competence, the focus on content and authenticity,

as well as ideas in relation to learner-centeredness. Finally, I would like to go into further detail

and present beneficial methodological approaches in the light of these contemporary

pedagogical principles: task-based and cooperative approaches.

Next, in Multimedia Learning Environments, I want to encourage teachers to take

advantage of the vast variety of media that is available and to integrate different tools into

foreign language lessons, thus creating stimulating learning environments. Considering my

intention in the subsequent chapters, to suggest working with literary texts in combination with

filmic material, a brief introduction of multimodality and multimediality is required. From this

perspective, I will also offer a glimpse into the field of adaptation theory with relevance to

teaching.

Lastly, I want to dedicate special attention to the educational standards that constitute the

basis for current language-learning curricula. In The Common European Framework of

Reference (CEFR), its action-oriented approach to promoting achievement standards will be

explained. Then, I want to lay a concrete focus on communicative language competences and

plurilingual and pluricultural competences, as this competence-based conception reflects the

orientations of state-of-the-art communicative language teaching. Furthermore, I will elaborate

on what the CEFR has defined as communicative language activities: reception, production,

interaction, and mediation. The can-do descriptors of each activity, accompanied with strategic

indications and specified for all levels, provide a useful guideline for articulating learning and

teaching aims.

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2.1 Communicative Approaches to Language Teaching

The term ‘approach’ is commonly used to describe underlying principles of language learning.

Claims evolved from the communicative language turn “are broadly accepted as foundations

for contemporary language teaching and learning” (Kolb and Raith 2018, 195, 198). Different

principles of communicative approaches will be subsequently discussed, however, it needs to

be highlighted that these have developed on the grounds of two basic claims:

(1) The relevance of authentic real-world contexts of language use and of what learners can do

with language through communication

(2) The relevance for learners to interact with others, using the foreign language, which should

ultimately lead to competence development (Kolb and Raith 2018, 198)

In other words, communicative language teaching foregrounds a functional understanding of

language, a dialogic view on speech situations and the sociocultural context (Kramsch 2006,

250). With the communicative turn in the 1970s, the former dominant structure-based

approaches were replaced by completely new ones that centralized communicative competence

along with active foreign language use, embedded in meaningful communicative situations

(Elsner 2018, 19). With regard to the English Foreign Language (EFL) classroom, the main

objectives can be summarized as equipping learners “with competences that allow them to

communicate with other speakers of the English language in a respectful manner.” This implies

fostering students’ engagement with different discourse practices, text forms and media,

guiding cultural encounters, and providing them with a range of tools and language learning

strategies, which enable autonomous and life-long learning (Elsner 2018, 20–21).

All classroom activities can be defined as techniques to put theoretical approaches into

practice, realizing certain principles in doing so (Kolb and Raith 2018, 195). Such language-

teaching principles that underlie communicative approaches will be explored in more depth,

laying a focus on competence orientation and communicative competence, on questions of

content and authenticity, and ultimately on learner orientation. Lastly, a glimpse into

methodological approaches will illustrate how these principles can be realized in practical

contexts.

2.1.1 Competence Orientation and Communicative Competence

According to Weinert, the term ‘competence’ describes a complex concept that consists of

multiple dimensions (Kolb and Raith 2018, 203). It includes declarative and procedural

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knowledge as well as different aspects related to the individual’s personality (Surkamp and

Yearwood 2018, 95). More precisely, competence comprises “knowledge, skills, strategies,

actions, attitudes, experiences, motivation, and social abilities” (Kolb and Raith 2018, 203). In

line with communicative approaches, competence orientation focuses on what learners can do

with language and on language in use. Reflecting the shift on learner-centeredness, educational

standards determine which competences learners need to develop (Kolb and Raith 2018, 202).

“Within the postmethod paradigm, competence-based teaching reflects on the best ways to

support learners in achieving the competences outlined in the CEF” (Grimm, Meyer, and

Volkmann 2015, 86). A closer look on the CEFR will be provided in 2.2. In a nutshell, enabling

learners to develop communicative competence accounts for the common goal of foreign

language teaching. This implies for learners to acquire competences that go beyond mastering

linguistic structures, as communication is always embedded in a social context, performing

certain functions (Larsen-Freeman and Anderson 2011, 115).

Communicative competence can be defined as “the ability to interact in meaningful ways

and to express one’s intentions in a socially appropriate form in specific situations as well as

within a framework of cultural norms” (Grimm, Meyer, and Volkmann 2015, 66). Richards

identifies dimensions of language knowledge with regard to communicative competence,

addressing different communicative purposes, the degree of formality in written and spoken

form, the various text types and genres as well as communication strategies for compensating

limitations (Elsner 2018, 19–20). However, the competences that should be achieved are no

longer oriented at those of the native speaker (Kolb and Raith 2018, 202). Fluency and

comprehensibility gain priority over accuracy (Grimm, Meyer, and Volkmann 2015, 66). With

reference to Canale and Swain, communicative competence is composed of grammatical,

sociolinguistic, discourse and strategic competence (Doff 2018, 9). In similar terms, the concept

is explained in the CEFR, referred to in 2.3.2.

2.1.2 Content and Authenticity

“Authentic language use in the foreign language classroom requires a focus on content” (Kolb

and Raith 2018, 203). The implementation of authentic materials is strongly supported by

adherents of communicative language teaching, with the underlying aim of helping students to

overcome problems of transferring learned structures in the institutional context to a real-life

context. This is achieved by exposing learners to natural language in all sorts of different

situations. Here, the question arises of how to define authenticity with regard to teaching input.

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It needs to be highlighted that the term refers to the material itself and to its contextual use with

its original communicative intent (Larsen-Freeman and Anderson 2011, 126). Furthermore, the

level of difficulty of authentic language samples needs to be taken into account in educational

contexts, as well as authenticity with respect to cultural representations.

First, the quality of the language sample used for an activity is, of course, central. Authentic

language consists of examples of native speakers’ communication that originally were not

intended to be used for teaching purposes. Such language data is genuine and thought to embody

characteristics that especially devised teaching materials fail to capture. Drawing a connection

to the practical dimension, authentic material for listening comprehensions incudes factors such

as natural speech and word choice. Authentic written texts include all the visual means like

headings and layout, which belong to conveying a message, and as for authentic written as well

as spoken texts, discourse structure represents an interesting factor (Byram and Hu 2013, 70–

71). Moreover, authentic resources are of particular significance for inter- and transcultural

learning aims (Wilden 2018, 239). The second aspect to authenticity reflects the real-life

purpose of the language sample. For classroom practice, I adhere to the view that the first

contact with the oral or written text should reflect this real-life purpose, then it is legitimate to

use the language data as an object of study for consciously discovering and analyzing linguistic

and other features of interest (Byram and Hu 2013, 70–71). For this educational setting to be

perceived as authentic by learners, they need to acknowledge it as relevant, meaningful and

motivating (Wilden 2018, 239). To expand the argument of the real-life purpose, also follow-

up activities should be authentic, i.e. by having learners negotiate their individual subjective

responses to a text with peers as authentic follow-up communication. (Grimm, Meyer, and

Volkmann 2015, 182)

Another significant issue that needs to be taken into account with respect to authenticity is

the quantity of unfamiliar language (Byram and Hu 2013, 70–71). My stance here is that the

text’s level of difficulty can be compensated by the accompanying task, scaffolding techniques

and slight text adaptions where barriers are expected. The implementation of authentic

communication samples in lower-level classes should not be avoided, on the contrary, the

strategies and techniques for working with them need to be adjusted to the learners’ level of

proficiency. There is a number of authentic but easily comprehensible language samples to be

found, for example timetables, menus, maps and weather forecasts, to mention just a few

(Larsen-Freeman and Anderson 2011, 126). The challenge for the teacher is here to identify the

respective level of difficulty for their learners.

Lastly, I want to discuss the term authenticity with reference to cultural products. “The idea

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of literature as imitation or mimesis of reality does not mean that it is an objective representation

or ‘neutral mirror’ of reality” (Grimm, Meyer, and Volkmann 2015, 182). In other words,

“context and culture shape the conditions in which literature materializes” (Lütge 2018, 189).

Hence, as consumers we need to bear the ‘created-ness’ of a product in mind, the subjective

filter of the writers and producers, personal interests and intentions, commercial intentions, etc.

Concluding, meaningful content is defined by personal relevance to learners, a context in

which I want to emphasize the usefulness of young adult literature, and it constitutes a

prerequisite for authentic language use. Communicative approaches give preference to content

over form, and authentic content is characterized by quality and contextual use. However,

comprehensibility of the input and the features inherent to products need to be kept in mind

(Kolb and Raith 2018, 203) (Byram and Hu 2013, 70–71).

2.1.3 Focus on the Learner

Learner-orientation is another principle that is usually associated with the development of

communicative competence (Doff 2018, 9). Concisely, if learners need to practice

communication in authentic interactive situations, their central role in learning processes is

prerequisite (Grimm, Meyer, and Volkmann 2015, 66). With the reconceptualization of the

learner subject, the cognitive and emotional dimension of language acquisition were

acknowledged (Bonnet 2018, 58–59). Consequently, this shift also entailed a redefinition of the

teachers’ role and the demands on them in the classroom. The learner-focused approach requires

a high degree of learner involvement, which is established through multiple aspects: by

increasing learner talking-time and participation, by integrating and relating to students’ life

experiences, by assigning responsibilities to them, by taking individual differences and learner-

specific variables into account and by offering holistic learning opportunities. (Viebrock 2018,

46–47) (Bonnet 2018, 57) (Kolb and Raith 2018, 199–200)

First, active participation means that learners assume an active role during learning

processes, which implies for teachers to reduce their talking time and to implement activities

that require classroom interaction in cooperative settings (Viebrock 2018, 47).

Second, such an approach implies selecting topics that are of interest for students (Grimm,

Meyer, and Volkmann 2015, 66). Creating personal relevance, a factor that stands in close

relation to motivation, can be achieved by relating to students’ interests and concerns. In this

regard, I would like to present a number of thematic areas that are of utmost priority to students

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during the period of entering adolescence and for which literature can be of great support when

dealing with them (Bonnet 2018, 66–69). These so called ‘developmental tasks’ embrace,

according to Hericks and Spörlein, the self, ideas and values as well as relationships. The

developmental tasks concerned with the self include (1) developing a self-concept, (2)

establishing a gender identity and relating to social expectations of male and female behavior,

and (3) accepting one’s own body and its physical transformations. Ideas and values encompass

(4) creating a set of values by dealing with moral, political, religious or other ideologies, (5)

developing job aspirations and understanding the competences one needs to achieve one’s

goals, (6) developing a perspective of one’s own future, targeting goals and planning their

achievement, and (7) developing ideas about future partners and potential family structures.

Finally, (8) establishing new and deepened relationships to peers of both sexes, (9) gradually

becoming independent of one’s parents, and (10) starting close and increasingly sexual

relationships with a boy- or girlfriend conclude the tasks related to relationships (Bonnet 2018,

67). As I believe that these issues are indeed particularly significant to our young adult learners

and hence represent valuable guidelines in selecting contents and materials, I felt the need to

list them in detail.

Third, putting students in the center of learning processes enhances learner autonomy. The

term denotes the ability to “plan, monitor and evaluate one’s learning process” and serves as a

basis in terms of self-directed and life-long learning (Kolb and Raith 2018, 200) (Bonnet 2018,

58). Giving students responsibility for their learning progress and putting them in charge opens

up the opportunity for learners to apply and improve learning strategies (Kolb and Raith 2018,

200).

Fourth, seeing students as individuals, as whole people with diverse identities, needs,

interests and skills, highlights the importance of differentiation and individualization in the

classroom. More precisely, teachers should use strategies to cope with heterogeneous groups,

adapting activities to the students’ differences. To provide concrete examples, differentiation

and individualization can be realized by offering options and choices concerning the amount of

activities and material, the topic, the working pace, or the tasks to be accomplished by using

more or less complex structures, etc. (Kolb and Raith 2018, 199–200). Additionally, teachers

should be aware of learner-specific features, such as their affective state and emotionality,

aptitude, motivation, attitude towards learning and cognitive styles, etc. (Bonnet 2018, 59–60).

Dörnyei also emphasizes the learners’ identity in relation to motivation and personally relevant

aims connected to learning the foreign language. He claims that motivation increases when the

foreign language enables expression of one’s personal identity (Kolb and Raith 2018, 201).

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Fifth, an approach that “takes learners’ whole selves into account has to consider not only

cognitive, but also sensory, emotional and affective aspects of language learning” (Kolb and

Raith 2018, 201). Different models focusing on learner types or styles have been

conceptualized, for example Gardner’s multiple intelligences. However, a conclusion we can

certainly draw from them is that students have different preferences with regard to learning

modes. In this sense, holistic learning refers to the implementation of a broad range of activities

that activate different channels and that create a positive classroom atmosphere. The latter is

achieved by minimizing situations that evoke negative emotions like anxiety, thus creating a

space where learners feel comfortable taking part in communicative tasks. Among a variety of

factors, this includes transmitting a tolerant attitude towards mistakes, message orientation

before form orientation, distinguished phases of practice and assessment, clearly defined goals,

etc. (Kolb and Raith 2018, 201–2) (Bonnet 2018, 69). With respect to holistic learning, I lastly

want to draw attention to approaches that integrate forms of physical activity as a way of

sensory stimulus (Wilden 2018, 235).

In sum, learner-focused teaching from the teachers’ perspective encompasses familiarity

with typical student behavior, adaption to the learners’ needs and preferences, maintaining a

structure of active student involvement including planning and decision-making processes, and

connecting with their life experiences (Viebrock 2018, 44).

2.1.4 Methodological Approaches

In this section, I would like to indicate teaching methodologies that follow a communicative

agenda. According to the post-method concept, the teachers themselves make an informed and

critical choice of how to pursue certain learning goals methodologically, accessing a spectrum

of well-established options (Grimm, Meyer, and Volkmann 2015, 86). In this regard, task-based

as well as cooperative and performance-based approaches will be introduced briefly.

To begin with task-based or task-supported learning, as promoted also by the CEFR, these

approaches help realizing a multitude of principles: action-orientation as to using the target

language as “an instrument of action”, learner-orientation as for example by means of think-

pair-share activities, and a focus on significant content (Kolb and Raith 2018, 195, 206) (Elsner

2018, 29). Also in line with communicative teaching principles, the cognitive and affective

dimensions of learners are addressed and meaningful tasks foreground authentic, natural

language use. The purpose of a task is to stimulate appropriate and meaningful interaction

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among students, whereas the process as well as the product represent learning aims (Grimm,

Meyer, and Volkmann 2015, 68–69). “Learners employ their linguistic and cognitive resources

to retrieve and exchange information or to discuss opinions in order to achieve an outcome that

is not primarily of a linguistic nature”, for example solving a problem, arriving at a decision,

reaching an agreement, etc. (Grimm, Meyer, and Volkmann 2015, 69). With regard to literature,

tasks can be defined as “pedagogical acts of mediation between literary texts and learners”, as

their function is “to help learners engage with literature in aesthetically motivated, personally

meaningful, and dialogue-friendly ways” (Delanoy 2015, 29).

Moving to cooperative learning forms, they assign a core role to social learning, placing

high emphasis on group work. This implies that reaching learning objectives works by means

of collaboration within a low anxiety climate. Ideally, four heterogeneous learners form a home

group within which the negotiation of meaning and the practicing of turn-taking and active

listening takes place. Temporary group switching is intended, for example for exchanges within

expert groups. Clear instructions and tasks are however prerequisite for efficient group work.

Characteristics of successful teamwork that are fostered with this approach comprise, according

to Johnson and Johnson, positive interdependence – one for all and all for one, face-to-face

promotive interaction, individual accountability, social skills, and group processing - reflections

on quality and possible improvements (Grimm, Meyer, and Volkmann 2015, 72–74).

Finally, I would like to mention performance-based approaches, as they are of particular

interest with regard to working with literature. A central aim is of course fostering the learners’

sense of engagement as well as their willingness to interact with the foreign language text.

Empathetically, “learners are asked to actively take up another person’s perspective, to

imaginatively swap places with a literary character or protagonist of a film and thus interact

with the text or film more deeply and - hopefully - with more motivation (Lütge 2018, 189).

Lütge suggests a variety of creative activities, as for example role-plays, recitations, improvised

dialogues, staged scenes, nonverbal text responses - pantomime, nonverbal presentation of a

monologue, or verbal improvisations - changes in intonation, volume and pitch (Lütge 2018,

189). Other interesting activities can be freeze-frames, short sketches based on role-cards,

simulating a talk-show, answering questions as a character, etc. (Grimm, Meyer, and Volkmann

2015, 189).

In conclusion, I want to stress the pluralistic notion underlying the abundance of

methodological tools, thus denying any superiority of one over another. However, I consider it

a crucial ability for teachers to discover which tool to employ for accomplishing certain goals

and finding out which ones are more suitable or efficient than others. At the same time, I would

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like to issue an appeal to testing and trying unfamiliar ones to expand one’s own methodological

abilities.

2.2 Multimedia Learning Environments

Additionally, I want to encourage teachers to take advantage of the vast media repertoire

available and incorporating different tools into the learning environments we create as teachers.

Along with new technological means, new possibilities but also challenges have come up. In

today’s technology-based information society, the need for technological knowledge and

competence on part of the teachers must be stressed. This refers to “knowing the pedagogical

affordances and constraints of a range of technological tools”, and how the application of

particular technologies can influence the representation and understanding of a subject matter.1

(Grimm, Meyer, and Volkmann 2015, 24–25) Media are to be seen as an essential component

of contemporary communicative language teaching, as they offer enriching opportunities to

learning processes. (Schmidt and Strasser 2018, 211) Hence, emphasis should be laid on how

different tools can be methodologically exploited to enhance the achievement of specific

learning goals. (Schmidt and Strasser 2018, 218) In this regard, I do not want to argue for

avoidance of analogue media. On the contrary, I support the opinion that from the vast repertoire

of media at our disposal - digital, interactive, and analogue tools, teachers need to be able to

choose the most efficient one for a variety of tasks to guarantee alternation in teaching

procedures and learning enhancement. The meaningful integration of different media in the

lessons can help to make tasks more appealing and hence increase motivation. Additionally, the

multisensory nature of a complementary approach concerning printed and digital media allows

for individualization and creativity (Schmidt and Strasser 2018, 219–21). In a nutshell,

“teachers have to be open-minded towards technological developments and understand the

affordances and limitations of both existing and newly developing technologies” (Viebrock

2018, 54).

1 See 2.2.2 for more details

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2.2.1 Multimodality and Multimediality

With rising tendency literary texts deviate from a monomodal format of written texts, including

multimodal ones such as picturebooks, comics and graphic novels, songs or hypertext (Bland

2018, 7) (Delanoy 2018, 143). Lütge points to the potential of multimodal literature in the

foreign language classroom for fostering visual-, film- and critical literacy2 and for facilitating

understanding, using images as a narrative scaffold (Lütge 2018, 191). I am arguing for a

combined use of both the film and the respective literary text in the EFL classroom. This use of

different media, however, affects reception and understanding on parts of the receiver. As I

want to adopt this complementary approach, the impact of multimodality and multimediality

needs to be taken into account. In the case of ‘Bend it like Beckham’, the book is an adaptation

of the film based on the screenplay. My argumentation relies on the assumption that this

complementary approach allows for shortcomings of the one mode to be compensated by

advantages of the other mode, and vice versa, in a classroom context. First, the term

‘multimodality’ will be explained in more detail before distinguishing it from the term

‘multimediality’.

According to Hallet, a mode can be defined as a semiotic resource used as a means of

articulating discourse and of producing cultural meaning, for example photographs, newspaper

articles, handwritten letters, etc. Media, on the other hand, refer to the physical and material

resources used in the production of semiotic products and events. The tools and well as the

material means that are used for expression account for media, for example music instrument

and air. In conclusion, modes are abstract semiotic concepts, for example genres (newspaper

article compared to novel about same topic), and can be realized in more than one medium.

(Hallet 2009, 129). Semiotic approaches offer explanations concerning the interplay of different

modes of meaning, including written-linguistic modes, visual and oral modes as well as tactile,

gestural and spatial modes (Delanoy 2018, 143-144).

2.2.2 Adaptation Theory

Working with both film and book, as I intend to do, means working with the same story in its

different realizations regarding mode and medium. Here, adaptation theory comes into play.

Teachers need to be aware of how different modes of engagement affect reception and how to

2 For more details regarding literacies see 3.1.1

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take advantage of the peculiarities of the different modes. With regard to ‘Bend it like

Beckham’, the film’s adaptation is of high fidelity, however, I want to elaborate aspects that go

beyond the fidelity discourse, conceptualizing adaptations as aesthetic works in their own right

and valuing the specific aura conveyed to each adaptation. A definition of the concept will be

offered based on Hutcheon and O’Flynn’s theory of adaptation. From a broad theoretical

overview that includes the different forms of adaptations, the adapters as persons, the audiences

their modes of engagement and the contexts of adaptions, I can only place a narrow focus on

the perspective of the reception process and the various modes of engagement here.

Adaptations are defined by their double nature, as they are aesthetic and autonomous works

in their own right but, at the same time, they can only be theorized as adaptations due to their

relation to a prior work. Hence, Hutcheon and O’Flynn argue, when analyzing adaptations the

criterion of fidelity should not be the only focus, conceptualizing adaptations as repetitions

without replication. Two perspectives in theorizing the term ‘adaptation’ can be distinguished:

adaptation as a product or formal entity, and as a process, be it a process of creation or of

reception (Hutcheon and O'Flynn 2013, 6–7). As a product, an adaptation can be described as

the transposition of a work attained by transcoding it. Thereby, a shift of medium, genre or

frame (context) can occur. As a process of creation, adaptation encompasses acts of

reinterpretation and recreation, offering the possibility for adapters to include creative

reanimations. As a process of reception, adaptation can be attributed to a form of intertextuality,

which refers to the difference in experiencing a work when knowing the preexisting work.

Hutcheon and O’Flynn explain that adaptations are experienced as “palimpsests through our

memory of other works that resonate through repetition with variation”. That requires an

understanding of adaptations as derivative, as second works without being secondary

(Hutcheon and O'Flynn 2013, 7–8). In summary, adaptations can be defined as products and as

processes of recreation and reception, which allows for more interpretative stances than

explored by traditional fidelity discourses. Through this double vision, the focus on source-

orientation expanded to medium-specificities and relations among modes of engagement

(Hutcheon and O'Flynn 2013, 16–22).

The modes of engagement are of particular interest for the reception process and hence for

the classroom context. An audience can engage in the telling-, the showing-, or the interacting

mode, each to be experienced through a variety of different media. “[N]o one mode is inherently

good at doing one thing and not another; but each has at its disposal different means of

expression – media and genres – and so can aim at and achieve certain things better than others”

(Hutcheon and O'Flynn 2013, 24). In other words, as much as certain media are enabling, they

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are constraining at the same time; all modes of engagement are immersive, but in different ways

(Hutcheon and O'Flynn 2013, 22).

Subsequently, I want to devote special attention to the telling and the showing mode.

In the telling mode as in narrative literature, engagement takes place in the realm of the

imagination, which is unrestricted by the visual and aural dimension but at the same time

narrowed by the words that direct thought processes. “We can stop reading at any point; we can

re-read or skip ahead; we hold the book in our hands and feel, as well as see, how much of the

story remains to be read” (Hutcheon and O'Flynn 2013, 23). In the showing mode as in films

and stage performances, the realm of direct perception is addressed, in which the story is

persistently forward driving compared to the telling mode. However, visual and gestural

expressions evoke manifold associations. “[…] Music offers aural ‘equivalents’ for characters’

emotions and, in turn, provokes affective responses in the audience; sound in general, can

enhance, reinforce, or even contradict the visual and verbal aspects” (Hutcheon and O'Flynn

2013, 23). This direct perception can be further differentiated between being shown a

performance on stage and a film on screen (Hutcheon and O'Flynn 2013, 27).

Lastly, the communicative context needs to be considered, since these reception- and also

creation processes never occur in a vacuum. “We engage in time and space, within a particular

society and a general culture. The contexts of creation and reception are material, public, and

economic as much as they are cultural, personal, and aesthetic” (Hutcheon and O'Flynn 2013,

28).

2.3 The Common European Framework of Reference

The Common European Framework of Reference serves as a vehicle for promoting quality in

second/foreign language teaching (Council of Europe 2018, 23). In the following, I want to lay

a focus on the CEFR, starting with an outline of the action-oriented approach to language

learning. Next, the definitions of competences will be explored along with elaborations of the

communicative language activities, which replace the traditional model of the four skills. Each

activity - reception, production, interaction and mediation - will be briefly summarized, as they

provide a guideline for articulating teaching aims.

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2.3.1 The CEFR Continued

The use of the CEFR is recommended as “a tool for coherent, transparent and effective

plurilingual education in such a way as to promote democratic citizenship, social cohesion and

intercultural dialogue” (Council of Europe 2018, 25). Thereby, it does not propose any

particular pedagogic approach but centers on language learning principles and the social nature

of language use, defining learners as language users, as social agents and as plurilingual,

pluricultural beings. Hence, reflecting the paradigm shift, language learning as a means of

communication is promoted by empowering the learner regarding engagement and autonomy

(Council of Europe 2018, 26–27). “The CEFR broadens the perspective of language education

in a number of ways, not least by its vision of the user/learner as a social agent, co-constructing

meaning in interaction, and by the notions of mediation and plurilingual / pluricultural

competences” (Council of Europe 2018, 26).

Such a view implies an understanding of language “as a vehicle for communication rather

than as a subject to study” A focus is placed on equipping learners with communicative abilities

(A1-C2) for real-life situations, allowing them to express their communicative interests and

accomplish a multitude of tasks. In this regard, the CEFR promotes an action-oriented

educational approach and extensive use of target language in the classroom, which is

emphasized through collaborative real-life tasks with specific communicative aims, whereby

language is not the primary focus. The co-construction of meaning through interaction requires

a balance between teacher-centered instruction and collaboration between learners. Thereby, a

proficiency approach building on ‘can do’ descriptors is adopted, which highlights those

features that learners have acquired, as opposed to a deficiency approach (Council of Europe

2018, 26–27).

In the CEFR, ‘proficiency’ is a term encompassing the ability to perform communicative

language activities (can do…), whilst drawing upon both general and communicative

language competences (linguistic, sociolinguistic, and pragmatic), and activating

appropriate communicative strategies. (Council of Europe 2018, 32)

Lastly, I want to refer to the three new scales that were added in the companion volume

published 2018, which are relevant for teaching literature: (1) Reading as a leisure activity, (2)

Expressing a personal response to creative texts, and (3) Analysis and criticism of creative texts

(Council of Europe 2018, 51). This indicates a reestablished interest in literature, which might

be related to the different educational approach in teaching with literary texts and to the

extended understanding of what is considered as such.

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2.3.2 Competences

The CEFR defines two broad competence areas in language learning, communicative language

competences as well as plurilingual and pluricultural competences. Here, I will outline both in

more depth and indicate interesting conceptual aspects.

Communicative language competences are always combined with general competences

and consist of linguistic, sociolinguistic and pragmatic competences. These general

competences include the individual learners’ knowledge - savoir, skills and know-how - savoir-

faire, existential competence – savoir-être and the ability to learn – savoir apprendre (Council

of Europe 2018, 29–30) (Council of Europe 2001, 11–13). Linguistic competence encompasses

the general range of language at the learners’ disposal, their vocabulary range, grammatical

accuracy as well as vocabulary-, phonological- and orthographic control. What needs to be

highlighted are shifts in the notions of grammatical accuracy and phonological control.

Accuracy does not increase in a linear manner; in fact, inaccuracies become more frequent

during complex tasks or with a more independent and creative language use, a tendency that

needs to be taken into consideration. As to phonological control, the native speaker’s

pronunciation is no longer seen as the target, shifting the focus towards accent and accuracy

and increasing intelligibility with progression (Council of Europe 2018, 130–37) (Council of

Europe 2001, 13). Sociolinguistic competence is defined by sociocultural conditions of

language use and sociolinguistic appropriateness, including politeness conventions, register

differences, linguistic markers of social relations and recognizing sociocultural cues followed

by appropriate reactions. Pragmatic competence regards the functional dimension of concrete

contextual language use in the (co)construction of meaning. It requires flexibility in adapting

to situational demands, turntaking in discourse, thematic development, cohesion and coherence,

propositional precision, which is the ability to articulate a message exactly as wished, and

spoken fluency, thus accessing the linguistic repertoire with ease (Council of Europe 2018,

137–44) (Council of Europe 2001, 13–14). In sum, the complex interplay of these intertwined

abilities is what the CEFR defines as communicative language competence.

Moving to plurilingual and pluricultural competence, the CEFR builds on the notion that

the languages and cultures learners experience are not stored in separate mental compartments

but that all this interrelating and interacting knowledge pools as one enormous resource that

learners can mobilize. This shift in understanding has led to a reformulation of the overall goal

in language learning, from a balanced mastery of all the languages that are learnt to the ability

to modulate their application as required by the social and communicative situation. Further

concepts that were included in the notion of plurilingual and pluricultural competence embrace

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for example dealing with ‘otherness’, acting as an intercultural mediator, exploiting knowledge

of familiar languages to understand new ones and an attitude of openness and curiosity (Council

of Europe 2018, 157–58).

Enhancement of learners’ plurilingual and pluricultural competence involves building on

pluricultural repertoire, plurilingual comprehension and building on plurilingual repertoire.

Building on pluricultural repertoire includes sensitivity to differences while retaining a neutral

but critical stance, also with regard to overgeneralizations and stereotypes and awareness that

cultural diversity might create the need to deal with ambiguity, which refers to the ability to

adjust reactions and to modify language. Furthermore, it refers to an understanding that

different cultures have other norms and practices, thus actions might be perceived differently

and behavior might indicate deviations. Using similarities as a basis for communication and

anticipating risks of misunderstanding also belongs to this category. Plurilingual

comprehension comprises the capacity to exploit all linguistic resources at the learners’ disposal

for communication purposes, drawing on cues and similarities while being aware of ‘false

friends’, and on information from sources in different languages. Building on plurilingual

repertoire, similarly to both previous categories, encompasses the exploitation of all available

language knowledge in a multilingual context and in situations where mediation is required, as

when other interlocutors cannot resort to a shared language. In this respect, flexible adaptation

is necessary as well as the ability of alternating between languages (Council of Europe 2018,

157–62).

2.3.3 Reception

Reception describes the procedure of receiving and processing input. Thereby, schemata needed

for generating a representation of meaning are activated. Then, a hypothesis regarding the

communicative intention is constructed and double-checked by involving co- and contextual

cues. Reception activities distinguish an aural, a visual and an audiovisual dimension. Aural

reception refers to one-way listening situations, visual reception to reading written input and

audiovisual reception to watching films, videos or TV programs. Reception strategies involve

identifying cues and inferencing (Council of Europe 2018, 54).

As for listening comprehension, the CEFR indicates four different activities: (1)

understanding interaction between other speakers, (2) listening as a member of a live audience,

(3) listening to announcements and instructions and (4) listening to audio media and recordings.

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In reading comprehension, five activities are distinguished according to reading purpose and

genre: (1) reading correspondence, (2) reading for orientation, (3) reading for information and

argument, (4) reading instructions and (5) reading as a leisure activity, including literary texts.

(Council of Europe 2018, 54, 60). Audiovisual reception as a separate category includes live as

well as recorded filmic material (Council of Europe 2018, 65–66). As a case is made for the

inclusion of literary texts and films in the EFL classroom, the categories of reading as a leisure

activity and audiovisual reception are of particular interest for the scope of this thesis.

2.3.4 Production

Productive activities include formal as well as informal speaking- and writing processes, yet

excluding interactive production, which is treated as a separate category and will be described

in the following section. As far as formal production is concerned, practicing plays a crucial

role.

Productive activities, spoken and written, have an important function in many academic

and professional fields (oral presentations, written studies and reports) and particular social

value is attached to them. […] Ability in this more formal production is not acquired

naturally; it is a product of literacy learnt through education and experience. (Council of

Europe 2018, 68)

This implies for learners to acquire a certain familiarity with the conventions of different genres,

and articulateness and fluency for speaking purposes. Strategies in production comprise

planning, compensating and monitoring and repair (Council of Europe 2018, 68).

Regarding spoken production, five activities are distinguished: sustained monologue in (1)

describing experience, in (2) giving information, in (3) putting a case, as well as (4) public

announcements and (5) addressing audiences (Council of Europe 2018, 68–69). Concerning

written production activities, a distinction is drawn between (1) creative writing and (2) written

reports and essays. Whereas in (1) the focus is placed on personal and imaginative expression,

(2) implies more formal writing (Council of Europe 2018, 75–77). Spoken and written

production come into play as possibilities of responses to the visual and audiovisual receptive

input.

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2.3.5 Interaction

Interaction can be defined as the co-construction of discourse involving two or more parties. In

addition to spoken and written interaction, the component of online interaction needs to be taken

into consideration. Strategies that can be applied regard turn-taking, cooperating as well as

asking for clarification (Council of Europe 2018, 81). Within the area of spoken interaction,

the CEFR indicates nine different activities: (1) understanding the interlocutor, (2)

conversation, (3) informal discussion and (4) formal discussion, (5) goal-oriented cooperation,

(6) obtaining goods and services, (7) information exchange, (8) interviewing and being

interviewed, and (9) using telecommunications (Council of Europe 2018, 82). In written

interaction, two activities are distinguished: (1) correspondence, and (2) notes, messages and

forms. While (1) refers to written exchanges of mostly interpersonal nature, (2) regards the

transfer of information. An essential feature of interactive writing is the resemblance to spoken

language, including tolerance for inaccuracies and lower priority given to careful elaboration

of text structures. Thus, these activities allow learners to apply strategies like repairing

misunderstandings and asking for clarification or for help with formulation (Council of

Europe 2018, 93).

The category of online interaction again comprises two activities: (1) online conversation

and discussion, and (2) goal-oriented transactions and collaboration. Hence, a distinction is

drawn between online communication for expressive purposes and for pursuing a concrete goal.

Distinctive features of online interaction include for example the multimodal nature and great

variety of different virtual spaces and the use of symbols, images or other codes to compensate

for the lack of gestures, facial expressions or tone (Council of Europe 2018, 96, 98).

2.3.6 Mediation

The CEFR introduces the concept of mediation as enabling communication between parties that

are not able to communicate directly, which involves the receptive as well as the productive

mode (Council of Europe 2018, 32). Thereby, the learner assumes the role of the social agent

and helps to construct meaning or to pass on information in an appropriate form, a task that

may as well embrace cross-linguistic and cross-cultural mediation (Council of Europe 2018,

103). All different mediation activities share the underlying principles of putting the needs of

the people one is mediating for over own ideas and to develop sufficient empathy for

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understanding the viewpoints of all the participants involved (Council of Europe 2018, 106).

“The term mediation is also used to describe a social and cultural process of creating conditions

for communication and cooperation, facing and hopefully defusing any delicate situations and

tensions that may arise” (Council of Europe 2018, 106). Mediation activities comprise

mediating text, concepts and communication, which I will outline in more detail.

Mediating a text includes: (1) relaying specific information, (2) explaining data, (3)

processing text (4) translating a written text, (5) note-taking (lectures, seminars, meetings, etc.),

(6) expressing a personal response to creative texts (including literature) and (7) analysis and

criticism of creative texts (including literature). While the former descriptors concern

communicating interpretations of texts that individuals cannot access due to linguistic, cultural,

semantic or technical barriers, the latter focus on mediating texts for oneself, as in note-taking

and expressing reactions to creative and literary texts (Council of Europe 2018, 106).

Mediation activities with regard to concepts are characterized according to whether the

learner is collaborating in a group or leading the group work. Mediating concepts by group

collaboration implies: (1) facilitating collaborative interaction with peers and (2) collaborating

to construct meaning. Mediating concepts by leading group work denotes: (1) managing

interaction and (2) encouraging conceptual talk. These processes of mediating concepts provide

assistance for individuals who cannot access certain knowledge on their own, as for example in

parenting, mentoring, teaching and training (Council of Europe 2018, 106).

Mediating communication consists of: (1) facilitating pluricultural space, (2) acting as

intermediary in informal situations (with friends and colleagues) and (3) facilitating

communication in delicate situations and disagreements. The mediator is in charge of

facilitating understanding between learners who have different standpoints, and of maintaining

a positive dynamic among the participants (Council of Europe 2018, 107).

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3. Focusing on Literature in Teaching

This chapter aims to outline the tremendous potential for language- and cultural learning by

integrating literary texts and films into the EFL classroom, to propose a timely theoretical and

methodological approach for teaching literature, and to anticipate possible challenges.

Educational standards confirm that literature constitutes a significant part of foreign

language education. In exploring the relation of language learning to literature, Barnett goes as

far as to approach language, literature and culture as naturally intertwined (Hall 2015, 3). In

Defining the concept of Literature, my understanding of the term will be explained as a starting

point for discussion, and the related concepts of aesthetic reading and multiple literacies will

be elaborated.

Subsequently, I want to draw on the assumption that humans are story-telling beings (Hall

2015, 38). Literary narrative should thus be of great interest for educators for a number of

reasons. In A Rationale for Teaching Literary Texts and Films in the EFL Context, these reasons

will be outlined in detail, categorizing them into four main dimensions according to Lütge: the

motivational-affective dimension, the aesthetic and formal dimension, the dimension of

language learning and competence development, and the cultural dimension (Lütge 2018, 178–

80). Additionally, I will include viewpoints from other experts in the field - Delanoy, Thaler,

Bonnet, Bland, as well as Grimm, Meyer and Volkmann - to substantiate the arguments.

Next, in Theories and Approaches to Teaching Literature, I want clarify my theoretical

standpoint in using literary texts and films in a classroom setting. Its foundational principle,

however, can be described by quoting the famous author Le Guin: “The unread story is not a

story; it is little black marks on wood pulp. The reader, reading it, makes it live: a live thing, a

story.” In this regard, a version of Reader Response Criticism (RRC) as suggested by Delanoy

will be explained, a theory that emphasizes meaning-making processes through readers’

responses to the input. With reference to the agenda of communicative language teaching as

outlined in the previous chapter, the approach taken by RRC is in line with the fundamental

pedagogic principle of learner orientation.

These theoretical frameworks serve as a basis for methodological realizations. In Teaching

Methodologies, the three-step structure of pre-, while-, and post-reading/listening/ viewing has

proven itself as a useful guide through the complex stages of text comprehension (Surkamp and

Yearwood 2018, 101). The three phases will be elaborated on in more detail, accompanied by

suggestions of different tasks and activities. Finally, possible educational challenges will be

addressed with regard to teaching literature.

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3.1 Defining the Concept of Literature

Due to a variety of broader and narrower definitions of the concept of ‘literature’, my

understanding of the term needs to be clarified. In general, literary texts can be distinguished

from non-literary texts, as they rely on the two basic criteria of reality and ambiguity. Contrary

to referential texts that express facts, literary texts contain fictional settings and characters

created by an author. Thus, referring to Nünning and Nünning, they cannot be judged as true or

false, instead they allow for various interpretations. Due to this internal ambiguity, literary texts

carry multiple potential meanings. This implies that learners should be free to construct their

own interpretations, and that a single ‘true’ interpretation that teachers could insist on does not

exist (Thaler 2008, 16–17). For individual readers this means that they are offered manifold

possibilities for subjective responses in actively making sense of a text. This way of reading is

referred to as aesthetic reading, as opposed to efferent reading that is applied for retrieving

information of factual texts (Grimm, Meyer, and Volkmann 2015, 180). A more detailed

explanation of aesthetic reading will follow in the subsequent section.

Having set non-literary texts apart from literary texts, further distinctions can be made

within this category. Literature with a capital L comprises the classical texts, i.e. Shakespeare,

Dickens, Austen, etc. Literature with a small l on the other hand includes anecdotes, pop song

lyrics, advertisements, newspaper headlines, etc. Thus, the criterion for differentiation lies in

the texts’ aesthetic quality (Thaler 2008, 16). However, works of exceptional aesthetic quality

are also of considerable linguistic complexity. As both categories offer valuable sources for

teaching, I can only recommend implementing a large variety of different literary texts and

genres, provided that they are in line with the learners’ proficiency level and that they can be

connected to their interests.

As far as genres are concerned, they are sociocultural constructs that further categorize

texts according to their generic features, which are characteristics related to content, form and

function (Thaler 2008, 18). I want to emphasize that I primarily address narrative texts within

the scope of this thesis, however, I do by no means intend to downgrade lyrical or dramatic

texts.

Concluding, I favor an extensive definition of what constitutes literature, including

different text types and multimodal texts (i.e. films, songs, picture books, graphic novels, etc.),

thus addressing new reader groups and a greater audience (Delanoy, Eisenmann, and Matz

2015b, 2015a, 7–9) (Delanoy 2018, 143). With regard to the EFL context, choosing an

appropriate literary text or film depends on the specific learner group and the learning goals. In

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general, the text or film should be relevant and appealing to young adults and, having cultural

learning objectives in mind, address culture-related themes. In this regard, the students’ age is

also a factor of utmost priority. Thus, young adult novels can be highly recommended, as they

are written for an adolescent audience and feature characters of the same age group (Bland

2018a, 13). In terms of cultural learning potential, migrant and minority group literature and

postcolonial literature can also be considered as particularly interesting for these teaching

purposes (Bland 2018a, 8).

3.1.1 Aesthetic Reading and Multiple Literacies

In this section, I would like to offer a more in-depth explanation of ‘aesthetic reading’, thus

highlighting the significance of conceding learners the possibility to engage in this process. In

connection with aesthetic approaches, I want to address the conception of multiliteracies and

critical literacy.

With reference to Grimm, Meyer and Volkmann, I want to give an impression of the

spectrum of meaning embraced by the term ‘aesthetic reading’:

Aesthetic reading means sharing the perspective of fictional narrators and characters,

predicting future developments, and appreciating the artfulness of the text. Aesthetic

reading brings ‘dead’ words on the page to life in the reader’s imagination if the reader is

willing to get involved in the experience of other minds and worlds […] (Grimm, Meyer,

and Volkmann 2015, 180–81).

The experience of aesthetic reading can be summarized as “emotionally engaging and

intellectually challenging”, initiating reflection upon our primary worlds and adoption of a

critical perspective on sociocultural features (Delanoy 1996, 78) (Delanoy 2018, 142).

According to Bredella, Rosenblatt and Benton, aesthetic reading presupposes readers to get

involved in a story world, which can be seen as a safe space for experimenting with ideas and

feelings. Moreover, an aesthetic reader stance is holistic in orientation, requiring readers to

make meaning from the text as a whole. The reading process is characterized by intense

affective and cognitive involvement, which is facilitated by the distance from the primary

world. However, critical detachment is necessary when reflecting upon the ideas and feelings

evoked by a text (Delanoy 2018, 142-143).

I would like to link this discussion to the notion of literacy, which has become more fluid

with contemporary complexity, demanding for multiple literacies (Bland 2018b, 5) (Schmidt

and Strasser 2018, 214). New media as well as information and communication technologies

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have created the need for a broadened conceptual understanding of ‘literacy’ and definitions

are suggested by different perspectives on new literacies, as for example semiotic, cognitive,

sociocultural or critical perspectives (Baker, Pearson, and Rozendal 2010, 1–3). The original

meaning of literacy as knowing how to read and write is denoted as functional literacy (Bland

2018a, 5). Sheridan Blau proposes the concept of performative literacy, which he defines as

becoming an active participant of the text, and it is developed through literature learning

(Delanoy 2018, 146). According to Bland, aesthetic engagement with literary texts can be

referred to as literary literacy. Other forms of literacy are for example information literacy,

knowing how to obtain information in the internet wisely and skillfully, and visual literacy,

knowing how to read pictures deeply and critically (Bland 2018a, 5). Digital literacy refers to

knowing how to navigate within digital environments, (Schmidt and Strasser 2018, 214) and

media literacy encompasses knowing how to engage critically with messages produced by the

media (Bulger and Davison 2018, 3). Critical literacy comprises knowing how “to read all texts

critically and understanding their manipulative power” (Bland 2018a, 5).

Aesthetic approaches are often complemented with critical approaches. With language

being embedded in a sociocultural context, it is never applied neutrally. Furthermore, societies

are marked by unequal distributions of wealth and power, which is reflected within the

dominant ideological values that constitute unconscious underlying norms. Hence, deliberating

these silent preconceptions forms a substantial part of critical intercultural competence.

Ideologies of interpreting the world can be suppressive and disseminate falsified collective

systems of norms and beliefs, which favor people in power. Consider, for example, socially and

culturally constructed ideologies that allowed for practices such as segregation and exploitation

to be legitimized. In this respect, critical literacy requires resistant readers who are willing to

participate in emancipatory reflections on both the text and its ideological positions (Grimm,

Meyer, and Volkmann 2015, 183–84). “In sum, critical approaches have adopted cultural

approaches to race, class, and gender in order to uncover the ideological underpinnings of

literature” (Grimm, Meyer, and Volkmann 2015, 184).

3.2 A Rationale for Teaching Literary Texts and Films in the EFL Context

Literary narratives offer a variety of learning opportunities for the EFL context, which I want

to summarize with the four dimensions suggested by Lütge. First I will outline the motivational-

affective dimension, second, the aesthetic and formal dimension, third, the dimension of

25

language and competence development, and fourth, the cultural dimension (Lütge 2018, 178–

80). Obviously, while these dimensions are interconnected they can also be split into different

categories. Volkmann for example uses further subtle distinctions, differentiating between

enhancement of communicative competence, interpretative competence, narrative competence,

stylistic competence, aesthetic and performative competences, and orientation and ethical

responses (Volkmann 2015, 50–53). However, I prefer Lütge’s model because she delimits only

the broadest conceptual areas.

3.2.1 The Motivational-affective Dimension

The motivational-affective dimension comprises the experience of becoming immersed in a

new world and of feeling emotionally involved whilst remaining in a safe space, which should

ultimately evoke personal and individual responses, as opposed to non-fictional texts. These

positive, negative or ambivalent reactions offer great potential for interactional exchange or

creative follow-up activities (Lütge 2018, 178–80). “When the readers are affected by the

narration, it is more likely that they are actively involved in constructing meaning from the text

and actually engage in processes of identification and changing perspectives” (Lütge 2014, 74).

Thus, young adult fiction is regarded as especially appealing for young readers, as they can

more easily relate to the protagonists and their quests. (Lütge 2014, 74) In other words, “[…]

the vivacity and the emotional appeal of literature can trigger strong emotional responses in

readers and influence their understanding of themselves, others, and the world in critical and

empathetic ways” (Delanoy, Eisenmann, and Matz 2015a, 9). Other motivating factors are

ascribed to the use of authentic material and to personal relevance (Thaler 2008, 174). Geoff

Hall denotes literature as a space in which experimenting with feelings as well as with ideas

and language is enabled by means of personally meaningful participation in the intricate story

worlds and the fictional realities of their characters (Delanoy 2018, 145). In this regard, coming-

of-age novels of fiction dealing with developmental tasks3 that are relevant to students, such as

gender roles, child-parent-relationships or intimate relationships, can be highly recommended

(Bonnet 2018, 69).

3 See 2.1.3 for more details

26

3.2.2 The Aesthetic and Formal Dimension

The aesthetic and formal dimension enables learners to encounter formal, genre-specific

features of literary texts and stimulates aesthetic enjoyment of these innovative variations

(Lütge 2018, 179–80). Hence, aesthetic reading can be promoted with literature. Referring to

Benton, by following an aesthetic approach “readers become so engrossed in a fictional world

that they can temporarily shut out their primary worlds”. Ideally, an aesthetically motivated

response also leads to critical questioning of real-world issues (Delanoy 1996, 65). Similarly,

Blau emphasizes the aesthetic possibilities offered by literature in enabling a distanced view on

life concerns, thus encouraging “sanction-free experimentation with feelings and ideas”

(Delanoy 2015, 25). Additionally, Delanoy refers to the educating influence of an aesthetic

experience. (Delanoy 2015, 28).

Involving the dimension of images and films, I want to address the possibility of raising

awareness about techniques that are used to convey meaning and modes of perception.

Moreover, I want to indicate the opportunity of developing symbolic competence4 with the help

of literary texts and films. According to Kramsch, literature is an ideal means for

comprehending how meaning construction is influenced by form in its multifarious dimensions.

Bland argues that multimodal literature can enhance language learning on symbolic levels,

through its potential to invite creative responses (Delanoy 2018, 146).

3.2.3 The Dimension of Language Learning and Competence Development

The dimension of language learning and competence development refers to the potential of

literature to support learners in improving their receptive and productive skills as well as their

linguistic competences - lexis, grammar, and pragmatics. Literary texts and films can be

considered authentic language input from the target culture (Lütge 2018, 179–80) (Thaler 2008,

23, 174). More precisely, they offer incredible linguistic diversity for enhancing receptive skills

including features of written and spoken language as for example different registers, i.e. levels

of formality, and different varieties of the English language. The productive skills in response

to the input can be fostered in numerous ways and embrace various language functions,

particularly creative ones. According to Hall, literature presents a rich source for creativity, and

the importance of experimenting with creative language in communication needs to be

4 For more details with regard to ‘symbolic competence’ see 4.2.4

27

highlighted (Delanoy 2018, 145) (Delanoy 2015, 25). Additionally, literary texts and films can

be used to focus on pronunciational aspects as well as on specific grammatical structures that

are presented within a concrete context. Furthermore, awareness can be raised of different

socio-linguistic conventions to which language has to be adapted as required by certain

communicative situations (e.g. politeness, register, genre, etc.). In sum, literature puts the whole

range of language use on display for boosting language-related skills:

Characteristics and differences of individuals, generations, gender, race, class, periods,

regions, and nations in speaking, feeling, and thinking; diverse genres, such as diary entries,

letters, reports, public speeches, advertisement, or the news; and finally different

discourses, such as psychology, education, medicine, or the law. (Grimm, Meyer, and

Volkmann 2015, 183)

3.2.4 The Cultural Dimension

The cultural dimension embraces the possibilities of literary texts from different countries to

“open windows to the world” and to “contribute to mutual understanding between members of

different cultures” (Thaler 2008, 24). They allow for inter- and transcultural learning through

the encounter of different perspectives and through specific insights into other cultures via the

narrative’s characters (Lütge 2018, 179–80). More precisely, literature presents a great

opportunity for learners to engage in changing or adapting their perspectives, in forming their

identities and in developing cultural awareness and an understanding for otherness, as they can

experience cultural encounters ‘safely’ through the eyes of the narratives’ protagonists.

Experiencing otherness and being actively involved in meaning creation rather than just

learning facts is a valuable criterion that is offered by literature (Alter 2015, 72–74). Another

dimension is addressed by Edward Said, who argues that “literature is a richly textured and

multilayered discourse that can empower people to (self-)critically gain access to complex

realities” (Delanoy 2018, 147). However, a more detailed discussion of cultural learning with

literary texts and films will be provided in chapter four.

3.3 Theories and Approaches to Teaching Literature

Underlying concepts from literary studies and foreign language pedagogy have always had an

impact on teaching methodology (Lütge 2018, 186). Therefore, I want to introduce a theoretical

approach to lay a foundation before moving to the more practical methodological aspects.

28

By combining differing theoretical perspectives, a post-theoretical stance aims for bringing

together such concepts in dialogic ways (Delanoy 2018, 142). The approach to literature

teaching that I would like to present is based on Reader Response Criticism (RRC), a

perspective which itself has continuously broadened its focus, strengthening links with other

focus areas. Subsequently, I want to outline the hallmarks of RRC, thus underlining its

compatibility with principles of CLT. Moreover, it can be highlighted that “scholars

appropriated the balanced model of a dialogue with the text from philosophy (such as

hermeneutics) and reader-response theories (Rezeptionsästhetik) for a learner-centered

approach to English literature” (Grimm, Meyer, and Volkmann 2015, 181).

3.3.1 Reader Response Criticism

Reader response criticism has close ties with other theories and neighboring disciplines to better

capture the complexity of interaction processes between text and readers. However, the

approach of Reader Response Criticism (RRC) that Delanoy suggests is a composite of starting

positions that emanate from reader response pedagogy and power-critical perspectives

(Delanoy 2015, 22-24).

Reader response pedagogy is rooted in hermeneutics and builds on the idea that readers

create meaning from interaction with the text, which validates different interpretations by

learners. As a foundational conception in reader response pedagogy, Rosenblatt’s theory of

interpretation needs to be mentioned, advocating that “individual readers develop their

understandings through the lens of their own beliefs, experiences, and interests” (Simon and

Campano 2015, 478). This view implies a uniqueness to every individual’s dialogic meaning-

making process, depending on the personal associations that are triggered when reading. Thanks

to reader response theories, learners’ subjective encounters with literary texts have become

promoted. (Simon and Campano 2015, 477–78). As the reader draws on real-life experiences

to understand the story world, which in turn helps explaining the real world, cognitive

engagement with narratives can be defined as a two-way process (Bland 2018a, 7). By

centralizing dialogue between reader and literary text, the reading process can be described as

text-guided meaning creation. This notion has been referred to as the so-called interactive

paradigm by Bredella, and as a transactional approach by Rosenblatt. (Delanoy 2015, 22).

29

Power-critical positions in combination with a dialogic agenda5 emphasize the importance

of permitting critical readings where established views following one specific ideology are

questioned, ideally through a multi-perspectival approach. In this regard, Delanoy refers to the

well-known postcolonial writer Chimamanda Adichie who, in a TED lecture, indicates the fact

that stories, one the one hand, have been used throughout history to “dispossess and malign”,

while on the other hand they can also function as a tool for critically empowering and

humanizing people (Delanoy 2015, 22-24). With reference to ‘Bend it like Beckham’, I argue

that different ideological stances are negotiated within one and the same narrative, laying a

foundation for further discussion; therefore I would consider the story world as displaying

multiple perspectives. With reference to the implication of literature concerning hegemonic

discourses and the dimension of critical literacy, the importance of “appreciative and resistant,

ideology-critical reading” needs to be underlined (Delanoy 2018, 143).

In conclusion, principles of communicative language teaching correspond to those of

reader response theories in their focus on the learner/ reader. This orientation towards personal

approaches has shifted interest to text reception, a development that is reflected in the teaching

methodology (Lütge 2018, 186–87).

3.4 Teaching Methodologies

Within the field of teaching methodology, a process-oriented approach for developing receptive

competences has been established, following the three-step structure of pre-, while-, and post-

reading/listening/viewing activities. These phases “serve to facilitate interaction between

learner and text and also support oral and written language production.” (Surkamp and

Yearwood 2018, 101). Moreover, taking the foreign language aspect into consideration, this

sequence also helps reducing linguistic and cultural barriers as well as complexity (Lütge 2018,

187). Before choosing an activity to be applied in the classroom, teachers need to be aware of

the receptive goal, which mostly goes hand in hand with the text genre and the purpose of

reading/listening/viewing, and which should be in line with real life situations (Surkamp and

Yearwood 2018, 102–4). Taking the example of a literary text, one goal can be defined as

stimulating reflection upon the different possibilities to interpret literary texts. Another aim

would be to address issues of perspectivity, i.e. a text’s specific take on certain socio-cultural

5 See ‘dialogic competence’ in chapter 4.3.1 for more details

30

concerns. Dealing with different interpretations can also foster ambiguity tolerance in education

(Lütge 2018, 187). However, approaches focusing on subjective response and reflection should

ideally alternate with approaches of aesthetic and cultural analysis and interpretation, and with

such of creative transformation and performance (Grimm, Meyer, and Volkmann 2015, 189–

90).

In the following sections, the tripartite structure of pre-, while-, and post-reading/

listening/viewing will be explained in more detail along with purposes, goals, and possible

activities that I personally find engaging. However, a brief remark with regard to the three

phases needs to be addressed, as the workflow should by no means become a mechanical and

predictable procedure, which could easily result in boredom (Surkamp and Yearwood 2018,

102).

3.4.1 Pre-reading/listening/viewing

Activities in this phase fulfil a clear purpose - preparing learners for the receptive event and

triggering motivation. They should allow learners to familiarize themselves with the topic and

the associated word fields and to incorporate their personal experience. Hence, prior knowledge

and schemata are activated and new language input is introduced. Typical pre-reading/

listening/viewing tasks include brainstorming activities that use the book cover, the title, the

blurb, the film poster or trailer as a stimulus for making plot-and theme related predictions

(Surkamp and Yearwood 2018, 101–3) (Lütge 2018, 187) (Grimm, Meyer, and Volkmann

2015, 188). In my opinion, pre-reading/listening/viewing activities can also be used for getting

students into a mindset that is conducive to dialogic learning processes6, for example by

including awareness-raising tasks.

3.4.2 While-reading/listening/viewing

While-reading/listening/viewing activities aim to provide structure and support in phases of

active text reception. Teachers need to assist students in comprehension and in coming into

dialogue with the text or film (Surkamp and Yearwood 2018, 101). Enhancing learners’

involvement and interaction with the story and encouraging a more intense reflection can be

6 For more details concerning dialogic cultural learning see 4.2

31

promoted with step by step reading/viewing, with skimming for global understanding/watching

for gist or with scanning/watching for details (Lütge 2018, 187). For redirecting the learners’

focus, observational tasks can be of immense help. Another form of fostering active

engagement with a text or film can be to provide stimuli for learners to reflect upon their

impressions and to articulate their personal reactions to the story. Furthermore, creating a link

between pre-activities and while-reading/listening/watching tasks can further support

aesthetically motivated readings on behalf of the students.

To give some examples, using a graphic organizer for the visualization of the story’s

structure, note-taking and annotating, observing the development of a character and watching a

dialogue without sound to interpret the scene can be useful activities (Surkamp and Yearwood

2018, 101–3). Other activities suggested by Grimm, Meyer and Volkmann are for example

reflecting upon cultural schemata and noticing deviations, gap filling and predicting conflicts

and solutions, inferring meanings, and composing visualizations of characters, settings, events

or action by converting texts into diagrams, sketches, blogs, journals, etc. (Grimm, Meyer, and

Volkmann 2015, 188).

3.4.3 Post-reading/listening/viewing

This phase is ideally used to give learners the possibility to evaluate the reception process,

expressing personal reactions, and to spark active engagement with creative activities that

involve the learners’ interests and new insights (Grimm, Meyer, and Volkmann 2015, 188)

(Surkamp and Yearwood 2018, 102). “Creative tasks encourage the aesthetic transformation of

subjective responses via considerable reflection and problem solving into verbal, visual and

performative expressions” (Grimm, Meyer, and Volkmann 2015, 188) . In this regard, I would

like to present possible post-reading/listening/viewing activities including interactive tasks, the

creation of visual or written products and performance-related activities.

Interaction can be fostered through discussions of identified issues or meanings

(Surkamp and Yearwood 2018, 103). The major topic and the text’s plot structure can be

reviewed, and opinions and values or problems and solutions can be analyzed, as well as

characters and perspectives. In terms of interpretation and evaluation, the text’s subjective,

social or cultural significance can be discussed (Grimm, Meyer, and Volkmann 2015, 188). To

guarantee alternation in discussions I recommend different methodological procedures. My

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suggestion for thematic transfers is to discuss issues within the story’s specific context before

taking the discussion to a macrostructural level.

For engaging in creative or analytical follow-up work and reflecting on the experience,

creative writing activities and text/film transformations can be proposed (Lütge 2018, 187).

With regard to visual or written products, activities can range from writing a review over

composing an additional text by filling a gap in the plot to converting a text into another medium

or genre (Surkamp and Yearwood 2018, 103). Creative writing can be related to aesthetic

reading, considering that the ambiguity and gaps of literature inspire the learners’ imagination

for creating their own texts.

Given some guidance or scaffolding concerning discourse and structure, learners rewrite

beginnings and endings, rewrite the story from another character’s perspective, in another

setting, or in another genre, spell out the concealed thoughts and feelings of characters in

an interior monolog, a diary or a personal letter (Grimm, Meyer, and Volkmann 2015, 188).

Finally, activities that involve performance and role-playing need to be mentioned. In

addition to acting out a scene (Surkamp and Yearwood 2018, 103), activities such as reading

out scenes in separate roles, expressing a character’s emotions, freeze-frames, short sketches

based on role cards, answering questions as a character in an interview or in a hot seat, or

simulating a talk show can be listed (Grimm, Meyer, and Volkmann 2015, 189).

3.4.4 Educational Challenges

The implementation of longer literary texts and films pose a number of challenges that need

careful consideration. In this respect, I will outline the language-, time- and goal conflict and

broach the aspect of assessment.

First, the language conflict resulting from linguistic complexity and density requires

support by the teacher to avoid frustration (Thaler 2008, 175). Referring to Delanoy, language

problems can hinder the students from coming to grips with the text on different levels (Grimm,

Meyer, and Volkmann 2015, 187). With regard to films, learners should be encouraged to move

beyond wanting to understand every word. (Thaler 2008, 175) Pre-reading/listening/viewing

tasks can be applied to facilitate learner engagement, which highlights once again the necessity

for teachers to detect possible difficulties in the planning stage.

Second, the time conflict has to be taken into account, which also determines the way of

structuring the reading/listening/viewing activities (Thaler 2008, 174–76). Concerning the

complementary approach with book and film that I have in mind, I would suggest reading and

33

showing only selected scenes, thus skipping less relevant ones and alternating the channels of

perception. Other advantages of this approach are being able to interrupt at points that create

suspense or that allow for making inferences and predictions, thus reducing the danger of

passive consumption. Besides, these breaks enable a focus on smaller entities that each include

pre-, while-, and after-reading/listening/viewing tasks, thus reducing complexity.

Third, a conflict of goals needs to be considered. Films are usually consumed for

entertainment and relaxation purposes, whereas in the classroom context they are used to

support learning processes. Therefore, teachers should strike a balance between enjoyment and

education, avoiding the overuse of grammar and vocabulary related activities (Thaler 2008,

175–76). Another challenge for the teachers lies in balancing the openness of the process by

allowing for individual interpretations and negotiation of meaning among learners (Grimm,

Meyer, and Volkmann 2015, 187).

Fourth, testing and evaluation with regard to literature often raises questions as to what

precisely should be assessed, language-, reading- or literary aspects, etc., and according to

which criteria individual responses should be judged. Furthermore, a decision needs to be taken

whether to lay a focus on content knowledge or on personal responses (Lütge 2018, 193–94).

In conclusion, I consider the discussed aspects as highly relevant when planning lessons

with literary texts or films to successfully guide the learners through the experience.

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4. Focusing on Culture in Teaching

This chapter sets out to examine how literature can be used to promote cultural learning, what

approaches can be proposed to achieve cultural learning aims and how those can be defined,

and what challenges are to be expected in this regard.

In Connecting the Dots, I aim to interlink the areas of pedagogy, culture and literature,

illustrating the significance of the cultural element in foreign language teaching and the role of

literary texts and films in fostering culture- and language related competences.

The theoretical considerations negotiated in cultural studies also serve pedagogical

interests. In A Glimpse into Cultural Studies, a focus will be laid on conceptualizing the terms

‘culture’, ‘multiculturalism’, ‘interculturality’, ‘transculturality’ and ‘pluriculturalism’ from a

pedagogically motivated perspective. Moreover, explanations of ‘hybridity’ and related ideas

will be provided, such as the ‘third space’. In this regard, renowned thinkers and proponents of

approaches like those of Stuart Hall, Wolfgang Welsch, Werner Delanoy, Wolfgang Hallet and

Homi Bhabha will be referenced. Complementary, the principles promoted by the international

organizations Council of Europe and UNESCO will be added. Then, Michael Byram’s

foundational notion of ‘intercultural communicative competence’ will be discussed along with

Claire Kramsch’s extended conceptual framework of ‘symbolic competence’.

In the preceding chapter, RRC was proposed as theoretical framework for literature

teaching that foregrounds reading/watching as a dialogic process of meaning creation, as the

individual constructs it in engaging with a text/film. Such dialogic approach will also be

suggested with respect to cultural learning processes that incorporate literary texts. In

Structuring Dialogic Learning Processes in Cultural Contexts, a case will be made for the

adherence to a particular structural organization of cultural learning processes, building on a

model proposed by Delanoy. Such careful structuring intends to guide students towards

reaching cultural learning aims and competences. As previously outlined, learners are required

to develop an aesthetic reader stance characterized by intense involvement and critical

reflection for working with literary texts (Delanoy 2018, 154). In this section, I will inform

about the additional development of a dialogically competent stance on cultural encounters,

allowing for successful negotiation of differing viewpoints and ambiguous aspects. Ensuing, I

will present Delanoy’s model that consists of an evocation phase and an interpretation phase.

In the former, teachers guide their students through the stages of feeling like reading, getting

into the text, living through the text, and getting out of the text. In the latter, the teachers’

guidance through the stages of collecting responses, modification, nucleation and transfer is

35

required. Delanoy’s steps for structuring dialogic cultural learning processes with the help of

literary texts roughly correspond to the three-step structure of pre-, while- and post-reading

(Grimm, Meyer, and Volkmann 2015, 187). Complementary, I want to suggest Seletzky’s

model for developing a positive affective response and Delanoy’s model of perspective-taking

on the basis of Selman’s ideas.

Lastly, the section Educational Challenges attempts to summarize the demands that

teachers have to meet for realizing cultural learning aims with literary texts.

4.1 Connecting the Dots

In an attempt of interlinking the previous subject areas of teaching and literature with that of

culture, the following sections serve ultimately to connect the dots. I will focus on culture with

relevance to teaching as well as literature as a means for teaching culture before I come to

questions of cultural studies. I need to remark that I have been using the term ‘cultural learning’

with the intention of referring to all possibilities of cultural learning experiences: intra-, inter-

and transcultural experiences.

4.1.1 Culture in the EFL Context

Language is used in a cultural context, which in turn is reflected in the language and in ways of

communicating. This notion implies for foreign language teachers to provide their learners not

only with the linguistic means but also with these cultural contexts and as a further step in

supporting of understanding these contexts to ensure successful communication. To reinforce

this argument with an example, Freitag-Hild uses the context of daily school experiences. If

compared to that of German-speaking countries, the British context differs greatly in terms of

school uniforms and the American system in terms of sports. Lacking this understanding of

cultural context might impede a successful exchange about this topic between learners from

these countries (Freitag-Hild 2018, 159). Culture pedagogy is concerned with approaches of

how to teach culture in foreign language education, drawing on discourses from cultural studies.

In this regard, the following subchapters aim at defining the complex concept of culture and to

present pedagogical principles as well as learning objectives for the EFL context.

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4.1.2 Literature as a Means for Cultural Teaching

Literature can be defined as both a reflection of culture as well as a reflection on culture

(Grimm, Meyer, and Volkmann 2015, 182). In this regard, the crucial role of literary texts and

films in enhancing inter- and transcultural understanding has been highlighted repeatedly, as

(unfamiliar) cultures are represented through the narratives (Bland 2018, 3). I want to present

two quotes that outline benefits of employing literary texts in the EFL classroom for purposes

of inter- and transcultural learning.

Literary texts and films are authentic cultural products and can provide insights into foreign

cultures and contexts. This is based on the assumption that fictional characters and settings

can help develop an understanding for other norms, values and word views. Encountering

alternative worlds, changing and coordinating perspectives, developing empathy and

sensitivity – these are most commonly referred to as central cornerstones of inter- and

transcultural learning with fictional texts (Lütge 2018, 181–82).

The sharing and coordination of diverse perspectives in literature trigger processes of

empathy, sympathy and recognition – or resistance. This process of adopting and changing

perspectives (in terms of overt and covert assumptions) helps to make sense of oneself and

others in complex social situations and across cultural boundaries. Therefore, literature,

especially about intercultural encounters and misunderstandings in so-called critical

incidents, is of particular importance to developing intercultural and transcultural

competence (Grimm, Meyer, and Volkmann 2015, 181).

The essence of these quotes lies in highlighting the way literature enables individuals to

experience different social and cultural realities through the eyes of fictional characters, which

allows for realizing inter- and transcultural learning objectives. Algeo encourages the use of

cinematic narratives in the classroom when these are capable of virtually transporting learners

to a distant place and of portraying places and cultures with sensory vibrancy through fictional

characters.

Because movies, through their portrayal of peoples and places, are one of the ways that

students come to know the world, classroom analysis of popular film encourages students

to apply critical thinking to everyday experiences, to uncover ideologies embedded in their

taken-for-granted world, and to be sensitive to the construction of meaning in popular

culture (Algeo 2007, 133).

With reference to Delanoy, cultural learning with literary texts implies exploring and

experiencing a foreign culture. Such an approach demands active learner participation, process-

orientation, the promotion of ‘cultural relativity’, of knowledge about different cultures and of

the way culture is reflected in language use (Delanoy 1993, 278–80). These criteria are in line

with principles of communicative language teaching and mediation/intercultural competence.

At this point, the need for clear conceptual definitions becomes evident.

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4.2 A Glimpse into Cultural Studies

This section aims to define what culture is and how it can be described and understood before

proceeding to aspects concerning the teaching of culture. For this purpose, culture pedagogy

draws on theories from cultural studies, a set of theoretical perspectives for the study of cultural

phenomena (Freitag-Hild 2018, 159–60). Different issues and (historical) contexts entailed a

range of different agendas for cultural studies. To give an example, cultural studies in Britain

set out with great interest in the cultural empowerment of the working class for a more equitable

society, whereas in the U.S and Australia emphasis was laid on indigenous perspectives in

relation with politics. New theoretical concepts continuously came into play, such as gender,

postcolonial and poststructuralist theories. Moreover, the various disciplines that began to

include cultural studies as a point of reference again demanded different focuses. Media studies,

for example, have gained interest in popular culture and its circulation, and pedagogy in new

approaches to teaching culture-related issues. (Delanoy and Volkmann 2006, 11–12).

As a starting point, I want to explain my understanding of ‘culture’ and how this term

should be understood when applied in this thesis. Then, I want to outline the different notions

of culture, multiculturalism, interculturality and transculturality. Furthermore, I will explain the

concepts of ‘hybridity’ and ‘third space’. Finally, I will bridge the gap to the educational context

and discuss ‘Intercultural Communicative Competence’ (ICC) and ‘symbolic competence’.

4.2.1 The Concept of Culture

In defining the term ‘culture’, a focus will be laid on explaining and representing cultural

phenomena in the foreign language classroom for students to develop a holistic and democratic

understanding of the complex concept.

According to the organization UNESCO, “[c]ulture should be regarded as the set of

distinctive spiritual, material, intellectual and emotional features of society or a social group,

and that it encompasses, in addition to art and literature, lifestyles, ways of living together,

value systems, traditions and beliefs” (UNESCO 2001). In more general terms, the commonly

agreed upon description of culture is a set of ‘shared meanings’, as prominently expressed by

Stuart Hall. Furthermore, it needs to be stressed that cultures can no longer be viewed as

bounded, fixed and homogeneous entities. Hence, the modern understanding of culture is

characterized as complex, dynamic and continuously changing, heterogeneous and internally

38

different, therefore ruling out claims of being pure and authentic (Freitag-Hild 2018, 160)

(Delanoy and Volkmann 2006, 12).

Another perspective on culture is offered by semiotics, describing cultural phenomena as

signs that carry meaning (Grimm, Meyer, and Volkmann 2015, 160). In an attempt of

illustrating the concept of culture, a material, mental and social dimension can be differentiated:

(1) The material dimension comprises texts and artefacts, i.e. literature, film, clothing, art,

products of everyday life, etc.

(2) The mental dimension refers to worldviews, ideologies, collective ideas and values,

perceptions of self and other, etc.

(3) The social dimension includes society, social institutions and cultural agents, i.e. education,

administration, individuals, collective groups, etc. (Freitag-Hild 2018, 161)

Another frequently used model for visualizing the complex concept of culture is the metaphor

of the iceberg. Its tip represents the visible and more tangible phenomena of culture such as

food, clothing, music, literature, art and customs, whereas the much bigger part hidden below

the surface depicts the underlying beliefs, attitudes, norms, values, and meanings, which shape

and influence the tangible cultural phenomena in peoples’ minds. This cultural conditioning

represented through the iceberg is different in every culture (Grimm, Meyer, and Volkmann

2015, 159–60) (Volkmann 2015, 56–57).

As far as my understanding of culture is concerned, I do not intend to be evaluative,

stepping away from binary distinctions such as high or low culture and elitist notions, as I see

value in all forms of cultural products and representations. Moreover, my approach is counter-

hegemonic, as I adhere to ‘cultural relativity’, which is defined as “different cultures should be

treated as equal value systems in order to foster tolerance towards cultural diversity” (Delanoy

1993, 279). In addition, I have an anti-essentialist or non-essentialist view on culture. Anti-

essentialism rejects the assumption that words have stable referents, thus language cannot

represent fixed truths or identities. To explain this with an example, Barker refers to notions of

femininity or black identity as descriptions in language that are not fixed and universal but

attain a temporary stabilized meaning through social convention (Barker 2008, 20). In this

sense, an anti-essentialist view holds truth and identity to be “productions of culture in specific

times and places”, as opposed to naturally given universals (Barker 2008, 21). Lastly, I want to

emphasize that culture, tradition, or religion should not be used as a justification for

discrimination and inequality, thus, cultural sensitivity does not mean uncritical acceptance. In

other words, cultural values should not be prioritized when not coinciding with human rights

39

norms. Besides, cultural change is normal and legitimate, having defined cultural systems as

dynamic rather than static (OECD 2000, 5).

In a nutshell, this is the understanding of culture that I want students to develop with respect

to culture-related competences.

4.2.2 Multiculturalism, Interculturality, Transculturality, Pluriculturalism

With respect to concepts of multiculturalism, interculturality, transculturality and

pluriculturalism, I do not intend to outline the various differences in understanding and criticism

in theoretical discourse. Rather, I would like to briefly describe them and to draw attention to

those aspects that I consider of relevance for pedagogy.

Interculturality conceptualizes the dissolving of different cultures, hence creating a new

‘third space’ in between norms, values, beliefs and discourses (Witte and Harden 2011, 2, 5).

In contrast, multiculturalism refers to a notion of cultures coexisting side by side as separate

entities in society (Delanoy 2006, 239). Although this may indeed reflect some people’s

realities, cultural education should strive for promoting a more inclusive and democratic

understanding of culture. Interculturality, for that reason, has been criticized for following a

monolithic understanding of culture with clearly defined boundaries, across which cultural

exchanges take place. As for the concept of transculturality, its characteristics encompass inner

differentiation, complexity and the entanglement with other cultures that goes beyond borders

of national cultures, hence transgressing the idea of homogeneity and separatism (Welsch 1999,

197).

Due to the fact that our world and our societies today are largely influenced by migration,

cultural exchange and the global exchange of information as well as goods, terms like

‘interculturality’ and ‘multiculturality’ have been found to be unsuitable to come to terms

with the growing heterogeneity and entanglements of cultures. (Freitag-Hild 2018, 166).

Hence, modern cultures can be described as transcultural and hybrid. Here, I want to refer to

the intracultural perspective in addition to the intercultural one suggested by Delanoy. His

intracultural perspective defines the negotiation of cultural phenomena “within what people

have perceived as bounded territorial entities such as regions, nation-states, continents (Europe)

or even further reaching areas (e.g. West v. East, North v. South)” (Delanoy 2006, 240). This

perspective seems to balance features that are seen as problematic in the intercultural

approaches in comparison with the transcultural ones. However, hybridization theories reject

40

territorialized concepts. Their notion of culture assumes that they can coexist and mix,

practicing exchange across national boundaries (Delanoy 2006, 233). As Delanoy argues, his

approach is in line with a transcultural understanding, as territory is not perceived as a monolith

and boundaries may be blurred (Delanoy 2006, 241). While some prefer the transcultural

approach and others the intercultural one, Delanoy suggests that a dialogue between the two

can be useful. He assumes a certain compatibility of both approaches, as long as cultures are

regarded as dynamic, heterogeneous and hybrid entities with internal differences.

In terms of education, cornerstones of inter- and transcultural learning include promoting

awareness and understanding of cultural diversity, internal differentiation and hybridity of

cultures and identities. (Freitag-Hild 2018, 168). The importance of “respect for the diversity

of cultures, tolerance, dialogue and cooperation, in a climate of mutual trust and understanding”

is also emphasized in policy documents (UNESCO 2001). The UNESCO refers to this increase

of diverse societies and the resulting cultural diversity as cultural pluralism.

[…] It is essential to ensure harmonious interaction among people and groups with plural,

varied and dynamic cultural identities as well as their willingness to live together. Policies

for the inclusion and participation of all citizens are guarantees of social cohesion, the

vitality of civil society and peace. Thus defined, cultural pluralism gives policy expression

to the reality of cultural diversity (UNESCO 2001).

In the CEFR, pluriculturalism along with plurilingualism is reflected in the new descriptors for

competence development fostering a democratic culture, that is “valuing cultural diversity and

openness to cultural otherness and to other beliefs, world views and practices” (Council of

Europe 2018, 22).7

4.2.3 Hybridity and Third Space

Hybridity and syncretic cultural forms represent a characteristic of modern cultures. Hybridity

can be explained as “[…] the mixing together of different cultural elements to create new

meanings and identities. Hybrids destabilize and blur established cultural boundaries in a

process of fusion or creolization.” In this regard, British-Asians account for examples of hybrid

identities. (Barker 2008, 481) Pieterse defines cultural hybridization as responses that can reach

from assimilation over separation to hybrids that are able to blur cultural boundaries (Barker

2008, 257). Assimilation to a dominant culture might be seen as a necessity for being accepted

by and involved in a society. However, assimilatory approaches implicate the annihilation of

7 For more details see chapter 2.2

41

the ‘Other’, which is an undesirable consequence. Thus, referring to Bhabha, the reformulation

of cultural identity in a post-colonial context is of particular significance. His prominent

conception of the ‘third space’ describes the “interstices between colliding cultures [as] areas

where new and intriguing developments can take place”, allowing for the formulation and

reformulation of new cultural identities. (Naqvi 2015, 53). Aoki’s metaphor of a bridge serves

as a depiction of the ‘third space’, indicating a meeting point between cultures with the

possibility to cross into one another (Naqvi 2015, 54). Hallet, drawing upon Bhabha’s ideas of

‘third space’ transfers the model to the pedagogical context:

[…] The foreign language classroom itself can be viewed as a ‘third space’ for cultural

encounters in which learners are confronted with and acquire previously unknown cultural

meanings. The interplay of texts and cultures is initiated by feeding texts from different

cultural spheres into the foreign language classroom, which are then processed and

negotiated by the learners. (Freitag-Hild 2018, 167)

As a result of exchanging meanings and perspectives, learners become ‘intercultural agents’.

Kramsch has also argued that reading literature in the foreign language classroom enables

learners to position themselves in a virtual third place, a contact zone where mediating between

‘us’ and ‘them’ is facilitated (Grimm, Meyer, and Volkmann 2015, 183). As a redefinition of

this notion, she has proposed the concept of symbolic competence, which will be explained in

the following subchapter.

4.2.4 Intercultural Communicative Competence and Symbolic Competence

With regard to cultural competence development, there are various concepts that differ in focus,

for example intercultural competence, transcultural competence, cross-cultural competence,

critical cultural awareness, intercultural sensitivity, etc. (Witte and Harden 2011, 7). The

concept that I want to describe in more detail is Byram’s prominent model of Intercultural

Communicative Competence (ICC), as it is incorporated in the CEFR. Such an approach

highlights the importance of the sociocultural context and of cultural identities. Moreover, it

reflects the changes concerning cultural learning goals – the role model of the native speaker

being replaced by that of the intercultural speaker (Freitag-Hild 2018, 164). Intercultural

exchanges can be defined as communicative and interactive processes of meaning negotiation

that are symbolically mediated. (Grimm, Meyer, and Volkmann 2015, 159) With reference to

Byram, intercultural communicative competence in its broadest sense is the “capacity to

communicate effectively and appropriately with people of other cultures (Vodopija Krstanovic

42

and Brala 2007, 163). In summary, for such effective and appropriate communication, the

intercultural speaker needs to develop certain attitudes, knowledge and skills that Byram links

to five dimensions. In more detail, (1) attitudes (savoir être) refer to an openness towards

understanding others, whereas (2) knowledge (savoirs) refers to having knowledge of social

groups and intercultural interaction processes. Additionally, (3) skills of interpreting and

relating (savoir comprendre) diverse cultural perspectives need to be developed along with (4)

skills of discovery and interaction (savoir faire), implying the ability to acquire new knowledge

of cultural practices and to participate in real-life communication. Lastly, (5) critical cultural

awareness (savoir s’engager ) regards one’s own and others’ cultural conditioning and how it

influences intercultural encounters (Freitag-Hild 2018, 163–65), (Grimm, Meyer, and

Volkmann 2015, 166–67).

For understanding to what extent our perspectives are culturally determined, we have to

understand that culture is symbolically mediated through words, sounds and images, which

means that “the discourses that surround us (from the media and popular culture to the

conversations we have with others) structure our imaginations and sensibilities and are in turn

structured by them” (Kramsch 2011, 365). Kramsch suggests the term symbolic competence as

a supplement to older notions of communicative competence as well as intercultural

competence, because of its multimodal and ideology-critical make-up (Kramsch 2011, 354)

(Delanoy 2018, 145). “By defining culture as discourse, we are looking at the interculturally

competent individual as a symbolic self that is constituted by symbolic systems like language,

as well as by systems of thought and their symbolic power.” As a symbolic system, discourse

is symbolic representation, action and power (Kramsch 2011, 356–57). She argues that

nowadays, language speakers are multilingual and hold various values and ideologies, and the

input we are confronted with has increased in complexity due to global communication

technologies and migration. Thus, the mere knowledge of communicating meanings is

insufficient for learners (Kramsch 2006, 250) (Kramsch 2011, 355). They need to develop an

understanding for cultural exchanges to be symbolic processes of meaning making, thus adding

a reflexive component that includes three dimensions, a subjective and aesthetic, a historical,

and an ideological dimension.

Symbolic competence does not do away with the ability to express, interpret, and negotiate

meanings in dialogue with others, but enriches it and embeds it into the ability to produce

and exchange symbolic goods in the complex global context in which we live today.”

(Kramsch 2006, 251)

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In this regard, she defines the three central components of symbolic competence as the

understanding of complexity, the tolerance of ambiguity and the appreciation of form (in all its

manifestations e.g. linguistic, textual, visual, acoustic, poetic) as meaning (Kramsch 2006, 251).

Furthermore, she emphasizes the relevance of literature for symbolic learning, as it offers

possibilities for the engagement with complex issues and contradiction, as well as insight into

how form in its various dimensions contributes to meaning construction (Delanoy 2018, 145-

146).

4.3 Structuring Dialogic Learning Processes in Cultural Contexts

In this section, I first want to stress the importance for learners to acquire dialogic competence

with regard to cultural learning processes. Then I would like to present an approach of

structuring dialogic cultural learning processes, building on Delanoy’s model inspired by works

of Rosenblatt, Benton and Fox, as well as Nissen. The model is divided into the phases of

evocation and interpretation, proposing a structure for the process as a whole. With regard to

evocation processes, Delanoy suggests the four stages of feeling like reading, getting into the

text, living through the text, and getting out of the text (Delanoy 2002, 71–75). For structuring

interpretation processes, on the other hand, he defines the four stages of collecting responses,

modification, nucleation and transfer (Delanoy 2007, 110). Additionally, I want to draw

attention to Seletzky’s model of developing a positive affective response, which I regard as

particularly relevant for supporting learners during affective phases of the learning processes.

Lastly, I want to describe Delanoy’s levels of perspective-taking, a model inspired by Selman

that reflects cognitive stages in learning processes (Delanoy 2007, 111–13).

4.3.1 Dialogic Competence

For an exchange of viewpoints with the aim of widening one’s perspective to be successful,

especially within a cultural context, participants need to share a similar notion of dialogue. This

implicates for teachers to establish a classroom atmosphere where learners share this

understanding of dialogue, i.e. via an awareness-raising activity8.

8 See section 6.1

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For a definition of my understanding of the concept of dialogue, I would like to draw on a

hermeneutic perspective as described by Delanoy. His approach is grounded in a hermeneutics

after Gadamer, which is based on the assumption that human understanding is limited and

“dependent on concrete subjects embedded in specific socio-historical contexts” (Delanoy

2007, 103). In other words, this view implies that there is no absolute knowledge and therefore

invites questioning one’s own viewpoints, which are influenced by our cultural make-up. Here,

it is important to point out that people are indeed shaped by culture, however, culture in turn

can be shaped by people. In a learner-oriented pedagogy, learners can explore their

embeddedness in culture and their potential as change agents for themselves through dialogue.

Once a positive acceptance of our limitedness of understanding is established, it can be partly

overcome through confrontation with other viewpoints. Nevertheless, mutual respect must be

an essential condition to ensure learning from and with the other (Delanoy 2007, 103–4). “For

hermeneutics, respect does not stop when the other cannot be comprehended or assimilated.”

Thus, dialogic competence requires a tolerant attitude towards difference, even if it is beyond

grasp or contrary to one’s own position (Delanoy 2007, 104). Respecting the other, however,

implies a critical evaluation of other points of views, while maintaining a self-critical stance.

Concluding, dialogic competence can be regarded as a prerequisite for intercultural as well

as intracultural communication. In a classroom context, teachers are responsible for creating

such zones of contact to allow for cultural learning to occur through dialogue. Once the

principles of dialogue are established, learners can be given the opportunity to continuously

improve their dialogic competence in cultural contexts.

4.3.2 Evocation

With principles of dialogic competence being defined as foundational in dialogic cultural

learning processes, a general approach to structuring these processes with regard to literature

can now be outlined. Hence, I want to present Delanoy’s model that draws on Rosenblatt’s

forms of text engagement, Benton’s and Fox’s ideas regarding the evocation phase, and

Nissen’s propositions for the interpretation phase. (Delanoy 2002, 67). This model suggests a

division of the process into two distinct stages. The evocation stage refers to the “actual

involvement in the cultural encounters”, and is followed by the interpretation stage, which

implies “reflection upon this experience” (Delanoy 2007, 109). First, there will be a description

of the evocation stage with the following subchapter focusing on the interpretation stage.

45

The term evocation can be defined as “the lived-through process of building up meanings

while interacting with texts, people, physical objects, etc.”, implying affective as well as a

cognitive involvement on the part of the learner. Affective involvement refers to emotions such

as approval or disapproval, pleasure or shock and cognitive involvement as regards mechanisms

such as the development of anticipatory frameworks, sensing, synthesizing and reorganizing.

(Delanoy 2007, 109). In other words, aesthetic reading is a complex process that requires

stimulation through phases of evocation and subsequent phases of interpretation. In this regard,

the teachers’ role is to support their students in the evocation phase as to (1) feeling like reading,

(2) getting into the text, (3) living through the text, and (4) getting out of the text. (Grimm,

Meyer, and Volkmann 2015, 187) (Delanoy 2002, 67–70) (Delanoy 2007, 109–11).

(1) The phase of ‘feeling like reading’ serves to provide stimuli for an aesthetic approach to

reading, to activate students’ existing knowledge schemata, and to work on foreign

language or cultural barriers that could prevent learners from getting into the text.

Moreover, interest should be raised to boost students’ motivation for the reading experience

(Delanoy 2002, 71).

(2) The previous phase ideally merges with the phase of ‘getting into the text’. By enabling

learners to build up a relationship to the text before they start with the actual reading

process, entering the secondary world or story world can be facilitated.9 With respect to

longer texts, this also applies to re-entering the story world (Delanoy 2002, 71–72).

(3) The phase ‘lost in the text’ refers to the aesthetically motivated reading experience of living

through a text. Comparable to the notion of aesthetic reading10, this phase implies that

learners have entered the story world and are engrossed in the reading process, open for an

emotional and reflective experience that can lead to new insights. (Delanoy 2002, 72–74)

(4) Lastly, the phase of ‘getting out of the text’ should aid learners in the process of leaving

the story world and in capturing impressions of the reading experience. This is when first

relationships with the text can be deepened, establishing a tie to the interpretation phase

(Delanoy 2002, 74–75).

9 See 4.3.4 - Seletzky’s model for fostering positive affective responses 10 See 3.1 for more details

46

4.3.3 Interpretation

In the subsequent interpretation phase, teachers need to move from letting learners review their

experiences and preliminary grasp to having them modify and expand their understanding. This

can occur through communication with others and by “refocusing on selected aspects of the

text in more depth through the lens of literary and cultural concepts” (Grimm, Meyer, and

Volkmann 2015, 187) (Delanoy 2002, 67–70) (Delanoy 2007, 109–11). Based on this premise,

the interpretation processes should run through the four stages of (1) collecting responses as an

activity of reporting on the evocation process, (2) modification as an activity of reviewing

interpretational stimuli, (3) nucleation as an activity of summing up results, and a (4) transfer

as an activity of creating links to further tasks (Delanoy 2007, 110). I regard this structure as

highly valuable for learners. There is a smooth transition from evocation to interpretation,

allowing learners to process and even review their thoughts in the light of new stimulating input.

Then, the results are gathered again, concluding the task and building a bridge to a related but

different task.

4.3.4 Positive Affective Response

Here I want to propose a model for teaching literary texts that I perceive as highly effective. It

serves as a strategy to get learners to engage emotionally with a story, to tie bonds with the text

and find relevance and interest in getting involved. With reference to Seletzky, the development

of a positive attitude towards the ‘other’ represented in a text is essential, which requires

encountering “positive similarities and attractive differences”. After having established this

positive response, problematic aspects can be addressed. He considers a focus on togetherness

and shared elements as a prerequisite for being disposed to negotiating issues of disagreement

(Delanoy 2007, 111). For teachers, such an approach predominantly concerns the planning

stage, demanding careful elaboration of unifying features for fostering the establishment of such

positive relationships to the presented story world. Simultaneously, awareness of potentially

conflicting arguments is necessary. In my opinion, developing a positive affective response can

support learners in the processes of ‘feeling like reading’ and ‘getting into the text’, as well as

in interpretational stages of working with literature.

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4.3.5 Levels of Perspective – Taking

Delanoy defines perspective-taking as attempts of reconstructing in what ways the other’s

viewpoint differs from one’s own, a process that requires the development of cognitive

competence. He differentiates five levels, ranging from zero perspective-taking over

understanding one and multiple aspects in isolation to understanding interrelations and finally

to understanding basic assumptions on a highly abstract level (Delanoy 2007, 112–13). With

respect to underlying goals of cultural learning - developing a critical approach towards

reflecting and understanding other perspectives, positive acceptance and tolerance of ambiguity

- teachers should aim at supporting learners to reach this high level of perspective-taking.

However, I want to emphasize the procedural nature of such learning, implying that learners

can improve during the process, gradually moving up the scale. As Delanoy points out with

regard to zero perspective-taking, the other cannot be grasped due to emotional, cognitive and

linguistic barriers (Delanoy 2007, 112–13). In such cases, teachers should provide scaffolding

to help learners overcome the respective barriers. To provide an example, a student’s utterance

shows that a negative stereotype has been confirmed. As only one aspect has been grasped in

isolation, other single aspects from the text can be collected in order to lessen its impact and to

place it next to different information (Delanoy 2007, 114). Lastly, it needs to be added that this

model cannot only be applied to learners’ responses but also to the textual input. If, for example,

it is difficult to understand how the issues addressed in a text stand in relation to one another,

the teacher can provide contextual information to facilitate this process (Delanoy 2007, 113).

Concluding, I perceive this model as extremely enriching for the cognitive development

required for perspective-taking in connection with the other two models discussed above.

4.4 Educational Aims and Challenges

Finally, I would like to emphasize the teacher’s role in cultural learning processes, to summarize

the central aims for cultural learning, and to draw attention to possible challenges and obstacles

in literature teaching with regard to cultural and language aspects.

An important observation to be aware of right from the start is that “literature per se does

not necessarily provide a master key for understanding a foreign culture” (Delanoy 1993, 278).

Hall refers to Delanoy’s findings, stating that literary texts are of potential value, emphasizing

the teachers’ role in making them accessible to students by providing appropriate and

48

meaningful activities (Hall 2015, 225). Thus, tasks need to be designed very carefully, as

students might be confronted with sensitive issues and ambiguity brought up by the encounter

of unfamiliar perspectives and life-situations. In this respect, the theories presented in this

chapter offer a number of considerations teachers should be aware of in the interest of cultural

and language-related learning aims.

As proposed by Freitag-Hild, the principles of multiperspectivity, dialogue, and reflection

should be met in task-design. First, multiperspectivity refers to representing “multiple

perspectives and diverse voices” in the EFL classroom, sensitizing learners to the heterogeneity,

hybridity, diversity and complexity of cultures and cultural identities (Freitag-Hild 2018, 168).

It is therefore advisable to introduce texts that reflect the variety of Anglophone literatures

including migrant narratives. A balanced representation of cultural diversity also reduces the

risk that a particular perspective might predominate. Furthermore, it is necessary to offer

different perspectives on an issue, never only a ‘single story’, as coined by the well-known

postcolonial writer Chimamanda Adichie (Delanoy 2018, 152-153) (Bland 2018, 3, 15).

Second, tasks need to provide possibilities for dialogue, where different perspectives and

positions can be negotiated in a climate of respect, tolerance, openness, and curiosity as

described in 4.3.1 (Freitag-Hild 2018, 168) (Delanoy 2007, 103–4). Third, tasks should

encourage critical reflection and distancing of one’s own perspective, thus eliminating

ethnocentric or essentialist notions of culture and identity (Freitag-Hild 2018, 168–69).

Taking into consideration the various sources consulted throughout this thesis, the main

aims in cultural learning for foreign language students can be summarized as follows, relying

on an interplay of affective, cognitive, behavioral and language-related qualities and abilities

(cf. Council of Europe 157-8, UNESCO, Surkamp and Viebrock, Grimm et al., Delanoy,

Kramsch). As I do not intend to give priority to any aspect, they are enlisted in no particular

order and without numbering, summing up to a total of fourteen aims:

- The acknowledgment of cultures and identities being hybrid, heterogeneous, in flux, and

internally different

- The development of a certain openness and curiosity towards cultural otherness and diversity

- Active participation in identifying and interpreting similarities and differences

- Increasing awareness and understanding of and respect for cultural diversity, otherness, other

norms, perspectives, world views and practices

- An increasing ability in changing and coordinating diverse perspectives

- The development of tolerance with regard to difference, ambiguity and unresolved conflict

- An increasing ability in critical interpretation, reflection and evaluation

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- The enhancement of affective qualities, such as sensitivity, empathy, sympathy and recognition

- Considering dissimilarities in behavior and differences in the way actions might be perceived

- An increasing awareness of and willingness to overcome generalizations and stereotypes

- Acting as a cultural mediator who can anticipate and prevent possible misunderstandings

- Heightening the ability to act according to socio-linguistic conventions, as required in particular

cultural and socio-pragmatic situations

- A growing conceptual and factual knowledge of a variety of cultures

- Growth in the understanding of language and discourses as symbolic systems

Concluding, the central challenge for the teacher lies in elaborating task sequences that are

based on the underlying pedagogical principles of communicative language teaching as

explained in chapter two, incorporating the implications of teaching literary texts as presented

in chapter three, while following the ‘guidelines’ for structuring dialogic learning processes

with regard to cultural aspects as outlined in this chapter. As this might seem a highly complex

undertaking at first, my personal strategy is to focus on the learning aims on a macrostructural

level before concretizing specific and topic-bound objectives.

Another challenge for the teacher can be the assessment of cultural learning, as the majority

of learning aims does not concern factual knowledge. Again, the interconnection of aims on a

macro- and microstructure might be helpful in this regard, as well as a clear definition of aims

and purpose of assessment while considering reliability and validity as central criteria for

assessment (Vogt 2018, 251–53).

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5. Teaching ‘Bend it like Beckham’

In this chapter I will finally shift my attention to Gurinder Chadha’s ‘Bend it Like Beckham’

(Chadha 2004) and Narinder Dhami’s book adaptation (Dhami 2018). In this respect, I want to

address some critical considerations that teachers need to be aware of and to demonstrate why

the story’s implementation in the EFL classroom can be recommended.

The section Introducing ‘Bend it like Beckham’ as Literary Text and Film aims to examine

the plot, which is set against the backdrop of a British Asian family in a narrative of cultural

differences, sporting participation and female empowerment. At the beginning, I will

summarize the plot, focusing on the characters and their struggles that evolve throughout the

narrative. Additionally, I will establish a concrete link between the narrative and the discourse

about the interplay of different media as outlined in chapter two.

Similarly, I will build on the foundation from the areas in cultural studies discussed in the

preceding chapter, adding a connection to the contextual reality. In Exploring and Theorizing

the Context of ‘Bend it like Beckham’, necessary background information as well as important

conceptual frameworks in the light of multiethnic societies and migration will be provided. The

subsequent elaboration will reflect ideology-critical aspects related to culturally ‘Others’ in

connection with negotiations of identity and gender.

Next, the section A Critical Stance on Representations of Culture in ‘Bend it like Beckham’

serves as a discussion and confrontation of interpretations in response to the narrative. The

critical analysis will scrutinize representations of culture and identity construction in the

diasporic setting of the film, followed by a separate focus on audio-visual representations. This

occurs under the premise that understanding is limited and therefore I welcome different

perspectives in the exchange of interpretations. Furthermore, I am highly aware of the cultural

lenses I am wearing and that my understanding of the world affects my interpretations. Hence,

I would like to clarify that I am influenced by western ideological notions and cultural values;

however, I have gained experiences concerning the redefinition of identity and a hybrid

perspective due to different extensive stays abroad. Additionally, my responses may be shaped

by my ambitions of teaching cultural concerns. Finally, I will relate my own reception and

interpretation of the narrative to those of renowned critics represented by Katie Algeo, Michael

D. Giardina and Guido Rings.

Concluding, in A Rationale for Working with ‘Bend it like Beckham’ in the EFL

Classroom I will summarize and outline the reasons that advocate the implementation in foreign

language learning contexts.

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5.1 Introducing ‘Bend it like Beckham’ as Literary Text and Film

‘Bend it like Beckham’ is a British independent film about a British-Asian girl and her

ambitions in football on a surface level while touching upon the realm of inequality in power

relations and culture-related conflicts that lie underneath. The story explores what it means to

find oneself in-between cultures and societal expectations. The film’s title explicitly refers to

the physical skill of bending a ball around the defenders to score a goal, for which David

Beckham is well known for, while implicitly hinting at the film’s underlying theme of bending

rather than breaking the rules of traditional cultural frameworks (Giardina 2005, 38). As far as

the setting is concerned, the film was released in 2002, which equals the chronological frame

reflected within film and book – the turn of a new millennium. The story’s events take place in

Southall, London, home of the Bhamra family.

I will present the storyline and the characters as detailed as possible within the limits of a

summary, as familiarity with the plot is a necessity for being able to follow further elaborations.

Next, I will analyze the story with regard to implications of different modalities, media and

modes of engagement, centering on the showing and telling mode.

5.1.1 Synopsis

In summarizing the storyline and introducing the characters, I attempt to stay very objective

and neutral, without including any interpretational concerns. The synopsis refers to Gurinder

Chadha’s ‘Bend it Like Beckham’ as well as to Narinder Dhami’s book adaptation.

The reader/viewer is introduced to the life of Jesminder Bhamra, Jess for short, a British-

Asian teenage girl dreaming of becoming a celebrated football player. At the first introduction

of Jess, her fantasy is far from being realized. The upcoming engagement celebrations of her

older sister Pinky are keeping the family busy. The two sisters’ interests are quite different, as

Pinky is concerned about her fiancée Teetu, the organization of the wedding and the attire

required. Jess prefers spending her leisure time playing football in the park with friends, as for

her, summer break hast just begun after having taken the A-level exams. Her room is decorated

with posters of David Beckham, her idol and ‘listener’ to her problems, as her passion for

football is not understood or shared by her parents and sister. Her parents have migrated to

London from the Punjab area, raising their daughters in London but within the cultural

traditions of the Punjab and the Sikh religion.

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One day, an unexpected opportunity opens up as a girl named Jules spots Jess playing

football in the park. She invites her to a trial at the Hounslow Harriers girls’ side, which Jess

accepts with excitement. She shows her remarkable skills on the football pitch and can

ultimately join the team, being the only Indian girl. She is highly impressed by Coach Joe and

develops a crush on him, but she also presumes that her new friend Jules fancies him too. When

telling her parents about joining a girls’ team, she is hoping they would like the idea of her

playing football if there were no boys involved. Her parents do not share her joy, on the

contrary, they forbid her to play and oblige her to learn cooking the Punjabi cuisine instead.

Consequently, Jess is very upset and tells her dilemma to her Indian friend Tony and to Jules.

They come up with the plan that Jess could pretend to have a summer job when she would

actually go to the training sessions. Jess feels uncomfortable about lying to her parents, but at

the same time, she adores the training sessions and especially matches. The lie soon turns into

a routine and Jess improves her skills on the pitch as well as in the kitchen to please her mother.

She develops from an occasional football player in the park to a brilliant player in a team with

ambitions of a professional career. As the story unfolds, Jess’ secret is at risk of being revealed,

but her sister covers for her.

Then there is an unexpected twist, as the parents of Pinky’s fiancée cancel the wedding due

to a misunderstanding involving Jess. She gets to correct the misunderstanding but her sister,

devastated about the wedding, gives Jess’ secret away. After this incident, the atmosphere in

the Bhamra household is tense, until some days afterwards Joe visits the family to have a serious

talk with Jess’ parents about football. He emphasizes the potential he sees in their daughter but

remains unsuccessful in changing their mind. The sisters eventually make peace and Pinky

covers for Jess, enabling her to participate at a football match in Germany, which the Hounslow

Harriers lose, unfortunately. From that point on, matters get even more complicated. As the

girls go out at night, Jess and Joe almost kiss. Jules interrupts them but feels betrayed by Jess

and decides to end their friendship, ignoring her attempts to apologize. Mr. and Mrs. Bhamra

discover that Jess has lied to them again in order to play football in Germany and are beyond

disappointed. Jess feels miserable and realizes that she has to make a decision if she does not

want to continue hurting her family. With a heavy heart, she finally quits the team. In a

conversation with her friend Tony, he confides to her that he is gay. This way, Jess realizes she

is not the only one who faces severe difficulties within their tradition-oriented community.

Nevertheless, she suffers greatly from her decision to give up on her football career and

finds herself sneaking away once again to play in the semifinal. The atmosphere within the team

is still tense due to her unresolved dispute with Jules. Moreover, an opponent provokingly calls

53

her a ‘Paki’ and Jess shoves her, unable to contain her feelings. Therefore, she is given the red

card and sent off, but the team still wins the game. Furiously, she explains the situation to Joe

who can relate to the offence and shows understanding. The two are locked in a tight embrace

when they are suddenly spotted by Mr. Bhamra. He has detected the lie and come to watch the

game; a situation Jess is deeply embarrassed and ashamed of, evoking serious worries about the

relationship to her parents.

However, as the two arrive at home, they find Teetu’s parents visiting to reinstate the

engagement. Everyone is in a good mood and Pinky and her mother excitedly start to organize

and plan the wedding. Much to Jess’ disappointment, the fixated dated coincides with the day

of the final of her tournament. This time, she truly resigns and tries to finish with her dream of

a professional football career. The following days, she helps with the preparations for the

wedding as expected of her, but is deeply unhappy. One evening Jules comes by, seeming to

have come to terms with their dispute, and tells her about an American scout that was supposed

to watch the final. Jess explains her hopeless situation, feeling frustrated and jealous. It gets

even worse as her A-level results arrive and her dad proudly announces that she can now

become a top-class solicitor. The next evening, the wedding guests arrive and the celebrations

start. Joe comes by once again and urges Jess not to give up on her dream, emphasizing that the

scout was not only interested in Jules but also in her.

The day of the wedding, as the celebrations are in full swing, Tony suddenly comes up with

the suggestion to drive Jess to the game and back again without anyone noticing. Jess

immediately dismisses the idea but her father, overhearing the conversation, gives his consent

under the premise that she would no longer be sad when she gets back. It is a full success: Jess

participates, the Hounslow Harriers win and Jules and her are offered a scholarship at Santa

Clara University in the USA. As Jess gets back to the wedding, she euphorically tells Pinky

about the scholarship. However, her prospects are quickly dampened once again when her sister

remarks that her parents would never let her go as long as she was not married.

After the wedding, several guests are still at the family’s home and Jess asks Tony for

advice as to resolving this situation. Indeed, he comes up with a solution, asking Jess’ parents

for their blessings to marry Jess under the condition that she could attend any university she

wished first. Although Jess is deeply touched by Tony’s act of friendship, she decides to stop

the lying and to finally tell her parents about the scholarship and her dream of a professional

football career. Within this atmosphere of confusion and disappointment, Mr. Bhamra suddenly

decides to speak up for his daughter, saying that he does not want her to make the same mistake

he made just to accept situations. He wants her to fight and to win, thus prioritizing her

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happiness. With this being said, the course is set for Jess to realize her dreams. On the day of

the departure, the scene is set at the boarding gates with the girls surrounded by their families

who are uttering their last goodbye wishes. Ultimately, Joe also joins but not to only say

goodbye. Against all odds, he and Jess finally kiss and decide to try a long-distance relationship,

giving life to the movie past the credits.

5.1.2 The Implications of Mode, Medium and Adaptation

The film ‘Bend it like Beckham’ was adapted into a book, the novelization being based on the

screenplay. In this section, I want to outline the possibilities and limitations of each mode and

medium from a pedagogically motivated perspective, starting with the film and then moving to

the book.

The original version is the cinematic piece by Gurinder Chadha who has woven

autobiographical traits into the narrative. In the case of ‘Bend it like Beckham’, the book

adaption does not aim at being a creative and distinctive transposition of Chadha’s work.

Rather, it seems like the novel assumes an accompanying function whereby the primary focus

is the shift on the different medium, and hence a different mode of engagement. Therefore, the

young adult novel is characterized by high fidelity to the film and differences are due to this

change regarding mode and medium. Moreover, it is noteworthy that the adapter, British-Asian

female writer Narinder Dhami, is familiar with the culture- and identity related struggles

portrayed in the narrative. This conformity in perspective and cultural knowledge is again

indicative for fidelity in this respect, because according to Hutcheon and O’Flynn, adapters are

interpreters at first instance, and then creators (Hutcheon and O'Flynn 2013, 18).

The advantages of film and the ‘showing mode’ are obviously connected to the capability

of addressing our visual and aural channel. First, the visual dimension enables learners to

perceive geographically and culturally unfamiliar representations, such as parts of London,

food, dress and cultural practices and traditions. In terms of acquiring cultural knowledge, it is

of course highly beneficial for learners to be able to see what for example a sari, a salwar kamiz

or a turban look like compared to having to imagine it as in the ‘telling mode’. Second, another

positive aspect regards the aural dimension, which allows learners to familiarize themselves

with pronunciational varieties and music genres as well as soundtracks and the feelings these

can evoke in the interplay with images. Learners benefit from authentic pronunciational input

in a British English variety including details such as the accent of the first generation

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immigrants when speaking English and occasional Indian expressions. Additionally, they can

hear and memorize certain sounds in association with a particular cultural group; in this case it

is Bhangra, popular music from the Punjabi region and diaspora. Third, I want to indicate

possibilities of presenting narrative structures. Cross-cutting, for example, is a particularly

suitable editing technique to emphasize parallels, for example the cuts between Jess’ and Jules’

daily struggles at the beginning of the film. Although the viewer is primarily shown Jess’

perspective, that of Jules is also introduced. The most powerful example to me is the scene of

Pinky’s wedding celebrations and Jess’ final game at the end, in which rapid cut represent the

simultaneity of events, reinforced through the same underlying musical theme; a situation that

cannot be conveyed as well in the book version. Other techniques that shape and guide the

viewers’ understanding besides camera shots are camera angles, as for example in the scene

where Mrs. Bhamra prays to Guru Nanak regarding the A-level results. Such presentational

features cannot be exploited in writing; hence, authors have to rely on other means of

expression.

For the novel, a first person narration with internal focalization and without any switches

to the perspective of other characters was chosen, which restrains the readers’ knowledge to the

single protagonists’ experiences. This brings me to the benefits of the book, the ‘telling mode’.

First, learners can certainly profit of the option to read at their pace and to reread a passage, as

opposed to the filmic version. Moreover, understanding cannot be inhibited due to fast speech

or an unfamiliar pronunciation. Second, everything that is shown in the film has to be described

in words. This guarantees exposure to a written and a spoken linguistic variety as compared to

the input of exclusively spoken language in film. The former regards descriptions of places,

people, processes or events. Terms might be applied that learners rarely encounter in other

genres, for example indicating movements, gestures and facial expressions of characters; the

latter concerns direct speech. With regard to cultural learning, it is advantageous that practices

and traditions are explained, described or named, implying that they can be comprehended in a

different manner as when watching the film. Third, although the reader is given only Jess’

perspective, it enables them to gain much deeper insights into her thoughts and feelings.

In sum, each mode has different advantages to offer in terms of engagement, thus it seems

highly beneficial for learners to experience them in combination, rendering reception a

multimodal and multimedial process.

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5.2 Exploring and Theorizing the Context of ‘Bend it like Beckham’

In this section, I want to draw attention to the cultural make-up of Britain’s contemporary

postcolonial and multiethnic society, which constitutes the narrative’s setting. For that matter,

I would like to broach a range of key concepts from cultural studies that are relevant in this

context, distinguishing two thematic fields. The first concentrates on a number of characteristics

in connection with a globalized British society and migrational patterns while the seconds

centers on the relationship between culture and identity negotiation, particularly as a second-

generation migrant.

5.2.1 Multiethnic Society and Migration

I will be starting out with an examination of the situation in Europe, I then want to narrow the

focus to British societies in more concrete terms and, finally, to British-Asian migrant

communities.

Modern-day Europe is characterized by an increased level of cultural diversity due to

immigration and diaspora. Such pluralizing social realities entail the emergence of complex and

dynamic processes that can even lead to exclusionary environments and conflictual relations.

For minority communities, these fluid and heterogeneous settings are highly significant with

regard to notions of national identity and belonging, as well as questions of identification and

constructions of the ‘third space’. Referring to Jenkins, an inclusive multicultural society should

strive for creating a culturally diverse and mutually tolerant environment with equal

opportunities and avoid assimilation processes (Gabriel, Gomez, and Rocha 2012, 267-268).

Globalization represents another factor that has contributed greatly to societal change. Critics

have voiced concerns about globalization supporting homogenization processes and cultural

imperialism. Such a view can be contested, given that complex cultural flows can be seen as

equally strong forces characterized by forms of cultural hybridity rather than domination.

According to Barker, “globalization is not constituted by a monolithic one-way flow from the

west-to-the-rest,” as non-western ideas and practices in turn influence western perspectives.

However, it needs to be admitted, that first waves of economic, military and cultural

globalization certainly contributed to a spreading of western modernity (Barker 2008, 160–62).

Centering the discourse on Britain, a large number of people with migrational background

originate from former colonies. These include people from India, Pakistan and Bangladesh who

57

settled in the UK from the 1950s onwards (Rings 2016, 14). They are commonly referred to as

‘Asian’, which is an umbrella term. Giardina addresses a significant point when he emphasizes

the diversity within minority groups, a fact that is all too readily dismissed (Giardina 2005, 29,

34). Taking British-Asian people as an example, they cannot be considered a homogenous

group; on the contrary, they come from different nations and might even have a distinct

religious faith.

In the case of ‘Bend it like Beckham’, the story revolves around an Indian Sikh family

from the Punjabi region that has settled in the west London suburb Southall. Large Anglo-Sikh

communities have developed in the UK as a result of two migration paths, either from India to

East Africa to the UK or directly (Algeo 2007, 135–36). Sikhism is a religious tradition that is

distinct from Islam and Hinduism but also shares underlying principles from both. On the one

hand, it is monotheistic like Islam, the spiritual teacher being Guru Nanak, on the other hand,

it adheres to karma and reincarnation like Hinduism, rejecting however caste as a marker of

religious status. The Sikh tradition views men and women as equal partners who ought to marry

and raise a family while participating in the community as a conscientious member (Algeo

2007, 135).

5.2.2 Culture and Identity

In exploring the interrelationship between culture and the negotiation of identity, I want to start

with introducing conceptions of ‘othering’ and Western culture before addressing cultural- and

human rights with explicit reference to gender identity. Lastly, I want to focus on the second-

generation of migrant families and constructions of ethnic identity in relation to hybridity.

In the outset, it needs to be highlighted that cultural identities can be denoted as constantly

developing products of social interactions, as they are not fixed but constructed, dynamic, and

subject to outside influence. In constructing cultural identity, individuals might resort to a

relational process in which this is facilitated by opposition to another group, hence conceptually

merging distinct groups as a single ‘other’ (Algeo 2007, 138). This process is called othering,

“[…] the relational formation of identity whereby one person or group attributes a certain

characteristic to another culture group, thereby claiming the opposite characteristic as part of

their own group identity” (Algeo 2007, 141). In this regard, I want to raise awareness of the

ideological concept of the West that emerged due to historical developments and a different

(Western) understanding of civilized society and progress (cf. Hall 1992). This problematic

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constructed idea of Western cultures (as a homogenous entity) being a model of superiority

follows hegemonic patterns of categorizing, creating a global binary of unequal sides, and has

been discussed in Stuart Hall’s ‘The West and the Rest’, and Edward Said’s ‘Orientalism’. Hall

refers to Said, who explains Orientalism as to the distinction between “Western superiority and

Oriental inferiority” (Hall 1992, 303). “For if the Rest was necessary for the political, economic,

and social formation of the West, it was also essential to the West’s formation both of its own

sense of itself – a ‘western identity’ – and of western forms of knowledge”. ‘The West and the

Rest’ has become a dominant way of representation and is to this date a powerful discourse that

influences the Western image of itself and ‘others’ as well as its power relations towards the

‘rest‘ (Hall 1992, 318). The quintessence of this argumentation can be synthesized with the

appeal to adopt a distanced stance with the aim of moving away from a culturally imperialistic,

dominant and hegemonic perspective that defines itself in opposition to the other by their

(negative) differences and towards an equalized understanding of cultures.

A further concept that is of interest in the narrative’s contextual setting is that of cultural

diversity and pluriculturality. The UNESCO stresses the importance of fostering “[…]

harmonious interaction among people and groups with plural, varied and dynamic cultural

identities as well as their willingness to live together”. Furthermore, reference is made to article

27 in the Universal Declaration of Human Rights, according to which cultural rights can be

defined.

All persons have therefore the right to express themselves and to create and disseminate

their work in the language of their choice, and particularly in their mother tongue; all

persons are entitled to quality education and training that fully respect their cultural

identity; and all persons have the right to participate in the cultural life of their choice and

conduct their own cultural practices, subject to respect for human rights and fundamental

freedoms. (UNESCO 2001).

With respect to human rights, however, critical aspects of culture need to be remarked. Cultural

values and beliefs should not interfere with other human rights. As far as gender identity is

concerned, perceptions can be problematic, for example by social and cultural attitudes and

practices that disadvantage women in daily life. However, “cultural values are continually being

reinterpreted in response to new needs and conditions. Some values are reaffirmed in this

process, while others are challenged as no longer appropriate” (OECD 2000, 2).

Due to the above described history of people migrating from former colonies and settling

in Britain, the country has a growing population of the so-called ‘second generation’, which

leads to the next significant aspect. The term ‘second generation’ refers to the immigrants’

descendants, who were “born and raised in Britain, who have attended British schools, and who

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speak English and may also know the ‘mother tongues’ spoken by previous generations”

(Gabriel, Gomez, and Rocha 2012, 272). I need to clarify that the term ‘second generation’ can

be seen as problematic due to its negative connotations, however, by applying it I do by no

means question the second generation as legitimate part of society but refer to differences

regarding identity construction as compared to the first generation of immigrants. The second

generation, in the attempt of defining their identity within British society and with their

background as members of ethnic minority groups, has led to re-conceptualizations of ethnic

and national identity. In more detail, the second generation has proven that both retaining an

ethnic identity and integrating into British society is possible (Gabriel, Gomez, and Rocha 2012,

274). In this regard, Tariq Modood defines an associational ethnic identity that enables

individuals to take pride in their cultural heritage “while allowing for the complex and intricate

ways in which multiple cultural identities can be woven together to produce something both

familiar and new“ (Gabriel, Gomez, and Rocha 2012, 274). With reference to Parekh, this

conceptualization can be summarized as follows:

Rather than trying to hold on to the cultural identities of the earlier generation, or

assimilating completely into the dominant culture, the second generation has galvanised

the resources of both, creating radically new composite cultural configurations. The

flexibility inherent in such identity negotiations and adjustments carries a greater range of

options for self-definition and points to the ability of the second generation to move and

interact between different cultural values and assumptions. (Gabriel, Gomez, and Rocha

2012, 274)

An intercultural society features such expressions of cultural exchange, generational

transformations and articulations of identity.

In a postcolonial context such as that of contemporary Britain, interculturality refers to the

ongoing processes of the contact, encounter, and exchange between and within cultural

communities, and the disseminations and transformations of identity and belonging which

occur as a result of these spatial, temporal, and also generational inflections. (Gabriel,

Gomez, and Rocha 2012, 277)

Referring to Stuart Hall, it needs to be stressed that interculturality cannot be seen as a form of

assimilation, given that ensuing transformations regard all cultures involved, also the dominant

culture. Processes of intercultural change are not to be perceived as cultural decline, but as gain

of newly created forms that emerge from the exchange between natives and immigrants. These

negotiations and adaptations are denoted as ‘sites of hybridization’, which represent a source

for intercultural identifications in everyday life. These sites of hybridization include the areas

of “food, language, dress, music, dance, and other social and cultural productions”. (Gabriel,

Gomez, and Rocha 2012, 277-278). When cultural boundaries are transgressed, it is “usually

60

second generation migrants who select more or less consciously what aspects of each cultural

background are acceptable and preferable for them” (Rings 2011, 117). As noted by Bhaba,

cultural hybridity is a discourse devoted to empowering minorities, as new creations are valued.

(Nziba Pindi 2018, 25). Moreover, with reference to Bardhan, “working through the lenses of

diaspora and hybridity can also help deconstruct old binary maps of cultural difference that

follow the Us/Other negative logic of the West and the Rest” (Nziba Pindi 2018, 24). As in the

case of ‘Bend it like Beckham’, this new form of cultural identity that has been emerging, can

be referred to as British-Asianness, according to Malik. It features elements from both cultural

influences and is characterized by its fluid and evolving nature. It implies an understanding of

cultural phenomena as hybrid and new rather than assimilatory and crossed-over (Rings 2011,

117).

5.3 A Critical Stance on Representations of Culture

After having provided an overview of events on a surface level as well as contextual information

to ‘Bend it like Beckham’, I want to take a closer, interpretative look at the struggles the

characters are confronted with throughout the narrative. My analysis of the story-world regards

two categories that are relevant for teaching: themes that are of interest for adolescents and for

culture-related learning. Within the overall framework of cultural conflict there are also

thematically overlapping areas. Hence, a thematic focus will be laid on sports, on conflicts

between generations and within friendships, on struggles related to love, identity, gender and

sexual orientation, on cultural affiliation, practices, values, ideologies, stereotypes and on

cultural hybridity. Moreover, I will discuss elements of audio-visual representations of culture

in confrontation with previous critique. Subsequently, I would like to present some critical

voices in response to the work and the messages it conveys, relating them to my own

interpretations. Once again, I need to emphasize that interpretations are culturally inherited and

dependent on the individual’s mindset, experience and attitude. In my understanding, there is

no superiority in cultural systems, differences are seen to be valuable and deserve tolerance and

recognition. In this regard, I am not supportive of assimilation tendencies but in favor of a

transcultural, hybrid perspective. Nevertheless, a critical stance on cultural practices needs to

be maintained, as cultural values and traditions might violate human rights, for example racial

and gender equality.

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5.3.1 An Analysis of Cultural Representations

“The Bhamra family’s position as a visible minority in English society is central to the film’s

narrative tension” (Algeo 2007, 135). The overarching theme, hence the framework to which

the single issues are related to, is cultural conflict. On a more concrete level, consistent threads

of the film are the negotiation of conflicting identities with regard to ethnicity, gender and

sexuality, which entail generational as well as inter- and transcultural concerns. Additionally,

there is a dimension of struggles within cultural groups, with discriminatory patterns and with

opening up to hybridity and transculturality. These aspects will be illustrated subsequently in

more depth.

First, “Jess Bhamra seems irreconcilably caught between traditional values of her Sikh

family and modern British youth culture” (Algeo 2007, 136). Right from the outset, concerns

related to identity and gender are perceptible within a setting of culture-related conflicts. Jess’

feelings of ‘in-betweenness’ are evident; she occupies a place within two cultures. One the one

hand, she is torn between her desires and her family’s expectations. As I see it, Jess has grown

up in Britain, for her football is a popular sport that she is passionate about and brilliant in,

playing is self-realization. Her parents, however, have a different perspective through their

cultural conditioning, and stress these familiar cultural norms. Thus, they envision for their

daughter to live according to Sikh norms, which implies getting a degree, an estimated job and

to assume the role of a nice Indian woman who ultimately marries a good Indian man. In this

regard, football does not seem to be of importance. Rings describes Jess as being situated

between two camps, trying to maintain a good relationship with her family and not

disappointing them, however, she cannot accept the traditional role her parents wish for her to

assume (Rings 2011, 117). On the other hand, Jess finds herself in-between the male-dominated

area of football and the societal and cultural image of the female gender role. Jess’ British

identity is expressed through the clothes she wears, the slang she speaks, and her enthusiasm

for soccer (Algeo 2007, 136). She participates in cultural traditions such as serving the guests,

wearing a ‘salwar kamiz’, and learning to cook Punjabi food to please her family (Rings 2011,

117). However, she defines this cultural heritage as ‘her culture’, all of which clearly indicates

that Jess is in search of her British-Asian identity. In sum, Jess is conscious about being different

on a cultural level and about having different interests than her sister or other girls her age.

‘It will be your turn soon, Jesminder’, one of [the aunties] said gleefully. ‘Do you want a

clean-shaven boy like your sister, or a proper Sikh with full beard and turban?’ I didn’t

want to answer that. I don’t want to get married, I said silently. Not until I’ve done

something with my life, anyway. I didn’t want what Pinky wanted. I was looking for

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something different, although I didn’t know what. And anyway, there was more to life than

getting married. Like football, for instance. (Dhami 2018, 15–16)

Pinky does not understand her sister’s perspective but supports her nevertheless in realizing her

ambitions; they seem to have a good relationship. Despite of her own cultural hybridity, she is

leading a more traditional Indian lifestyle with regard to what is expected of her. She is indeed

influenced by Western norms and values, for example does she seem to have adopted western

consumerism, but she never had to face similar struggles as Jess.

‘What’s wrong with you, Jess?’ she hissed, looking completely puzzled. ‘If you’re gonna

go to all this bother lying, at least do it for something good! Don’t you want a boyfriend

like everyone else?’ (Dhami 2018, 50)

Jess apparently struggles to reconcile traditional values with her life in Britain. “Jess’s

betweenness of cultures is emblematic of the immigrant experience” (Algeo 2007, 136). Her

attempts of combining both cultures can be described as occupying a third space as defined by

Homi Bhaba (Algeo 2007, 137). Her parents want her to conform to Indian norms, urging her

to quit playing football and to learn cooking traditional food from the Punjabi region. This

situation is also representative for generational conflicts within families with migrational

backgrounds. “[…] A young second generation British Indian woman clashes with family

traditions while pursuing her personal ambitions as a footballer”. (Rings 2011, 115) These

expectations or, in other words, the cultural lenses, hinder Mr. and Mrs. Bhamra to consider

Jess’ perspective.

‘I was married at your age,’ Mum snapped. ‘You don’t even want to learn how to cook

daal!’ (Dhami 2018, 34) ‘What family will want a daughter-in-law who can run around

kicking a football all day, but can’t make round chapattis?’ She looked sternly at me.

(Dhami 2018, 35) ‘Jessie, your mother’s right,’ Dad said, looking at me awkwardly. ‘It

doesn’t look nice. You must behave like a proper young woman now.’ There was no point

in arguing. I swallowed hard, trying not to cry. (Dhami 2018, 36)

These utterances show a link to their perception of their daughter as a future wife of an Indian

man (Rings 2011, 116). Additionally, they might feel anxious about the hybridization of

traditionally fixed identities (Algeo 2007, 137). As a result, Jess feels torn, not knowing how to

follow her dreams without disappointing her family.

‘It’s not fair,’ I mumbled. I feel like I’m either going to let the team down or really piss my

parents off. I don’t want to upset anyone.’ Joe shook his head. ‘Why are they so frightened

to let you play?’ he asked, looking genuinely puzzled. ‘They want to protect me,’ I said.

‘[…]This is taking me away from everything they know,’. (Dhami 2018, 102)

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Besides, Jess’ struggle for self-realization and her critical attitude towards traditional agendas

hints at the underlying theme of female empowerment, reinforced through her determination to

pursue her football ambitions.

Why did I always have to feel guilty whenever I stood up for myself and made a decision I

thought was right, I asked myself crossly. (Dhami 2018, 114) ‘It’s not fair.’ I lay with my

head at the foot of my bed, staring up at Beckham. ‘I could’ve carried on playing all night.

The boys never have to come home and help…’ (Dhami 2018, 13)

However, Jess seems to be highly aware of her parents’ perspective and wishes they would

make an effort in trying to understand hers. Her friend Tony represents the only one who fully

understands her struggles, being Indian himself and gay. She often turns to him in situations of

conflict.

Anything I want is just not Indian enough for them. I mean, I never bunked off school like

Pinky and Bubbly, I don’t wear make-up or tarty clothes like them. But they just don’t see

all those things.’[…] ‘Anyone can cook aloo gobi,’ I muttered. ‘But who can bend a ball

like Beckham?’ (Dhami 2018, 37)

When being exposed to new cultural influences, divergence from traditional norms is

particularly noticeable in superficial areas of culture like dress, sport or music11. Conformity to

cultural norms can be observed with regard to marriage, hence interethnic marriages are

uncommon. Jess’s romance with her goreh (non-Sikh) coach Joe depicts the anxiety towards

this source of hybridity (Algeo 2007, 137).

Nothing was going to happen between me and Joe anyway. He was white, for a start. It

was OK for me to hang around with Jules, because we were just friends. But I could just

imagine my parents’ faces if I brought Joe home to tea and said he was my boyfriend. The

way I felt about Joe had kind of shocked me. I’d never thought about a boy that way before

[…]. (Dhami 2018, 63)

Additionally, the cultural stereotype of arranged marriages is addressed and refuted. However,

an appeal towards a more transcultural perspective concerning interethnic relationships is

issued.

‘So, if you can choose,’ Charlie said, looking interested, ‘can you marry a white boy?’ I

shook my head. ‘White, no. Black, definitely not. Muslim –‘ I drew a finger across my

throat. […] ‘So you’ll probably marry an Indian boy, then?’ Jules asked, […]. ‘Probably.’

(Dhami 2018, 46)

To me, this quote together with the above-cited one, where Jess explains that football is taking

her away from everything her parents know and that they want to protect her, show their

skepticism towards the unfamiliar ‘other’. This attitude might also be related to the protection

11 Compare: the metaphor of the cultural iceberg in 4.2.1

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of the cultural heritage and to their family’s reputation within the Sikh community that could

be judged. Such attitude is also noticeable in Mrs. Bhamra’s utterance at the beginning of the

story, where she expresses her view on her daughter playing football.

‘So, Mrs Bhamra, you must be very proud of your daughter?’ Gary beams. ‘Not at all!’

shrieks Mum. ‘She shouldn’t be running around with all these men, showing her bare legs

to seventy thousand people. She’s bringing shame on her family.’ (Dhami 2018, 2)

Another utterance by Mr. Bhamra, in an attempt to get Teetu’s parents’ sympathy and

understanding for their daughter’s behavior, shows a certain anxiety towards hybridity.

Dad came forward, looking upset. ‘You know how hard it is for our children here.

Sometimes they misjudge things, and try to be too western.’ (Dhami 2018, 69)

Second, moving to the aspect of gender in identity negotiation, Jules serves as the primary

example throughout the story, but also Jess faces gender-based stereotyping. Some of the

previous quotes already contain elements that are related to gender to some extent, such as girls

being expected to have an interest in marriage, cooking, clothing or other stereotypically female

areas. Jules’ mother, like Jess’, has never wanted her to play football. In her case however, this

is due to a culturally induced conception of gender, possibly including a stereotyped dimension.

‘[…] She’s convinced I’m too much of a tomboy. She’s always trying to make me wear

girly clothes, and go out with this bloke we know called Kevin. And you know what she said

to me the other day –‘ Jules put on a posh voice ‘- “Honey, I’m telling you there’s a reason

why Sporty Spice is the only one of them without a fella!” (Dhami 2018, 38)

In my interpretation, Jules’ very appearance is provoking, as far as the stereotypical image of

females is concerned. In addition, her short hair even leads to confusions within the British-

Asian community, as she is mistaken for a boy. Jules violates norms of gender identity, a reason

why her mother feels the need to feminize her and why she misinterprets her sexuality when

overhearing a part of her conversation with Jess. “A parallel exists between Mrs. Paxton and

Mrs. Bhamra as both urge their daughters to conform to traditional, almost stereotyped,

standards of female behavior in their respective cultures” (Algeo 2007, 137). The mothers’

major concern is how potential future husbands will perceive their daughters. “This parallelism

between the parents in the two families highlights the role that mothers play in many societies

in reproducing culture and is intriguingly suggestive of cross-cultural similarities in a film that,

on its surface, is focused on cultural differences” (Algeo 2007, 137).

Another problematic aspect that is emphasized is women’s success in a ‘typically male’

sporting hegemony and the lack of recognition and equality within the field. When Jules

encourages Jess to come to a trial at the local girls’ team, her male friend makes fun of them,

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as if girls playing football cannot be taken seriously: ‘Nice one, Jess,’ Taz teased.’D’ya swap

shirts at the end of matches?’ (Dhami 2018, 20). In a conversation with the girls from the team,

both critical issues are raised and different perspectives displayed.

‘Indian girls aren’t supposed to play football,’ I explained helpfully. ‘That’s a bit

backward, innit?’ Mel remarked, picking up her towel. ‘Yeah, but it ain’t just an Indian

thing, is it?’ Jules cut in. ‘I mean, how many people come out to support us?’ (Dhami 2018,

45–46)

Jess indicates the intercultural dimension of the problematic situation and Jules that of gender

in connection to recognition in football. Mel’s reaction, interpreting Jess’ parents’ attitude as

‘backward’ is due to her own cultural conditioning, and she does not make an effort in trying

to understand their perspective. Although the Hounslow Harriers are a multiethnic team, they

seem to feel united by their common goal of establishing themselves in football, a sport that is

typically associated with men (Algeo 2007, 137).

Third, I want to address the aspect of Tony’s homosexuality. While Jess is very

understanding, her reaction hints at problems Tony will have to face within the community

coming out, indicating an incompatibility with his sexual orientation and Indian cultural norms

(Algeo 2007, 137).

At some point in his life, he was going to have to make some difficult choices. I stared at

him as if I was seeing him properly for the very first time, knowing that he was going to

have the same problems I was having with my parents if he wanted to live his own life.

Choosing a different lifestyle to the one everyone expected you to have meant big trouble.

(Dhami 2018, 111)

Another dimension of sexual orientation is explored through Mrs. Paxton’s fear about her

daughter being homosexual (Rings 2016, 63). In her case however, I had the impression that

her problem is less one of homophobia in general but of her daughter not conforming to

heterosexual norms in addition to her interest in a masculine sport and the overall break with

Mrs. Paxton’s traditional gender image.

Fourth, I want to refer to discrimination based on race or ethnicity. As an example of

othering, Jess is called a ‘Paki’ during a match, which is “a racial slur that, in Britain, has been

applied to South Asians of all nationalities.” The association with Islam is particularly painful

to Sikhs for historical reasons (Algeo 2007, 138).

‘She called me a Paki. But I guess you wouldn’t understand what that feels like, would

you?’ Joe sighed. ‘I’m Irish, Jess. Of course I understand what it feels like.’ (Dhami 2018,

122–23)

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Such words are deeply offensive, insulting and imply that the other would not belong here.

Additionally, Mr. Bhamra’s cricket experience has clearly resulted in bias towards sports teams

accepting people with a migrational background. He tells it to Joe as an explanation for his

refusal to let his daughter play football, protecting her from a similarly painful experience.

‘Young man, when I was a teenager in Nairobi, I was the best fast bowler in my school,’

he said curtly. ‘[…] But when I came to this country, nothing. I wasn’t allowed to play in

any team. These bloody goreh in their clubhouses laughed at my turban and sent me

packing.’ (Dhami 2018, 77)

Fifth, a further aspect that is hinted at is intracultural difference within the Sikh community

and within the British-Asian minority in the larger context. As Pinky’s wedding with her fiancée

Teetu is called off, the impression is conveyed that his family belongs to a higher class and that

the Bhamra family is eagerly trying to please them, proving that they are ‘good enough’,

although they do not like them very much.

‘That boy’s shameless parents are just making an excuse,’ Mum went on. ‘We were never

good enough for them.’ (Dhami 2018, 71) ‘We’ll give them a wedding party they won’t

forget their whole lives!’ Mum announced firmly. […] ‘We’ll show them we’re not poor!’

(Dhami 2018, 128–29)

This impression is reinforced by Teetu’s mother who is wearing the sari as an everyday dress,

whereas Mrs. Bhamra is wearing the salwar kamiz. Moreover, it is emphasized that Muslim

families are not to be compared to families of Sikh background (Algeo 2007, 136, 138). When

Jess wants to give an example for the increasing recognition of the Asian minority population

in British society, it is not acknowledged as such by her mother.

‘But, Dad, it’s all changing now,’ I said desperately. ‘Look at Nasser Hussain. He’s the

captain of the England cricket team, and he’s Asian.’ Hussain is a Muslim name,’ Mum

said sternly. ‘Their families are different.’ (Dhami 2018, 77)

Sixth, I want to indicate a change in perspective as the story unfolds, revealing transcultural

tendencies. To me, Jess seems like a mediator in explaining her family’s stance to Jules and

coach Joe, and her own to Pinky and her parents. While Tony has supported Jess’ hybrid

lifestyle from the very beginning, Jules, Joe and Pinky join in at later points. However, her

parents insist on conformity to Indian norms. For the most part of the story, they have little

tolerance for hybrid forms, maintaining a very traditional lifestyle themselves. The father is the

first to open up his perspective a little. He watches Jess play at a match and even allows her to

leave Pinky’s wedding to participate in the final.

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‘Pinky is so happy today,’ he said abruptly. ‘And you, you look like you’re at your father’s

funeral.’ I hung my head. ‘I’m sorry, Dad.’ ‘If this is the only way I’m going to see you

smiling on your sister’s wedding day, then go.’ […] ‘But when you come back, I want to

see you happy on the video.’ This time the big smile on my face was for real. I threw my

arms around Dad and hugged him tightly. ‘Play well, and make us proud,’ he whispered

in my ear. (Dhami 2018, 145)

Mr. Bhamra’s becomes more tolerant and supportive when he finally considers Jess’

perspective although it differs from cultural expectations. At the final argument with her

parents, Jess chooses to comply with her parents instead of lying, explaining that she didn’t ask

to be good at football but that Guru Nanak must have blessed her (Dhami 2018, 160). I had the

impression that this was quite a powerful statement, relating the family’s religious faith to

football, which represents a westernized lifestyle within the narrative, and thus fusing the two

‘incompatible’ elements. Her father who has already developed an understanding for what

football meant to her finally allows the transgression of conventional boundaries and decides

to support his daughter, wanting to see her happy.

‘When those bloody English cricket players threw me out of their club like a dog, I never

complained,’ he said quietly. ‘On the contrary, I vowed never to play again. And who

suffered? Me. […] I don’t want Jessie to suffer,’ Dad said. ‘I don’t want her to make the

same mistake her father made, just accepting the situation. I want her to fight, and I want

her to win.’ […] ‘I’ve seen Jessie play, and she’s brilliant!’ […] I don’t think anyone has

the right to stop her…’ (Dhami 2018, 161–62)

As to Mrs. Bhamra, she does not seem to open up as easily; however, she comforts herself by

emphasizing that she has at least taught her daughter to cook Punjabi dinner. Thus, having

contributed in passing on the cultural heritage helps her in accepting the integration of other

cultural values and practices.

5.3.2 Audio-visual Representations of Culture

The Bhamra family’s Sikh background as well as Western influences are indicated by elements

of audio-visual culture. In this regard, I will analyze such elements according to the categories

of cultural products, food, clothing, language and customs, including music and dance.

First, I want to draw attention to cultural products portrayed in the film. There are objects

related to the Sikh religion like a painting and a gold model of the Golden Temple of Amritsar

- the chief temple, but most importantly, the painting of Guru Nanak that is placed prominently

in the family’s living room (Algeo 2007, 135). “The Guru’s central role in the household is

made apparent by the way family members turn to the portrait at moments of heightened

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tension” (Algeo 2007, 135). In the scene where Jess’ A-level results arrive, the family is

gathered beneath the painting and Mrs. Bhamra utters a prayer before looking at the results. In

another key scene at the end, where Jess expresses her wish to pursue a professional football

career in a confrontation with her parents, she is standing in the living room with Guru Nanak

behind her. Jess’room, however, is decorated with several posters of David Beckham that carry

symbolic meaning. The name of David Beckham and people’s associations with him as the

captain of the English national team at that time serve as a representation of Englishness as well

as the popularity of football in Britain across generations and class structures (Rings 2011, 116).

The scenes where Jess confides her worries and hopes to the poster of Beckham, looking up to

him as her role model, are a parallel montage to Mrs. Bhamra turning to Guru Nanak. Algeo

interprets this scene as a “playful revision” of Jess’ mother’s tradition (Algeo 2007, 135). As

Jess’ family has no understanding for her football interests, Beckham who contrasts Indian

tradition in his very appearance, assumes the role of the understanding figure for her. Rings

criticizes the representation of Mrs. Bhamra in these scenes as being ludicrous and outdated in

her adherence to Sikh traditions (Rings 2016, 71–72). I understand Rings’ point; however, my

response to the scenes focuses more on the portrayal of two divergent stances that emphasize

Jess’ conflicts of ‘in-betweenness’. In other words, I understand it as a demonstration to the

viewer of ‘what Jess is up against’, to use coach Joe’s words. The bird’s eye perspective, for

Rings a marker for ridiculousness, is also denoted as God’s eye view and could as well have

been chosen in this respect.

Next, I want to take a glance at food as a codifier of culture. Indian food is presented in the

context of Jess having to learn how to cook Punjabi dishes and during traditional celebrations.

While Rings problematizes that there is no hybrid dish in the film and that international food is

shown only in connection with the Paxton’s, reflecting the open-mindedness of the English

family towards other cultures (Rings 2016, 75) (Rings 2011, 116), I would argue that this

portrayal makes perfect sense. Mr. and Mrs. Bhamra are leading a rather monocultural lifestyle;

they are only starting to open up their cultural boundaries by the end of the narrative. Hence,

food as a site of hybridization before this opening in perspective would not have fitted because

Mrs. Bhamra was seeking to guard the cultural heritage.

Another category that I want to touch upon is clothing. There are numerous representations

of traditional dress-codes, starting with Mr. Bhamra’s turban, beard and uncut hair to Mrs.

Bhamra’s salwar kamiz – a long tunic with trousers and a scarf over the shoulders or head

(Algeo 2007, 135–36). The colorful saris are worn by women at important occasions such as

Pinky’s engagement and wedding ceremony. However, Pinky and Jess are also portrayed

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wearing Western fashion, especially comfortable sportswear as regards to Jess. The scene about

the misunderstanding around Jules’ short hair can also be attributed to this cultural difference.

Next, I want to refer to a scene where Jess and Jules are jogging in a park, overtaking two Indian

women in traditional dress. According to Rings, this scene conveys the message that “[t]he

winners in contemporary society are those who fully adapt to the new Western way of life”

(Rings 2016, 71). In my opinion, this highly critical conclusion is a little far-fetched and

certainly not the message that was intended by the female British-Asian director. From my

stance of viewing cultures as equal systems, this scene aims at highlighting the contrast of a

British-Asian girl wearing football-player’s clothes as opposed to the Indian clothes as worn by

the two women. In that way, Jess’ striving for a different lifestyle as foreseen by traditional

norms is symbolized, which, for Jess, leaves little space for self-realization.

Taking a brief look at language as a source of hybridity, it needs to be remarked that it is a

difficult aspect to represent in a film, as priority is given to the comprehensibility of utterances.

In this case, it was resolved by the incorporation of a few Punjabi words and phrases and by the

accent of the first generation migrants when speaking English.

The last aspect I want to focus on is that of customs, including music and dance. A central

thread in the film is Pinky’s marriage, which is celebrated traditionally with many relatives.

The wedding guests wear traditional dresses, Indian food is prepared and served and a bhangra

band is to play at the celebrations. What is particularly interesting in this film is the parallel

structure of events: The wedding celebrations being in full swing, while Jess and her teammates

are giving their best at the football pitch. Rapid cuts between Pinky’s wedding and the

Hounslow Harriers’ final “establish a unity of spirit”, as the wedding guests dance cheerfully

while the team triumphantly celebrates their victory (Algeo 2007, 139). One scene from this

sequence, in which Jess has to bend the ball around an imaginative wall formed by her mother,

sister and aunts to score the decisive goal in the match, is again highly symbolic. The musical

theme of Puccini’s opera Turandot establishes a humorous link between the opera’s protagonist

and Jess, as both have to overcome numerous obstacles for realizing their dreams (Rings 2016,

72). To me, the imaginative wall represents the narrative’s voice of female empowerment, in

front of which Jess is encouraged once more not to allow a traditional agenda that suppresses

her ambitions to hold her back – and she scores.

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5.3.3 A Confrontation of Differing Interpretations

In this section, I want to analyze divergent interpretational stances on the messages transmitted

through the narrative with regard to cultural concerns, confronting them with one another and

my own interpretations. The primary focus of criticism is placed on tensions between traditional

cultural binaries and a transcultural perspective in a globalized modernity. In the case of ‘Bend

it like Beckham’, critics express concerns about the perspective that is portrayed, questioning

the promotion of a transcultural perspective.

To begin the argumentation, I want to refer to Rings who describes the film as ‘light-

hearted comedy’ that examines notions of identity, belonging and ‘Britishness’ (Rings 2011,

115). Rings’ states that Jess’ quest for Western-style transculturality “reduces most of her

cultural heritage to a stagnant, outdated, and problematic Other that has to be perceived as an

obstacle for the coming of age of young British Indian people today” (Rings 2011, 122). Here,

I see a contradiction in Rings’ interpretation, as he also claims that the cultural concept

cultivated by Mr. and Mrs. Bhamra and Mrs. Paxton is “homogenous, separatist, and

essentialist” (Rings 2011, 117). Thus, I would rather conclude that, what Rings describes as

stagnant, outdated and problematic are not Indian cultural traditions per se but Mr. and Mrs.

Bhamra’s homogenous, separatist and essentialist perspective that hinders them from taking on

a hybrid stance, which they however overcome at the end of the story.

Moreover, Rings’ interpretation of the proposed solution of the narrative is “for the Oriental

Other to finally adapt to modern times, for his or her own sake and for everybody’s well-being,

which implies that the happy ending depends on the assimilation of Anglo-American cultural

traits by all the main characters” (Rings 2011, 122). My response to the narrative differs

considerably from Rings’, as I do not perceive assimilation as a precondition for the positive

ending. On the contrary, I argue that the story promotes a hybrid and transcultural perspective.

First, Mr. and Mrs. Bhamra do not give up their cultural values, as implied by assimilation.

Rather, they become more tolerant with regard to their daughters’ hybrid lifestyles, which

implies the blurring of cultural boundaries. Second, I consider Pinky’s lifestyle as hybrid,

although she conforms more to traditional norms than her sister as for her, it is the desired way

of living. Jess does not see herself as ‘British without the Asian’, for example does she defend

her cultural heritage in an argumentation with the words ‘It’s just my culture, that’s all.’ (Dhami

2018, 46). She rejects those traditional norms and expectations that stimulate the persistence of

gender inequalities and that hinder her and from self-realization. This is where I agree to a point

with Rings, as he affirms “[t]here is no doubt that Jess combines aspects from both cultures,

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Indian or - to be more precise - Sikh traditions maintained by her parents and partially her sister

Pinky, and English customs and preferences that are associated here with young woman’s

independence […] (Rings 2011, 116).

This brings me to another critical aspect that needs to be discussed which is the narrative’s

direct appeal to female empowerment. “[…] Young women are often in a weaker position to

develop their views within the framework of traditional patriarchal norms of societies that their

parents can be associated with” (Rings 2011, 117). According to the OECD, gender equality is

a development- and human rights issue (OECD 2000, 7). Western countries have incorporated

and established such values to a high degree compared to others and the attitude has manifested

itself in cultural norms. However, gender equality was brought about by social change and

cannot be seen as the only and defining characteristic of Western cultures. Moreover, the

struggle of eliminating inequalities is still ongoing also in Western countries. Thus, it would be

wrong to claim that a Western perspective is being imposed on other cultures by promoting, for

example, gender equality. Despite the fact that people’s notion of gender is linked to culture

which has a direct influence on daily life, I want to separate these development- and human

rights issues from the cultural discourse. Female empowerment thrives to diminish inequality

and is not to be confounded with disrespecting cultural values, as these fundamental human

rights are of priority. It is worth reiterating that cultural sensitivity is not to be understood as

uncritical acceptance and that cultural traditions should not be a valid explanation for

discriminatory perspectives. This is an important point I want to make here: By voicing critique

about inequalities I do not think of a culture as ‘inferior’, I see an aspect about this culture that

needs to undergo further development. Linking the discourse to ‘Bend it like Beckham’, it is

about females deciding themselves how to lead their lives and being accepted in doing so even

if it is not corresponding with the traditional gender role. In my opinion, Jess’ parents are able

to change their perspective after a number of incidences that provoked negotiation and to let

her adopt the lifestyle that makes her happy instead of imposing theirs on her. While still

conforming to Sikh traditions, they open up a little towards to the host country’s culture and

refrain from presuming Western values as outright negative. In this regard, their change in

perspective involves the blurring of cultural boundaries, not assimilation to Western culture.

Furthermore, Rings claims that the film does not enhance negotiations of new British-Asian

identities (Rings 2011, 122). A counterargument is deployed by Gabriel, Gomez and Rocha.

They regard ‘Bend it like Beckham’ as an example that displays dynamic negotiations of

identity, taking the perspective of the second generation of the British Asian community in

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Britain. Thus, a stable notion of Britishness is problematized und undermined by a ‘third’,

dialogic perspective (Gabriel, Gomez, and Rocha 2012, 276-277).

Concluding, Rings problematizes the narrative’s perspective, stating that assimilation

concepts are promoted rather than integration. “Gurinder Chadha’s celebrated work ultimately

falls into the trap of following monocultural patterns of thought that break with the transcultural

perspectives embedded in the film and indicated in interviews” (Rings 2016, 4). In similar

terms, Giardina argues that the West is presented as the ultimate solution to fulfill the girls’

dreams (Giardina 2005, 27, 44). Thus, according to their interpretation, the portrayed model

seems to favor assimilation to Western cultures. I understand Giardina’s point, however, in my

opinion Jess has reached a situation of harmonious agreement by ‘bending’ the rules, not by

completely breaking them and the ties to her cultural heritage. Rings explicitly mentions the

title’s additional metaphorical dimension that describes Jess’ efforts in bending those social

norms that govern her life. “It certainly is about ‘bending’ norms rather than breaking them,

because Jess does not want to completely alienate the family she loves” (Rings 2016, 63). She

does not simply pursue her ambitions by turning away from family and culture; neither does

she accept a role in which she cannot realize herself to please others. Hence, she decides to

stand up for herself in the attempt of finding a solution that both parties can accept. In this

regard, the story has left me with the highly positive impression that intercultural struggles were

resolved through negotiation and mutual opening and widening of perspectives. This and the

above stated reasons brought me to the conclusion that I have to disagree with the statement

that the narrative would promote an assimilatory perspective.

Finally, it has to be kept in mind that ‘Bend it like Beckham’, for commercial interests, was

designed as a comedy for common entertainment (Rings 2016, 71). Despite the sharp criticism

concerning Chadha’s work, Giardina compliments her “for attempting to challenge long-

standing colonial and patriarchal narratives of dominance and subordination, both within

Britain specifically and sport more generally.” Another step in the right direction, for him, is

reflected in the positive portrayals of strong, empowered young women who ultimately manage

to realize their dreams against all odds (Giardina 2005, 46). For these reasons, I conclude that

the story is suitable for my pedagogical intentions, especially if considering that foreign

language learners will be less concerned with the specific situation of British-Asians in Britain

as with a more general approach to cultural learning. In this respect, I share Algeos’s opinion,

who claims that:

Bend It Like Beckham’s subtext of universality renders it particularly useful in the

classroom because students can see that it is not just a film about soccer or British Sikhs,

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but that it addresses issues of migration, assimilation, identity, and ethnic relations that are

of concern worldwide (Algeo 2007, 139).

Another significant aspect stressed by Algeo is her perception of the film as conveying a sense

of unity. “Although the narrative of Bend It Like Beckham is superficially about duality -

white/black, Sikh/Muslim, male/female, gay/straight - it is at a deeper level about unity, that is,

common experiences and struggles” (Algeo 2007, 138). I agree to this fact, which presents a

further benefit for cultural teaching purposes. In sum, I see enormous potential in using the

narrative to stimulate discussions and negotiations in the EFL classroom. The next chapter aims

to outline this potential in depth.

5.4 A Rationale for Working with ‘Bend it like Beckham’ in the EFL Classroom

Finally, I would like to present a rationale for working with ‘Bend it like Beckham’ in the EFL

classroom. Despite some potentially problematic issues concerning the interpretation of the

narrative events in ‘Bend it like Beckham’, I want to argue for its beneficial potential in the

EFL classroom. As theoretical discourse suggests, readers/viewers in response to a text/film

actively participate in meaning creation processes based on their experiences and cultural

background. Thus, every student will arrive at different interpretational starting points. Such

differences are already noticeable looking at the confrontation of my own understanding and

existing critical debates about ‘Bend it like Beckham’. Moreover, these individual

interpretations serve as starting points in a dialogic approach. Students are encouraged to

challenge their viewpoints, to critically reflect perspectives of others and to either accept those

as divergent of their own or to adapt their own perspective. In this regard, as a teacher, I would

appreciate students’ different approaches in reception, interpretation and meaning creation, as

these would pave the way for vivid exchange of opinions in respectful, critical and open-minded

dialogue-situations. From these reflections, the necessity for the teachers to be aware of the

manifold possibilities to interpret narratives becomes evident. Consequently, they need to

prepare students appropriately for this situation and to be ready to mediate and guide

discussions. Generally speaking, possible shortcomings regarding the representation of various

phenomena in literary texts or films or conflicting insights on parts of the students can be

explicitly addressed, serving hence as input for discussion.

As arguing in favor of using ‘Bend it like Beckham’ for teaching purposes, I want to present

multiple possibilities offered by film and book that can be taken advantage of for language and

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cultural learning. First, as previously stated, there is great potential for dialogue and interaction

about interpretational understandings of individual learners. Focusing on language learning,

this implies promoting communicative competence, while simultaneously stimulating cultural

learning, critical thinking skills, widening of one’s perspective, and sensitivity towards and

tolerance of the ‘other’.

Second, it represents an adequate and motivational source for touching upon one of the

postcolonial diaspora cultures that are of interest in the context of English cultures. I consider

it adequate because it is an example of an authentic cultural product and authentic native

speakers’ language use12. In terms of appropriateness, I am referring to the students’ age and

language proficiency. The motivational aspect draws on my presumption that students can

relate to the characters and are thus able to develop a first positive relationship with the story,

either through the similar age, through gender (females in stereotypical male domains) or

through sport (interest in football/soccer). Further connections to students’ own living

environment can be drawn, for example through familiar situations (conflicts with parents - not

that these are positive, but it is comforting to find others facing similar difficulties and to find

out how they handle similar situations). Other examples could be similar experiences regarding

struggles of cultural differences (I presuppose classes to be heterogeneous, some students might

as well have migrational backgrounds), or similar experiences related to puberty (fancying

someone, questions of identity). Other motivational aspects might even include personal

interest in unfamiliar cultures, in comedies or stories involving young adult struggles.

Furthermore, the narrative addresses common issues related to immigration and finding oneself

between cultures. “Although the film depicts a particular ethnic community, British Sikhs in

London, its representation of the betweenness of cultures is typical of the experience of many

immigrants” (Algeo 2007, 133). Hence, many individuals who find themselves between

cultures might be familiar with the outlines of the narrative. “[…] It is this fashioning of

universals out of such fascinating particulars that makes the film useful pedagogically” (Algeo

2007, 134).

Third, the main themes of the narrative are considerably in line with contents that are

proposed by course books, which should dismiss teachers’ concerns of integrating an extensive

project into an already tight schedule. To provide an example, a number of Austrian schools

currently use the course book ‘Prime Time’ published by ‘Oebv’. For the target group that I

have in mind, students of 6th grade or 2nd grade secondary schools’ students, with a language

proficiency level around B1 and B1+, many units in the course book overlap in the topics that

12 See the discussion about ‚authenticity‘ in 2.1.2

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are addressed. More specifically speaking, ‘Unit 1 - Growing up’, ‘Unit 2 - Multi-ethnic

Britain’, ‘Unit 5 – Globalisation’, ‘Unit 7 - The world of work’, and ‘Unit 9 – Sports’. Hence,

I can strongly recommend integrating ‘Bend it like Beckham’ as additional teaching material

for that grade.

Fourth, focusing again on the language aspect, the complementary approach I want to

propose allows for a myriad of possibilities to enhance receptive and productive skills,

including mediation as specified in the CEFR, through various tasks. Furthermore, the CEFR

stipulates students’ encounters with different text genres and media. In this regard, the

implementation of such a literary text, with its aesthetic aspects to reading and its potential in

provoking creative responses, can be advocated. In this case, the additional filmic material

serves as another advantage.

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6. Entering a Practical Dimension – Activities for the EFL Classroom

In this chapter, I will suggest pre-, while-, and after-reading/viewing activities for teaching

‘Bend it like Beckham’, including explanations of how these activities foster language- and

cultural learning and reflections of what challenges they might pose on teachers and students.

Concisely, I will present, describe and discuss a number of classroom activities that I

planned and elaborated carefully in line with the theories discussed, and with the aim of

fostering language- and cultural learning through literature with English as the target language

for students of German-speaking countries. The activities are designed for students aged sixteen

or seventeen with a proficiency level of B1 to B1+. For each activity or sequence of activities,

I will provide a summary of learning aims, referring to language, literature and cultural aspects.

The descriptions will be given in form of lesson plans where I indicate the phases and aims that

the tasks support, followed by a detailed explanation of the tasks per se and procedural

information, the social form, and comments about possible challenges and the teacher’s role

during the activities. Moreover, the learning aims marked with an asterisk represent a link to

the can-do descriptors outlined in the CEFR, which can easily be looked up for the specific

competence level under the denoted section. Finally, I need to point out that the first teaching

suggestions I will present are awareness-raising activities that, if necessary, can be included at

any point. I then move on to entire task sequences that are in chronological order when dealing

with the story and that contain alternation with regard to social form and media use. At the end,

I will again describe single activities that might be incorporated flexibly.

Lastly, I want to address some remarks with regard to my teaching suggestions. First, the

activities are to be perceived as such - as suggestions; I do not mean to deny that other

methodological approaches might be meaningful and suitable. Second, I propose to read and

show only selected scenes, thus skipping less relevant ones and alternating the channels of

perception. Other advantages of this approach are being able to interrupt at points that create

suspense or that allow for making inferences and predictions, and reducing the danger of

passive consumption. Besides, these breaks enable a reduction of complexity by focusing on

smaller entities, each including pre-, while-, and after-reading/listening/viewing tasks. Third,

the implementation of these activities is intended to supplement workbook use, representing an

additional spectrum of resources. In this respect, tasks and exercises from the workbook are

ideally integrated in working with my suggested materials, especially with regard to

thematically congruent contents and grammar related learning structures. However, the reader

is also welcome to use my suggestions as stimuli for other individual ideas.

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6.1 Suggested Activities

Awareness-raising Activity 1 – Picture-quote

Aims: • To foster dialogic competence

• To practice interaction* - informal discussion • To practice mediation* – facilitating pluricultural space

Material: Appendix 1

What I describe as a picture-quote is an image combined with text that can serve as a thought-

provoking impulse. In this case, I chose a metaphoric comparison of parachutes and our minds

based on the tertium comparationis that both need to be open to function. The multimodality

enhances the expressivity of the message. By discussing the message, students can reflect upon

the topic and internalize the open-minded attitude. To broaden the discussion on the topic,

students can try to explain what it means to be open-minded, tolerant, etc. Once discussed, the

picture can be used as a sign, an immediately recognizable reminder for staying open-minded,

for example before a discussion where divergent opinions might collide.

Awareness-raising Activity 2 – Sunglasses

Aims: • To foster dialogic competence and multiperspectivity

To practice mediation* – facilitating pluricultural space

To practice interaction* - informal discussion Material: two different pairs of sunglasses

Phase

Aims Procedure Social form

Comments

awareness-raising

dialogic competence

Instruct learners to briefly exchange their thoughts about what the message of the picture- quote could be (Appendix 1), then collect ideas in plenum. Encourage perspective taking, expressing one’s opinions and interpretations, staying open for a change of perspective or for tolerating someone’s perspective despite having a different viewpoint – this mindset is important for tasks to follow

pairs, plenum

Phase

Aims Procedure Social form

Comments

awareness-raising

perspective-taking

Ask two volunteers to come out front. They both get sunglasses to put on and should then describe the color of an item placed at a table in front of them. Their sunglasses need to have different colored

plenum

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I suggest the sunglasses activity because it is a role-play-like simulation where learners

experience the situation instead of ‘merely’ talking about it. The sunglasses demonstrate that

people see things from other perspectives and that different viewpoints are legitimate and need

to be tolerated (provided that they are reasonable). Metaphorically, they can be used as a tool

to help students putting themselves in someone else’s position and to look at situations form

different angles, thus fostering their perspective-taking skills and dialogic competence.

Awareness-raising Activity 3 – Two sides to every story

Aims: • To foster dialogic competence and multiperspectivity

• To practice reception* – audiovisual reception • To practice interaction* - informal discussion • To foster mediation* – facilitating pluricultural space • To foster affective qualities like empathy and perspective taking

Material: short YouTube video - https://www.youtube.com/watch?v=n5E8gyDPs70

I consider this video by Jay Shetty as suitable for demonstrating that one and the same story

can be completely different if seen from another person’s perspective. Students can be made

aware of multiperspectivity and they can practice perspective taking. The activity is even more

effective if they can use their personal experiences to relate to the man’s story. As follow-up

task, students can put themselves in the shoes of the other man and tell the story from his

perspective, describing his thoughts and feelings.

glasses, entailing that both students see one and the same item differently. Have a short plenary discussion that leads to the

conclusion that no one is wrong or right but that

both see the same thing differently and have a

different point of view

Phase

Aims Procedure Social form Comments

awareness-raising

multi-perspectivity

Students watch a video, which shows that a story can be completely different if seen from another perspective. Together, discuss that there are always two sides to every story. Students can bring in their own experiences

Optionally, let students write the story from the other guy’s perspective (creative writing)

individual work, plenum

as a homework task or in class

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Task Sequence 1 – Jess, the girl who loves playing football

Aims: • To practice interaction* – informal conversation and informal discussion • To practice reception* – reading as a leisure activity and audiovisual reception • To practice written interaction* – text messages • To expand the lexical field with regard to football and the narrative genre • To foster reception of different varieties of English and pronunciation • To foster affective qualities like empathy and relation to personal experience

Material: Appendix 2, 3, 4, 5, DVD

Phase

Aims Procedure Social form

Comments

pre-reading/ watching activity

brain-storming hobbies informal conversation

Instruction for brainstorming in pairs while showing visual aid (Appendix 2): What is your absolutely favorite hobby, sport or free time activity, what is it that you are really good at or you just love doing?

Then teacher asks each pair what they were talking about, collecting some hobbies in plenum

pairs, plenum

make sure students are using English

evocation reading the blurb, making predictions

The hobbies serve as a basis to introduce Jess Bhamra, the girl who loves playing football

Have different students read phrases from the blurb aloud (Appendix 3). It introduces the story, summarizing the first chapters and leaving open questions. Then students have time to re-read in silence, to reflect and to make predictions, individually or talking to their neighbor

then collect hypotheses in plenum

plenum if necessary discuss vocabulary items or answer background questions

while-watching activity

audiovisual reception

Watching scene 00:12:00 - 00:14:00 where Jess goes to the trial and can join the team

Have students observe if some predictions were right, talk about if they understood the British variety, the joke at the beginning, etc. - reassure comprehension

individual work, plenum

while- reading activity, evocation

reading as a leisure activity

Students read the same scene, pages 17-19 (Appendix 4). The book nicely describes Jess’ feelings during the trial

Students can make themselves comfortable, choose a different place to sit, etc.

Encourage students to try to guess the meanings of unfamiliar words but if they can’t they should highlight them

individual work

after- reading activity, interpre-tation

informal discussion

Have students sit together in small groups where they can clarify meaning, talk about passages and terms they did not understand, discuss what happened in the scene and their responses to it, compare the scene in the film and book, etc.

Have different students recap the scene and comment on it in plenum, clarify unclear terms

groups, plenum

walk around and assist

after-reading activity

written interaction, text message

Use graphic organizer (Appendix 5) for task and instructions: have you experienced a situation

assist individual students,

80

In this sequence, I want to introduce ‘Bend it like Beckham’ to the students and familiarize

them with the protagonist and her story world. The pre-reading activity, a brainstorming and

informal conversation about hobbies with an image as visual stimulus has the purpose of

creating a link to the students’ daily life. For the phase of feeling like reading, I chose the theme

of hobbies and sports. It serves for activating schemata and as a common basis for introducing

the protagonist and her passion for football. Moreover, being an element that emphasizes

positive similarities, it should facilitate a positive affective response.

Reading the blurb together and making predictions is thought to arouse interest and allow

students to build a relationship to the story before the actual reading and helps them getting into

the text. Again, the image from the book cover represents a visual stimulus, while the text

summarizes the first chapters, introduces the characters and locates them in a contextual setting.

What I consider as crucial for the first stages of working with a new literary text is that learners

can tie an emotional bond when entering the story world; therefore, I am focusing on similarities

and less complex concerns in the first sequence. I want them to be able to relate to the main

character, develop empathy and to relate the situation to their own life.

For the first contact with the story, I chose to show a brief scene from the film, giving the

students a vivid impression and allowing them to see what some of the characters look like.

However, I believe that the conversations in real-life pace in an unfamiliar variety are quite

challenging for the start, and I would suggest to read the same scene afterwards to support

comprehension and to provide linguistic means that do not vanish like spoken words. It might

also illustrate how the medium changes perception, that events in the book need to be described

as they cannot be shown, etc. Furthermore, students can absorb the aesthetic experience of

reading, which distinguishes the way of reading literature from the efferent reading of factual

texts. The atmosphere in the classroom should be relaxed and enjoyable.

During the next phase, learners get out of the text and gather in small groups where first

impressions can be discussed. With regard to interpretations, it is particularly important to

convey the feeling that students’ individual responses are welcome and that the exchange of

impressions is perceived as meaningful. Lastly, with the text message activity I wanted to

include a written task of the transfer type of a creative nature that relates to the learners’ personal

where you felt like Jess, excited and nervous at the same time?

Discuss writing style of text messages, ask students about genre-specific features like informality and abbreviations

Students can share texts in plenum if they want to

activity can be completed at home if necessary

81

experiences and that requires developing empathy. Throughout the sequence, I considered an

alternating social form.

Task Sequence 2 – Not everyone has the same opinion

Aims: • To foster dialogic competence and aesthetic reading

• To practice reception* – reading as a leisure activity and audiovisual reception • To practice interaction* - informal group discussion • To practice interaction* - goal-oriented interaction • To foster mediation* – facilitating pluricultural space • To foster cultural learning – challenging gender roles, understanding cultural hybridity • To foster affective qualities like empathy and perspective taking • To expand the lexical field with regard to ‘injuries’ and ‘gender roles and divergent values’

Material: Appendix 1, 6, DVD

Phase

Aims Procedure Social form

Comments

awareness- raising activity

brain-storming, fostering dialogic competence

Tell students they will watch another scene with a discussion afterwards. Before, establish an atmosphere where meaningful discussions can take place and students have an open mindset, as, for example, by doing the awareness-raising activity with the picture quote as described above (Appendix 1).

pairs, plenum

evocation audiovisual reception

Recall what happened in the previous scene. Then, students watch scene 00:17:12 - 00:22:20, where Jess is anxious to play in the team due to her scar, her mother spots her playing football with boys in the park, her parents have a talk with her about how they do not want her to play.

Clarify if students understood most of the storyline, if they had difficulties with the pronunciation or rapidness

individual work

let learners decide if they need to watch the scenes again

interpre-tation

informal group discussion, facilitating pluricultural space

Discuss in groups of ideally four students (structure AAAA – BBBB – CCCC – DDDD). Then change groups according to the structure (ABCD – ABCD – ABCD – ABCD) and exchange viewpoints once again.

Guiding questions: - Jess is ashamed of her scar. Can you understand how she feels about it? Why/ why not? How does coach Joe help her not to worry about the scar? - What are Jess’ parents worried about? Why do you think they do not want her to play football? What do you think they mean with ‘I don’t want that shame on my family’ and ‘you have to behave like a proper woman’?

groups, plenum

group learners creatively be aware of the openness of the process present the questions on the board or via a

82

In the second sequence, we already broach complex thematic elements and possibly different

perspectives. Working with contents where learning occurs through dialogue requires learner

groups to having acquired basic principles of dialogic competence. In this respect, I highly

recommend starting with an awareness-raising activity as pre-reading task to sensitize learners,

unless they are already well acquainted with dialogic learning situations. The message of the

picture-quote fosters having an open mindset and attitude towards cultural learning, as well as

exchanging viewpoints and perspectives. This exchange should provide for a positive climate

– a zone of contact.

Recalling the previous scene facilitates reentering the story world. Then, for continuing

with the plot, I suggest watching another scene, allowing learners to visualize more characters.

This time, I would give learners the option of watching a second time, depending on how well

they understood the spoken conversations. At the interpretative stage, learners need to have the

possibility to express personal responses and exchange viewpoints. I propose two topics that

might be of interest for the students, as they correlate with the developmental tasks of accepting

one’s own body, of creating a set of values with regard to ideologies and of gender identity in

connection with social expectations. With the purpose of enabling engagement with a variety

of different interpretations, I would even suggest a change in the group setting after some time.

Within the groups, students can learn to phrase their thoughts and ideas in an appropriate

manner without offending others. However, the openness of this process needs to be taken into

account as well as the complexity of culturally influenced notions like physical appearance and

gender roles, which has to be broken down to an accessible level. Besides, this structure

corresponds to collecting responses, modifying and reviewing them and summarizing results as

nucleation.

Conclusions in plenum technical means

while- reading activity, evocation

reading as a leisure activity

Students read pages 25-26 (Appendix 6), a part of the scene they just watched, where Jess’ parents tell her not to play football anymore.

They can either read individually or aloud in plenum

individual work or plenum

let students decide what they prefer

after- reading activity

goal-oriented interaction

You are friends with Jess. She tells you about her dilemma that she wants to keep playing football but her parents do not want her to. She asks you for your advice: what should she do?

Every student thinks of advice individually, then, within a group, they discuss which advice they like best, then they share that one in plenum

individual work, group, plenum

tasks might have to be postponed to next sequence due to time limitations

83

Before the transfer activity, I would suggest to focus on the last part of the scene again, this

time by reading, aloud or individually. The text represents a source to be consulted during the

task of giving an advice to Jess. Students are asked to take on the role of Jess’ friend, engaging

interactively with the story world, and to try to understand her perspective.

Task Sequence 3 – Indian girls aren’t supposed to play football

Aims: • To practice reception* – reading as a leisure activity and audiovisual reception

• To practice interaction* - informal conversation and informal group discussion • To practice interaction* - online conversation and discussion • To foster dialogic competence • To foster mediation* – facilitating pluricultural space • To foster cultural learning – challenging stereotypes, understanding cultural hybridity • To expand the lexical field with regard to ‘lying’ and ‘ideas about relationships and diverging aspirations’

Material: Appendix 7, 8, 9, DVD

Phase

Aims Procedure Social form

Comments

pre-watching activity

audiovisual reception, informal conversation online interaction

Pick up the argument from the previous sequence, learners watch scene 00:22:22 - 00:23:49 to find out how the dilemma is resolved in the story

Students exchange their thoughts in pairs: What do you think of Jules’ idea to lie about

playing football? Do you think it is okay to lie in

some cases or not really? Have you had to lie to

your parents and about what?

They exchange contributions on Mentimeter, a website for interactive presentations (Appendix 7)

plenum, think-pair-share

offer vocabulary terms

while-reading activity

reading as a leisure activity

Learners read pages 31-32 (Appendix 8), where Jess tells her secret to the girls from the team. She explains that Indian girls are not supposed to play football, Jules comments that girls in general are not supported much in football, and Jess indicates that, although she is not promised to anyone, there is a certain ‘dating hierarchy’

either let students read silently or assign the characters of Jess, Jules and the captain to volunteering readers and read scene aloud

individual work / in plenum

check com-prehension: have indivi-dual learners summarize the scene, talk about linguistic structures or vocab terms if necessary

interpre-tation

fostering dialogic competence,

Before the discussion, show the picture-quote again and ask students what they need to remember for the discussion

individual work, groups,

walk around and assist, if needed

84

This sequence starts by picking up the previous argument as pre-reading activity. Let students

remember some pieces of advice that they came up with for Jess, thus arousing interest for how

the story continues and activating schemata. Then, I suggest showing the filmic scene for them

to find out how the characters resolve the situation. The interpretational task consists of the

think-pair-share structure; students first reflect individually, then discuss the guiding questions

with a partner and exchange their responses afterwards in plenum. For this purpose, I consider

Mentimeter as particularly suitable, a website for interactive presentations. Students can access

a presentation slide projected on the wall with their phones and type in comments anonymously

that everyone can read. I believe that the topic is relevant for students and it is in line with the

developmental task of dealing with moral ideologies.

The next activity is reading another scene with a discussion afterwards for the interpretation

phase. Roles could be assigned to students to read direct speeches aloud. However, this is only

recommendable if students feel comfortable with that to avoid impairment of an aesthetic

experience. Although a discussion with peers is scheduled for the previous sequence as well,

the procedure for this task is quite different and should still guarantee alternation. Before

students begin with the discussion, the picture-quote can be shown again as a sign to remind

students of maintaining an open attitude.

The placemat procedure also follows the principle of think-pair-share but in groups of four,

as everyone gathers ideas individually, noting them down on their side of the placemat, then

the group can start discussing those. Guiding questions lead learners to taking Jess’ perspective,

and to transferring the topic to their own lives. The reading passage offers a number of though-

provoking statements ranging from stereotypes over not being able to recognize others’

informal group discussion, facilitating pluricultural space

Students first write down comments on the following topics on a ‘placemat’ (Appendix 9), then they discuss them, practicing perspective-taking: Jess’ family wants that she marries an Indian boy one day. But Jess fancies her coach Joe, an Irish guy, and she isn’t interested in any of the Indian boys she knows. She is again stuck between what her parents want for her and what she herself wants. - What would you do if you were in her shoes

and why? - What do your parents think

“Mr./Mrs. Perfect” would be for you?

Are you of the same opinion or do you think differently, like Jess?

Conclusions in plenum

plenum

85

perspectives to societal gender expectations and gender inequality with regard to sports. I chose

to focus on the topic of relationships in connection with culture, which addresses the

developmental task of creating ideas about future partners. Conclusions are then exchanged in

plenum.

Task Sequence 4 – From the page to the stage

Aims: • To practice role-play and performance – pronunciation, intonation, pitch, stress

• To foster affective qualities, cooperation and perspective taking • To foster mediation* – facilitating pluricultural space • To foster written production* - creative writing • To expand the lexical field with regard to the narrative genre

Material: Appendix 10

Phase

Aims Procedure Social form

Comments

evocation summarize content, raise interest, reception

Interactive storytelling: summarizing, tell the students how the story continues. Use storytelling techniques and create suspense: Jess’ sister finds out that Jess has been lying. Does she cover her sister or tell their parents? She keeps it a secret. Jess and Jules become close friends, they go to trainings together, they go shopping to buy new football shoes, they hang out at Jules’ place, have a good time and laugh a lot. One afternoon, Jess comes back home in a good mood, but realizes immediately that something is wrong. Looking around, she sees Pinky in the hallway, crying, and her parents in law are talking to her parents in the living room. Jess does not understand what is going on. What do you think that happened?

plenum let students make speculations and guesses

while- and after- reading activity

role-play, acting out a scene

Read the scene together which is converted into a screenplay (Appendix 10). It is the scene where the wedding is cancelled and Pinky is so angry at Jess that she reveals her secret to their parents. In plenum, clarify vocabulary terms, check comprehension, discuss the conflicts briefly and why everyone is enraged, emphasize that it is a very emotional scene and that it needs to be considered for acting

Students rehearse staging the scene. Encourage them to really act their part and to use their voices to convey emotions credibly. They get together in groups of four, ideally, and assign

plenum, groups

give example of good/bad intonation and pitch, walk around and assist, fun and positive experience is foregrounded, a part of the class might have to practice outside of the

86

For this sequence, I chose interactive storytelling to begin the evocation process. What I mean

by interactive storytelling is that instead of reading or watching some scenes, students listen to

and interact with the teacher who tells the events. Thereby, storytelling techniques should be

applied to create suspense. Posing questions should allow students to speculate und to bring in

their imagination. Afterwards, I planned a performative activity that involves teamwork and

embodying a character. To familiarize students with the scene, which I modified into a

screenplay, I propose reading it together once and assuring comprehension.

Staging a scene is a creative transformation of the text that implies slipping into the role of

a character, thus taking on their perspective. Moreover, when acting out a short dialogue

learners get the possibility to practice pronunciational aspects such as pitch, stress and

intonation. Another advantage is the incorporation of physical activity and emotionality.

Students should have fun using the language; a positive experience with acting should be

foregrounded.

The subsequent activity is a creative transfer for fostering perspective-taking. Students

should write how the story could continue from the perspective of a character of their choice,

allowing for individualization, and in a narrative style using direct speech. I want to emphasize

starting the writing process in class including a brainstorming and collecting ideas. Often,

writing tasks are explicitly assigned for homework where neither peers nor teachers can assist.

Task Sequence 5 – Swapping sunglasses

Aims: • To practice reception* – reading as a leisure activity and audiovisual reception

• To practice interaction* – informal discussion • To foster dialogic competence • To foster affective qualities like empathy, tolerance, perspective taking • To expand the lexical field with regard to ‘sexual orientation’ and ‘feelings and viewpoints’

Material: Appendix 11, 12, DVD, different pairs of sunglasses

each other the parts. Then they have time to read the scene, their lines and to practice.

Volunteering groups can present their scene, the others are asked to provide productive feedback

classroom as it might get loud

after-reading activity

creative writing

How does the story go on? Tell it from Jess’ perspective or from the perspective of a different character of your choice. Maybe create a sentence in plenum as an example of how to start, discuss genre-related features such as direct speech, etc.

Individual work

written homework assignment

87

In preparing students for this sequence, the awareness-raising activity with the sunglasses as

described above can be of valuable help. With its message that there are no wrong or right

perspectives, only different ones, dialogic competence can be fostered. Next, support learners

in reentering the story world by linking back to the dilemma from the previous sequence.

Announcing that the scene they performed last time will be watched as well as how the story

actually continues should awake curiosity.

While watching, students can compare the input to their own performances. Afterwards, I

suggest having the scene briefly summarized in plenum where students comment on it and bring

in their interpretations. Interactive storytelling can then be used to fast forward, skipping scenes

that are less relevant for my focus, and to invite students once more to speculate and make

predictions.

Learners proceed with reading the next scene individually, as I would advise, for being

able to engage in the reading process in a concentrated manner. For the follow-up activity, I

Phase

Aims Procedure Social form

Comments

awareness-raising

dialogic competence

Do the awareness-raising activity with the sunglasses as described above (awareness-raising activity 2)

plenum

pre-watching- activity evocation

linking back to previous lesson, audiovisual reception, predictions

Have students recall the scene that they staged and the conflict the scene deals with, then watch that scene as well as what happens afterwards 00:38:49-00:43:56. Coach Joe comes by to talk to Jess’ parents and tells Jess about the match in Germany where they will be playing. Check comprehension and discuss responses.

Interactive storytelling: What do you think Jess is going to do, go to Germany or give up football? Her sister covers for her so she can go to Germany, but their parents find out about it because they see a newspaper article about the team playing in Germany. What happens there, do they win the game?

plenum let students make specula-tions and guesses

while-reading activity, interpre-tation

reading as a leisure activity, perspective-taking and tolerance, informal group discussion

Students read pages 66-67 (Appendix 11), where Jess talks to Tony about her crush on Joe and Tony confides to her that he is gay.

Tell students to reflect about what they read using a visual aid (Appendix 12). Remind them of the sunglasses activity from the beginning of the lesson. Guiding questions: Try to see through Tony’s glasses and describe his situation: What is his dilemma? How do you think he feels? What about Jess’ reaction?

Students take notes, then discuss with a partner, then conclude with a plenary exchange

individual work, think-pair-share

88

propose practicing perspective switching; students try to relate to Tony’s and to understand his

dilemma. To facilitate the challenging task, a visual aid can be used to remind learners of the

glasses trough which to take their interpretative look, as well as guiding questions about his

situation and Jess’ reaction. With regard to topic, the developmental task of the self-concept is

addressed in relation to one’s sexual orientation and cultural background. After working

individually, students can discuss in pairs and finally share the outcomes in plenum.

Task Sequence 6 – Instagram is your stage

Aims: • To practice interaction* – informal discussion

To foster cultural learning – understanding cultural hybridity • To foster media literacy • To foster affective qualities like empathy and perspective taking • To expand the lexical field with regard to ‘Instagram’ and ‘associations with Indian culture and girls’ football’

Material: Appendix 13

Phase

Aims Procedure Social form

Comments

introductory task

prior knowledge, lexical field

Ask questions about Instagram: who uses it, who can explain what it is, how it works, what pictures do the students post, how often, etc.

in plenum

Exchange media literacy

Students have 2 minutes to look for a photo of them on their phones that they like

Then they show the picture to their neighbor, describe it, explain why they like it and if they would post it/have posted it or not and why

Plenary exchange about what pictures students post, draw attention to the fact that these pictures are ‘staged’, that you show people what you want them to see by selecting certain images of how you want to present yourself, it’s a stage where we present ourselves, where we perform and convey messages

think-pair-share

guide the discussion

interpre-tation

analysis of social media posts

Jess posted a picture on her Instagram account (Appendix 13), where we can see her wearing a sari with football shoes behind her back. Instruct students to get together in pairs, discuss and write down notes why they think Jess chose to post that picture, what she wants to convey

Plenary exchange

pairs, plenum

working with associations

creative production

Students ‘help’ Jess to write good hashtags for her post (Appendix 13). They are allowed to do research on and look up actual hashtags. Give an

individual work, plenum

89

This sequence is based on ‘Bend it like Beckham’, however, it is not planned to engage with

the story per se and how it continues. As an introductory task to activate prior knowledge and

schemata, talk about Instagram - the popular online platform for sharing pictures and videos –

in plenum by asking questions. Then, let students discuss their social media habits with a partner

to establish a relation to their personal lives, followed by a plenary exchange about their posts

in a think-pair-share manner. With the aim of fostering media literacy, draw attention to the

createdness of social media posts and highlight that what can be seen on social networks is what

people want others to see of them. Thus, Instagram can be compared to a stage where people

perform in presenting their identities.

In a transfer activity, this issue can be shifted to the context of ‘Bend it like Beckham’.

I suggest a perspective-taking task where students are shown an Instagram post of Jess in her

sari with football shoes behind her back. Students should reflect with the help of guiding

questions why Jess could have posted this picture, what messages she wants to convey and how

she wants others to see her. Thematically, the developmental tasks concerned with the self and

identity construction are targeted as well as the cultural conflicts that surround her daily life.

The follow-up task I propose is to rephrase the associations with the picture by coming

up with creative hashtags. These are hash signs followed by a word or words in a row without

spaces to label a content, thus allowing other Instagram users to find your post when searching

for that hashtag. Students should think of at least five good hashtags but are welcome to write

down more, which enables differentiation. While students who have difficulties with the task

use the time to come up with five, students who can do the task with ease remain busy thinking

of more hashtags in the meantime.

Task Sequence 7 – Stop discrimination

Aims: • To foster dialogic competence

• To practice reception* – reading as a leisure activity

To practice interaction* – informal discussion • To practice interaction* – online conversation and discussion • To expand the lexical field with regard to ‘football’, ‘cultures’ and ‘discrimination’ • To foster affective qualities like empathy and perspective taking

example and discuss structural aspects, i.e. #britishasian, #sari #footballgirl

Students share their best hashtags which the teacher can collect on the board, then they can vote for their top 5

90

• To foster cultural learning - understanding cultural hybridity, tolerance for diversity Material: Appendix 14, 15, 16

In the evocation phase, students have time to reflect upon cultural hybridity in relation to their

own experiences and to share their thoughts. They can also use knowledge they gained

throughout the previous sequences. This pre-reading activity has the purpose of sensitizing

learners for cultural diversity, for a tolerant and open attitude and for recognizing different

perspectives, which is relevant for the next task.

Students then read a scene that brings up the thematically critical element of racial

discrimination; therefore, I suggest a guided interpretation of the scene as after-reading activity.

Learners could be asked to talk about the reason for the girl to use a racial insult against Jess

and how Jess felt in that situation, but also if they themselves have experienced similarly painful

situations and if they can understand Jess’ feelings. This interaction requires students to take

on Jess’ hybrid perspective and to show empathy, which should be facilitated by relating the

Phase

Aims Procedure Social form

Comments

pre-reading activity evocation

positive and open mindset, empathy, perspective-taking

Have a short plenary exchange about being bicultural, address advantages and indicate struggles. Guiding question: Do you know someone or are you yourself someone who is part of two different cultures like Jess? Can you imagine what is great about it and what might be difficult? Encourage students who know the feeling to tell what they like about it and, if they feel comfortable talking about it, also what they struggle with

plenum create a positive classroom atmos-phere beforehand

while-reading activity after-reading activity, interpre-tation

reading as a leisure activity

Students read pages 71-73 (Appendix 14), the scene where a girl from the opposing team provokes Jess during a match, saying a racial insult to her.

Then, check comprehension and have students discuss in pairs: Why do you think the girl said that? Why did it hurt Jess that much? Have you ever been in a situation where someone hurt you using words? How does it feel?

As a follow-up, show students a visual aid (Appendix 15). They have decided to participate in a peaceful demonstration to support a topic of their choice - anti-racism, gender equality, diversity, etc.

plenum, pairs

let students decide how they want to read provide posters and colored pens to choose from

after-reading activity

written production

Students practice writing a blog comment (Appendix 16). Guiding questions:

- talk about your own experience - explain why you think it is important to campaign

against discrimination and bullying - tell about your project where you designed a poster

for participating in a demonstration

individual work

students can finish the task as homework assignment

91

event to their personal lives. Moreover, the issue can be widened to discuss all sorts of

discriminatory actions and bullying and it concerns the developmental task of forming values

and moral ideologies.

Subsequently, I consider a creative transformation of the content as a suitable follow-up

activity. A visual stimulus that depicts people at demonstrations and posters with creative,

inspiring and thought-provoking slogans should help to spark ideas for a group work: Learners

create their own poster to support anti-racism, gender equality, diversity, etc. The context for

this task can be to imagine participating in a peaceful demonstration, and the possibility for

individualization is given by offering a choice of topics.

Another after-reading activity to transfer the thematic elements to a different context can

be a written production in connection with the topic, such as a blog comment. It represents a

different text type that needs to be practiced, requires rather informal language and allows for

expressing personal thoughts. However, to narrow the focus I propose some guiding questions

in response to a blog post. Again, I recommend starting the task during the lesson and have it

finished at home, giving the students a chance to consult the teacher or a classmate, while being

able to work at their own pace, taking the time they need.

Task Sequence 8 – I want to see you smile at the wedding

Aims: • To practice interaction* – informal discussion

• To practice reception* – audiovisual reception • To practice interaction* - interviewing and being interviewed • To expand the lexical field with regard to ‘cultures’ and ‘football’ • To foster affective qualities like empathy and perspective taking • To foster cultural learning – similarities and differences in customs and cultural products

Material: DVD

Phase

Aims Procedure Social form

Comments

pre-reading activity, evocation

connect events, raise interest

Interactive storytelling: The parents of Pinky’s fiancée apologize to the Bhamra family and the wedding is back on. Pinky and the rest of the family are super happy, only Jess isn’t. Why isn’t she happy that the wedding will take place after all? The wedding happens to coincide with the day of Jess’ final match. What does that mean for Jess? She cannot participate and is devastated

plenum let students make speculations and guesses

while-watching activity,

audiovisual reception,

Students watch the scene 01:11:43 – 01:18:58, where Jess gets her A level results, then there are parallel scenes of celebrations before the wedding

individual work, plenum

92

At the evocation stage, interactive storytelling should raise students’ interest in how the story

continues. While narrating, posing questions helps triggering speculations and prediction

making.

Then, I suggest showing a longish sequence of scenes with an interruption after the first

half for reasons of focus, elaboration and concentration. I prefer the medium of film for the

sequence because it nicely transmits the parallel structure of events and allows for a

visualization of material culture in connection with music. I would recommend an observational

task for the first part to assure that learners follow the story actively. With regard to topic, it

covers the girls’ team preparing for the final football match and the family’s cultural

celebrations the day before the wedding. While watching, students should take notes of how

Indian families celebrate, paying close attention to similarities and differences concerning

customs, material elements and cultural products such as music and dancing, clothes and

wedding attire and food with respect to their own cultural background. Proceeding with a

plenary discussion of students’ notes and ideas enables exchange and processing. A relation to

after-watching activity

informal discussion

and of the team training before the final game, Joe comes over to the Bhamra’s and tells Jess about the scout

Observational task – while watching, take notes how Indian families celebrate. What is similar/ different to how marriages are celebrated in your culture? Pay attention to material elements and to music. Discussion afterwards

while-watching activity after-watching activity, interpret-tation

audiovisual reception, creative writing, perspective-taking

Students watch scene 01:19:40-01:26:58, where there are parallel scenes of the final game and the wedding celebrations, Mr. Bhamra lets Jess participate in the final, the team wins

Briefly discuss impressions of the scenes. Then tell students that Jess and Jules are offered the scholarship by the American scout. Next, students imagine there is an interview by a local newspaper after the game. They write a short interview in groups of 3 or 4, one being the interviewer and the others being Jess and Joe and/or Jules. Optionally, a challenge can be added for all groups or for differentiation purposes: to address critical issues during the interview as for example playing football as an Indian girl, coaching a girls’ team as a man, and pursuing a professional career in football as a girl

Volunteers can act out their interview in plenum as if in front of a camera.

plenum, groups

if necessary, present an example in plenum students can finish writing their interview at home if necessary

93

their personal life is established and the aim of identifying and interpreting similarities and

differences can be attained.

When watching the second part of the film sequence I would advise against an

observational task, as the scenes are very engaging on an emotional level and, this way, students

can concentrate on the experience itself. The team celebrates winning the final and the family

celebrates the newly married couple. For the after-watching I thought of a role-play activity as

creative transfer that involves embodying a character and taking on their perspective and

feelings. Students form groups, assign the roles and envision the interview-situation. They write

down the imaginative interview, either relatively freely or with a thematic guideline as a

challenge for all groups or for offering a possibility for differentiation. From a cultural learning

perspective, addressing the issues of playing football as an Indian girl, coaching a girls’ team

as a man and pursuing a professional football career as a girl would be interesting. Another

option in addition to simply correcting the learner texts is to have students act out the interview.

Task Sequence 9 – Happy ending?

Aims: • To practice reception* – reading as a leisure activity

• To practice interaction* – informal discussion • To practice production* – creative writing • To foster cultural learning – tolerance for cultural hybridity • To foster affective qualities like empathy and perspective taking

Material: Appendix 17

Phase

Aims Procedure Social form

Comments

pre-reading activity, evocation

recalling and making predictions

Recall together what happened in the previous scenes, then interactive storytelling: After the wedding, Jess tells her sister Pinky about the scholarship in the US, how does she react? Pinky thinks that their parents will not allow her to go as long as she is not married. Later, she talks about it with Tony. What idea does he have to solve the situation? He decides to help Jess and tells her family that they would like to get engaged, so that Jess could fulfill her dream. What do you think of that idea?

plenum let students make speculations and guesses

while-reading activity

reading as a leisure activity

Students read pages 91-93 (Appendix 17), the scene where Jess decides not to lie any longer and to tell her parents about her dream. They finally let Jess pursue her football career.

plenum or indivi-dually

let students decide how they want to read

94

For the last sequence, I consider interactive storytelling again as a suitable tool to fast forward

to the story’s last chapter and to motivate students to find out how it ends. Then, I propose

reading the scene where the cultural conflict that has followed Jess throughout the narrative is

finally resolved. As for this story it is the last chance for students to engage in aesthetic reading,

I suggest reading the scene individually. Afterwards, students will absolutely need a possibility

to reflect upon and process the overall reading/watching experience. For getting out of the story

world, they exchange thoughts about what they liked and/or did not like about the story with a

partner. As a follow-up activity, they can write a short and honest review where they also

explain their arguments. In a phase of exchange, students share their rating and give a brief

statement.

Finally, to summarize the whole experience I would recommend another creative and

performative activity - freeze frames. A freeze frame is a still picture of a certain scene, as if

the film was paused. It involves cooperation within a group and embodying a character only

with gestures, mimic and without using language. Students can choose a scene they liked and

that is relevant to them. In addition, physical activity is involved and a competitive element for

the teams who are guessing what scene is represented.

after-reading activity, interpre-tation

reflection, summary, creative writing

Check comprehension. Do students have questions about what happened to the other characters?

Students talk about how they liked the ending and the story in general. Then, they write a short personal review and rate the story with stars – five stars is the best rating. In plenum, let everyone share their rating and briefly comment on it. To switch up the routine and to create a comfortable atmosphere, the chairs could be arranged into a semicircle, moving the tables aside (this setting can also be used for the next activity to have a stage like in a theatre)

Plenum, pairs, individual work

it is okay to be honest – it is about their opinion

after- reading activity

role-play Instruct students to get together in groups and to choose a scene they particularly liked. They have some time to practice doing a ‘freeze-frame’ - a still picture of a scene they read or watched. Then every group presents their ‘freeze-frame’ and the others guess which scene it is

individual work or plenum

some groups might have to practice outside of the classroom

95

Creative Activity 1 – Online reading journal

Aims: • To practice interaction* – online conversation and discussion

• To foster mediation* – facilitating pluricultural space • To foster affective qualities like empathy, tolerance and perspective taking

Material: Appendix 18

This activity aims to visualize the narrative structure of the story using a graphic organizer.

Padlet is an online bulletin board where teachers can easily upload pictures, videos, links, or

texts that students can comment on for practicing interactive written production. The task that

is foregrounded in my example is that of keeping an interactive reading (and watching) journal,

where key events as well as topics that were discussed in connection with them can be

summarized, serving as an overview. What I consider as highly positive about this digital tool

is that learners can be asked to leave a comment as a short but efficient homework task, which

they can complete very flexibly on their phones or on their laptop. They can view the comments

of their classmates, using them as stimuli, as aspects for further elaboration or for expressing a

different viewpoint to those that are already mentioned. With regard to its function as a reading

journal, Padlet has the advantage of allowing teachers to update the boards. This implies that

the teacher can post pictures as the story unfolds, accompanying the story’s events, instead of

having to present them all beforehand or afterwards.

Creative Activity 2 – Present your Beckham

Aims: • To practice interaction* - informal discussion

• To practice production* - sustained monologue in describing experience • To practice reception* – listening as a member of a live audience • To foster digital literacy and researching • To foster skills related to holding presentations

Phase

Aims Procedure Social form

Comments

flexibly useable after-reading/ watching activity

reflecting and recalling arguments, online interaction

Create a Padlet (Appendix 18), which is an online bulletin board. It serves as a storyboard and can constantly be updated, i.e. by adding new posts Students can comment on posts

Instruct students to comment posts on a weekly basis, thus summarizing main events, in class discussions and different viewpoints

individual work

ideal as multiple individual and brief homework tasks

96

Holding presentations includes a number of skills in addition to spoken production, for example

speaking with confidence in front of an audience and presenting contents in a way that a specific

audience is interested, etc. I consider the topic as highly suitable for practicing presentations,

as it allows for an individual choice, and speaking about a personally relevant aspect facilitates

the task. While students are in the role of active listeners, they can be given an observational

task as support.

Creative Activity 3 – Knowledge quiz

Aims: • To foster conceptual and factual knowledge of cultures and countries

• To practice written reception Material: Mentimeter or other website / app (for example Kahoot)

Phase

Aims Procedure Social form

Comments

flexibly usable

relating to personal life, researching

Why do you think David Beckham is Jess’ idol? After a brief group discussion, have a plenary exchange summarizing the students’ ideas.

Using these motifs as a basis, students should think of an idol for themselves, someone who inspires them because they support or represent something that is important to them as well. It could be a famous sportsperson, singer, actor or actress, activist, etc. Students prepare a short presentation of about 3 minutes, where they introduce their ‘Beckham’ and explain why they admire the person. They should relate the information to an issue that is personally important to them and give reasons.

groups, plenum, individual work

research task can be given as homework,

beginning/ end of lessons

spoken production/ spoken reception

When students present their idol, the others should be given an observational task which could be related to content or to holding presentations

plenum limit number of presenta-tions to a maximum of 3 per lesson

Phase

Aims Procedure Social form

Comments

flexibly usable

learning factual knowledge about countries and cultures

Have students take a quiz about their prior knowledge (including good guesses) with the purpose of providing accurate factual knowledge and bringing all learners to a similar level. The questions should raise interest and give options to choose from, as passive knowledge and deducing abilities are targeted rather than active knowledge. Additionally, this activity allows the

individual work

only address contents that are relevant for the context, don’t present

97

Create a quiz with simply phrased questions and multiple-choice answers. Choose a website

where students can click the answer they think is right and which presents the outcome as a sort

of ranking. This way, everyone can see which answers were picked and how often without

embarrassing anyone, as we do not see who selected which answer. I would recommend the

website Mentimeter, choosing the ranking slide, as this website allows for a pause after each

question and for talking about the fact afterwards, contrary to Kahoot. Advantages of this task

are that every student has to participate (using their phones) and that the competitive element

creates a playful atmosphere to discuss factual knowledge. Interesting questions could regard

music, food, clothes, traditions, colonialism, ethnic groups in a country, etc. It could be helpful

to check what information is offered in the workbook that is used, either deciding to use it as a

source or to complement it with additional information.

teacher to incorporate contents covered in the workbook, combining it with the literature project.

more than 5 facts

98

7. Conclusion

By way of conclusion, I would like to recap the main objectives of my research and succinctly

summarize the results and insights that were obtained. In the beginning, the foundational

language learning objectives and their realizations in the classroom were determined by

exploring the educational principles of communicative approaches to TEFL. In this respect, the

principles of communicative competence development within authentic contexts and by using

the language in interactive situations has led to competence orientation, a focus on authentic

content and to learner-centeredness. From a practical standpoint, the post-method perspective

promotes methodological variety, where I identified task-based/supported learning, cooperative

learning forms and performance-based approaches as particularly suitable with regard to

working with literature. Moreover, I argued for a meaningful integration of the different media

at our disposal, supported by theoretical information on multimodality, multimediality and

adaptation. At this point, I want to emphasize once again that I am against banning smartphones

from the classroom. Instead, I recommend taking advantage of the possibilities the devices

offer, an approach that is reflected in my teaching suggestions. The examination of the CEFR

revealed congruent orientations with regard to a communicative language teaching agenda.

Shifting the focus on literature, I argued for an extended concept that I defined in

connection with aesthetic reading and multiple literacies. I proceeded with highlighting a

number of benefits that students can profit from when working with literary texts and films,

categorized with four dimensions - the motivational-affective, the aesthetic and formal, the

cultural, and the dimension of language learning and competence development. Then, I

proposed Reader Response Criticism as a useful theoretical approach to teaching literature

composed of notions originating from reader response pedagogy and from power-critical

perspectives. Such an understanding implies for interacting with texts or films to engage in

dialogic meaning-construction processes that allow for individual interpretations while

maintaining a critical, multi-perspectival stance. In response, teaching methodology suggested

the three-step model of pre-, while- and post-reading/listening/viewing activities as structural

basis to support the learners’ engagement with text and film. In this regard, I took a closer look

at each phase, indicating possible activities and describing the purposes they should fulfil.

Lastly, I drew attention to the challenges that are to be expected when teaching with literary

texts and films, outlining the language-, time- and goal conflict as well as aspects related to

assessment.

99

After locating the element of culture in the context of foreign language teaching and

interlinking it to teaching literature, I offered a definition of culture that embraces its dynamic,

heterogeneous and hybrid features and its internal differences. In line with a democratic

perspective, I aspire to promote a non-essentialist and counter-hegemonic understanding of

culture that respects human rights principles. Furthermore, I delved into cultural studies to

delineate the notions of multiculturalism, interculturality, transculturality and pluriculturalism,

and to discuss hybridity and third space in relation to symbolic competence. Moving on to

teaching culture, I defined dialogic competence as foundational for such learning processes,

thus, the development of a tolerant, respectful and open attitude for the negotiation of different

perspectives. As a timely theoretical approach to guide dialogic cultural learning, I introduced

a model that consists of stages of evocation and interpretation, and that can be aligned with the

tripartite structure of pre-, while- and post-reading/listening/viewing. In addition, I presented a

model that fosters positive affective responses and one that reflects perspective taking. Finally,

I investigated potential challenges concerning the elaboration of classroom activities,

addressing aspects of multiperspectivity, dialogue, reflection and assessment. In an attempt to

compile a list, I formulated fourteen cultural learning aims to summarize the discussion.

For a demonstration of how the theoretical frameworks can be applied in practice, I selected

the film ‘Bend it like Beckham’ and its adaptation as a young adult novel. I started with a

synopsis of the work, allowing my readers to follow further elaborations without having prior

knowledge of the plot. With reference to implications of mode, medium and adaptation, I

indicated different advantages of the showing and the telling mode regarding learner

engagement. Ensuing, I included an examination of the story’s socio-cultural context,

discussing issues in relation to multiethnic society and migration, and to culture and identity.

With respect to teaching ‘Bend it like Beckham’, I analyzed the sociocultural issues that are

conveyed through the character’s eyes from a critical angle, using citations from the book to

support my argumentation. Furthermore, I dedicated attention to the audio-visual

representations of culture, more precisely, to how cultural products, food, clothing, language

and customs, and music and dance are shown in the film. Finally, I confronted differing

interpretations from renowned critics concerning the messages conveyed by the narrative,

comparing them to one another and to my own. In conclusion, I substantiated my view that

‘Bend it like Beckham’ can be recommended for ELT contexts. Concisely, the story holds great

potential for dialogue and interaction, represents a motivational source and is of interest in the

context of English cultures. Several themes addressed in the narrative correspond to suggested

100

course book contents and there are manifold possibilities for enhancing communicative

language- and pluricultural competence.

In conclusion, I presented suggestions for implementing both the filmic and the written

version of ‘Bend it like Beckham’ in the classroom, thus bridging the gap to teaching practice.

The activity-sequences that I proposed in form of lesson plans are based on the entire theoretical

input of the preceding chapters. I provided procedural information and referred to teaching

objectives and challenges, with the underlying aims of fostering language-, literary- and

cultural learning.

In the appendix, find attached all the additional material that I elaborated as well as the

passages from the book that I chose for classroom discussions.

101

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Appendix

Appendix 1

Quote taken from Grimm, Nancy, Michael Meyer, and Laurenz Volkmann. 2015. Teaching English. Tübingen: Narr Francke

Attempto, 181

Appendix 2

Picture: https://capitalhumano.emol.com/6947/convertir-hobbie-trabajo-generacio

Minds

are like

parachutes -

they only function

when they’re open.

106

Appendix 3

Picture and blurb (modified): Dhami, Narinder. 2003. Bend it like Beckham. Stuttgart: Klett

Jesminder Bhamra, called Jess for short, lives

in Southall - a part of London where many

families of Indian origin reside. Her parents

want her to be a nice, conventional Indian girl.

They hope that she will go to a law school,

learn to cook traditional Indian dishes, and

finally get married to a nice young Indian man.

Just like her sister Pinky, who is about to

celebrate her engagement. But Jess has other

plans. She wants to be a part of both, Indian

and British culture. She wants to play football

like her hero, David Beckham, and she often

practices with some friends in the park. There,

she gets talent-spotted one day by Jules, who

offers Jess to come to a trial to the local

women’s team - the Hounslow Harriers. Is she

going to make it on the team..?

107

Appendix 4 - Dhami, Narinder. 2003. Bend It Like Beckham. Stuttgart: Klett, 17-19

108

Appendix 5

https://www.fakewhats.com/generator

H

ave you

experien

ced a situ

ation

wh

ere you

felt like

Jess? Message h

er back an

d tell h

er ab

ou

t you

r exp

erience.

109

Appendix 6 - Dhami, Narinder. 2003. Bend It Like Beckham. Stuttagrt: Klett, 25-26

Appendix 7

https://www.mentimeter.com/s/83ba769152595bc95657460b03b513db/7e8cd84107dc/edit

110

Appendix 8 - Dhami, Narinder. 2003. Bend It Like Beckham. Stuttgart: Klett, 31-32

111

Appendix 9

Jess’ family w

ants th

at she m

arries an In

dian

bo

y on

e day. B

ut Jess fan

cies

her co

ach Jo

e, an Irish

guy, an

d sh

e isn’t in

terested in

any o

f the In

dian

bo

ys

she

kno

ws. Sh

e is again stu

ck betw

een w

hat h

er paren

ts wan

t for h

er and

wh

at she h

erself wan

ts.

W

hat w

ou

ld yo

u d

o if yo

u w

ere in h

er sho

es an

d w

hy?

W

hat d

o yo

ur p

arents th

ink “M

r./Mrs. P

erfect” wo

uld

be fo

r you

?

Are

you

of th

e same o

pin

ion

or d

o yo

u th

ink d

ifferently, like Jess?

112

Appendix 10 – Staging a scene: Dhami, Narinder. 2018. Bend It Like Beckham. London: Hodder

Children's Books, 69-72 (modified)

Mum, Dad and Pinky are in the living room. Jess enters.

Pinky: “You stupid flippin’ cow!” *yelling, accusing

Mum: “You’ve ruined your sister’s life! Are you happy now?” *whining

Jess does not understand what is going on, she just stares at them with her mouth open.

Pinky: “My whole wedding’s been called off because of you.” *sobbing

Jess: “Me!? Why?” *unbelievingly

Mum: “They saw you being… filthy…with an English boy.” *snapping

Jess: “They’re lying! I wasn’t with any English boy!” *gasping

Pinky: “They saw you today at a bus stop kissing him. You bitch! Why couldn’t you do it in secret like everybody else?” *furious

Jess: “Kissing? Me? A boy?... You’re mad, you’re all bloody mad!” *spluttering

Dad: “Jesminder, don’t use those swearing words.” *sharply

Jess suddenly gets it - Teetu’s parents made a mistake.

Jess: “I was at the bus stop today with my friend Juliette. She’s a girl. And we weren’t kissing or anything, for God’s sake.” *explaining, convinced

Dad: “Swear by Babaji.” *sternly, pointing at the picture of Guru Nanak

Jess: “I swear on Babaji’s name.” *calm

Pinky is sobbing, everyone else is silent.

Mum: “These English girls have such short hair. Sometimes you just can’t tell…” *muttering, sinking into a chair

Dad: “They must have made a mistake. *agreeing

Mum: “That boy’s shameless parents are just making an excuse. We were never good enough for them.” *going on

Jess feels relieved.

Pinky: “No, Mum, it’s all her fault. I bet she was with some girl from her football team. She’s still been playing, you know.” *moaning

Jess: “Pinky!” *hissing

Pinky: “She ain’t got a job or nothing. She’s been lying!” *hysterically

Mum and Dad stare at Jess, totally shocked. Jess groans.

Mum: “Oh, God, why did you give me two deceiving daughters? What did I do wrong in my past life?” *dramatically

Pinky: “She’s the one who’s ruined my life…” *pointing at Jess

Mum: “Be quiet! Do you think I didn’t know you were sneaking out with that good-for-nothing Teetu?” crossly

Pinky is quiet. Mum looks from Pinky to Jess, and back again.

Mum: “Well, that’s it. No more going out for either of you!” *snapping

113

Appendix 11 - Dhami, Narinder. 2003. Bend It Like Beckham. Stuttgart: Klett, 66-6

Appendix 12

https://pngimage.net/looking-through-glasses-png-1/

Try to see through Tony’s glasses and describe his situation: What is his dilemma? How do you think he feels? What about Jess’ reaction?

Write down key words.

114

Appendix 13

https://generatestatus.com/generate-fake-instagram-post/

1) Jess posted this picture on Instagram. Discuss and take notes:

Why do you think Jess chose to post this

picture? How do you think she wants other

people to see her?

2) Help Jess to post some good hashtags! (at least 5 but you can write more)

#

#

#

#

#

115

Appendix 14 - Dhami, Narinder. 2003. Bend It Like Beckham. Stuttgart: Klett, 71-73

116

Appendix 15

https://www.uregina.ca/external/communications/feature-stories/current/2019/03-21.html (top left)

https://www.ggg.at/nederland/wp-content/uploads/2017/04/IMG_0229-1024x683.jpg (top right)

http://www.thetower.org/3669-over-25000-march-in-jerusalems-largest-ever-pride-parade/ (bottom)

Appendix 16

Screenshot from: Chadha, Gurinder. 2004. Kick It Like Beckham: Bend It Like Beckham. With the assistance of P. Nagra, K. Knightley, J. Rhys Meyers, A. Kher, A. Panjabi, S. Lewis, F. Harper and J. Stevenson.

by JesMinder 7 July 18, 6:27 p.m. I am British-Asian and I play football for an English team. Still, at today’s match I was insulted because of my ethnicity. I know that my reaction, shoving the girl who said it, wasn’t right either. However, that’s why I decided to speak up for everyone who faces discrimination for whatever reason. Do not let others bring you down because they are ignorant and intolerant! Let me know what you guys think!

You decide to comment on Jess’ blog post. In your blog comment, you should:

talk about your own experience

explain why you think it is important to campaign against discrimination and bullying

tell about your project where you designed a poster for participating in a demonstration Write around 200 words.

117

Appendix 17 - Dhami, Narinder. 2003. Bend It Like Beckham. Stuttgart: Klett, 91-93

118

Appendix 18

https://padlet.com/vi_vi/iwly8gz79jap

Screenshots from: Chadha, Gurinder. 2004. Kick It Like Beckham: Bend It Like Beckham. With the assistance of P. Nagra,

K. Knightley, J. Rhys Meyers, A. Kher, A. Panjabi, S. Lewis, F. Harper and J. Stevenson.