This theme-based course is geared to high-intermediate to advanced ELs who will have sufficient vocabulary and cognitive skill to learn to use English in order to explore the rich world of traditional international folktales.

At the top of the mind map is a line showing “Story Elements”: some of the key features that define the trajectory of a folk legend. A refined version of this timeline will be a central point of reference in the classes, from the first and simplest story to the last and most complex.

Beneath this, I drew two lenses: universal and cultural. Every legend potentially has hearty doses of both. Not only do stories have their own cultural and universal layers, but we as individuals hear (or read) stories through our own experiential filters. Both of these concepts will be fundamental throughout the course.

The lenses are directed at the interaction of skills we’ll work on: an interweaving of the four skills which will implicitly build predefined grammar skills.

To the left of this core area is a partial list of texts and formats we’ll use as the source of our activities. Related tasks will gradually increase in extent of cognitive challenge, with strong scaffolding along the way.

On the right side is a list of the aspects of language that we’ll focus on.

Beneath these, unoriginally represented as a light bulb, is what I envision as the soul of the course. Drawing on the four skills to dive into texts, and guided by stated language targets, students will unpeel the stories: look beyond the surface words into the symbols and their universal and cultural meanings. This light bulb represents the synthesis of the language and the theme, combining them so the students learn creatively not only about English, but about legends — and about each other as cultural individuals.

Below the light bulb is a sampling of activities the students will do to advance the course’s language and content-related goals.

Flowing toward the lower right are the means of assessment. This will not be a credit course requiring standardized or institutionalized testing. Instead, the students’ development will be gauged by what they produce and contribute within and outside of class.

And finally, surrounding all of these is the classroom environment, in which I would like to foster a sense of community and trust; with affective filters lowered and emotional connection to other students cemented, I believe learning is optimal.

Ginna, this is looking good. It is interesting and challenging and there is plenty of room for personal growth and development, as well as language development. I particularly like the use of two lenses (universal and cultural) through which you will view the folk tales. You include what I know as ‘story grammar’ – the story structure that you mention. This is an important element and opens up discussion of the genre and how the format is adhered to (or not) and how specific language use realizes the genre.

My question is: how do you see pragmatics fitting  into this? This is not to say I don’t think it should be included but I’d like to know your thinking about it.

Good work here – you are well on your way to putting this course together.