ASSIGNMENT COVER SHEET 2023/2024

Student Name: Oliver Moore

Assignment title: What does it mean to be an inclusive teacher of English?

Date of Submission: 13/05/2024

Level of submission: Level 7

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Introduction, Context and Aim

The aim of this study is to help my year 10 class generate authentic responses to poetry
using Text World Theory (Gavins 2007) and reader response theory (Cushing 2018). The
class is a diverse mix of low prior attaining pupils with a high level of complex need; and
often they struggle to independently analyse texts or offer any ideas or interpretations of
their own. In assessment data from term 1, many of the pupils in the class were unable to
make more than one comment on a poem, and often would not include quotes from the text
to support their judgement. This led to a focus on using writing frames to build confidence in
academic writing.

In English teaching, the development of critical thinking skills is fundamental t to preparing

students for the challenges of life beyond school. As an English teacher, I have recently
encountered a critical incident within my Year 10 class that has formed the basis of this
research project: while students exhibit proficiency in crafting analytical paragraphs using
prescribed models we have practised, they struggle to generate authentic and independent
responses when confronted with new or less familiar texts. This issue has prompted a
reflective inquiry into the pedagogical approaches employed in the classroom and has laid
the foundation for a research project aimed at addressing and rectifying this instructional
challenge.

One reflection which I have made as a practitioner is that I have spent a considerable
amount of time and had some success in teaching the class how to write in an academic
tone. I often reduce poems to three key quotes and tell the class the meanings directly so
that they can focus on the procedural knowledge of writing an appropriate response to a 15-
mark or 25- mark GCSE exam question. This has been successful in that pupils now are
generally able to pick out a minimum of 3-4 quotes, and make some comment where they
may not have written anything before. However, I feel the class would benefit from
establishing a deeper understanding of the texts they will study so that they are not relying
on memorising specific quotes and interpretations, but are rather thinking and understanding
for themselves and able to apply those critical thinking skills to their wider learning,
particularly when they are faced with unseen poetry. Thus, I have chosen the
aforementioned theories with the intention of generating some enthusiasm and personal
connection with the literature from the class. I feel this will only aid them when they need to
be able to discuss the poems later and hopefully will stimulate more fruitful discussion and
collaboration between the pupils, giving them more ownership over their learning.
Each pupil having the opportunity to build their own text world (Gavins 2007) when studying
literature is important as it fosters active engagement, comprehension, and critical thinking.
By creating a personal mental model, students can develop a deeper connection with the
literature, making it more relevant and meaningful to them and their experiences. This
process encourages them to think critically about the content, characters, and themes,
promoting a clearer understanding of the text's complexities and nuances in a way that-
importantly- encourages them to arrive at these understandings organically, without being
directly told meanings. Additionally, engaging in text world-building nurtures creativity,
empathy, and perspective-taking, allowing students to explore alternative interpretations and
diverse perspectives represented in the literature.

Furthermore, constructing a text world enhances students' language development and

metacognitive skills. Actively discussing and reflecting on their text world-building process
enables students to articulate their ideas, express their opinions, and engage in meaningful
discussions with peers, thereby expanding their vocabulary and improving verbal
expression. This reflective practice also cultivates metacognitive awareness, empowering
students to identify their learning strengths and areas for improvement, adapt their strategies
accordingly, and become more independent and effective learners. Overall, building their
own text world equips students with essential skills for academic success, personal growth,
and lifelong learning. The ability to construct analytical paragraphs is undoubtedly a valuable
skill, providing students with a structured framework for dissecting and interpreting literary
works. However, the purpose of literary study is of course not simply to adhere to predefined
models but in the cultivation of a pupil's capacity to engage with texts in a personal and
meaningful manner. The difficulty my Year 10 students experience when producing original
responses raises questions about the efficacy of current teaching methodologies and
prompts an exploration into alternative strategies that foster genuine literary engagement.

This research project seeks to delve into the root causes of this phenomenon and,
subsequently, design and implement interventions to cultivate a more profound and
independent understanding of literature.

The initial phase of the investigation will involve a review of existing literature on pedagogical
approaches to teaching literature and the development of critical thinking skills in secondary
education. This review will provide a theoretical framework to guide the subsequent stages
of the research and help identify potential gaps in current practices.

Following the literature review, the research will shift its focus to the collection of empirical
data within the classroom setting. This will involve observation of classroom activities,
interviews with students to gauge their perceptions of literature and their own responses,
and the analysis of student work samples. The aim is to identify patterns, challenges, and
potential opportunities for improvement that may not be apparent through theoretical
examination alone.

The research will then move into the intervention phase, where alternative teaching
strategies will be developed and implemented. These interventions will include collaborative
learning and discussion of ideas and will employ the use of mini- whiteboards as the delivery
method for the initial ‘ideas’ phase of the learning sequence. The effectiveness of these
interventions will be assessed through ongoing observation, analysis of student work, and
feedback from both students and colleagues.

I also aim to use the English specific research and pedagogies around Text World Theory
and Reader Response Theory in conjunction with other research around the use of mini-
whiteboards. This is in line with school policy and also in response to feedback in my recent
ECT review wherein my ECT mentor specified that they would like to see more use of
whiteboards to engage and quickly assess pupils in class. It is hoped that the low- stakes
format of writing short responses to questions I posit will enable pupils to more confidently
engage with their learning, as they will not feel like they have to ‘get it right’ the first time or
mess up their exercise books with crossing out. Presentation, despite their frequent
resistance to literature, is something the pupils generally take a lot of pride in and this often
leads to reluctance when it comes to taking risks and thinking independently as they do not
want ‘wrong’ answers written down. Thus, I hope that through the use of questioning which
foregrounds the pupils feelings and experiences coupled with the low- stakes format of
whiteboard discussion will have a positive outcome on engagement and understanding.

Literature Review: What is an authentic response to reading and how do I facilitate it?

In order to be able to encourage more authentic responses to poetry from my pupils, it is

important to first define exactly what is meant by an authentic reader response. It is essential
to be aware- especially when considering inclusive teaching- of pupils’ individual
experiences and cultural contexts when approaching a new text. This is because factors
such as socioeconomic status, race, culture, SEN and more influence how individuals see
and experience the world and therefore will inevitably inform pupils’ experiences of texts.
This is articulated by Giovanelli and Mason who posit that, “although the text remains static,
readers inevitably differ in the range of resources they bring to the reading experience in the
form of their own background knowledge and reading competence.” (Giovanelli, Mason
2015) This highlights the importance of not making assumptions about how a text will be
experienced and interpreted by pupils simply because it is familiar to me. It is important to
contextualise texts in comparison to pupils’ own experiences to make the world of the text
feel more tangible. For example, in William Blake’s London, pupils may find it useful to
compare London as Blake describes it to their local area and look for similarities and
differences to kickstart their thinking. Due to high levels of economic disadvantage, many of
the pupils I teach have never left their local area, and so a direct comparison with modern
London may not be the most effective way to bring pupils’ experiences into their reading of
poetry. It may be more prudent to consider some other aspects of the poem, such as the
emotions displayed by the characters in it. It may also be useful to use other more familiar
texts- such as A Christmas Carol- to articulate the economic disadvantage Blake describes
in the poem.

Authentic reading should allow pupils to make genuine first impressions, experiencing a text
without teacher intervention, “then evolve into something more critical and coherent”
(Giovanelli, Mason 2015) through a series of planned questioning and discussion, and
creative tasks aimed at helping pupils develop their schema around what constitutes the text
world, hopefully empowering them to formulate opinions and ideas of their own. I will be
implementing Giovanelli and Mason’s four- stage process (2015) of text- world building and
evaluating how this impacts my year 10 class of low prior attainers’ ability to develop their
own responses to text. When considering the reasons pupils surveyed gave for liking
literature (Cliff Hodges 2010) there must be sufficient scope for pupils to think independently
and planning should be seen as an opportunity “to consider how best, in designing
classroom tasks, to use information about motivation, emotional investment and the kinds of
background knowledge and resources that students bring with them.” (Giovanelli, Mason
2015)

It is also important to consider how TWT’s implementation will affect how I define and
approach my role within the classroom, “not as an authority representing the meaning and
background of the literary work but as a catalyst of discussion, encouraging a democracy of
voices expressing preliminary responses to the text and building group and individual
understandings. The teacher’s voice is at once that of the shepherd and of a partner
participant”(CITE) This articulates how implementing reader response into the classroom
forces me as a teacher to relinquish some control of the direction of discussion in order to
allow pupils the space and ample opportunity to consider and express their thoughts in an
organic way. Despite this, in order to address what could be a limitation of this practice in
that pupils may perpetuate misconceptions, I will plan questions ahead of time. This will
allow me to guide pupils towards appropriate interpretations of the text.

I believe that these approaches can benefit not only the class’s Literature work but also their
English Language GCSE by practising, through personal responses and feelings, the
crucially important processes of critical analysis and embedding evidence into an essay
response, “Because a reader-response approach requires readers to justify their
interpretations of a literary piece with textual evidence, readers are challenged to explain
which aspects of a text led them to derive their personal responses” (Woodruff, Griffin,
2017).

The world-based models of language- which suggest that language can create fictional
worlds that readers construct mentally using their background knowledge and experiences
rather than teachers acting as gatekeepers of meaning (Cushing 2018)- offer an interesting
perspective for planning interventions in the GCSE English classroom. A world- based
approach acknowledges the interdependent relationship between text, author, and reader,
emphasising the importance of individual responses and interpretations. Rosenblatt
proposes that a primary responsibility of an English literature teacher is to facilitate an
interactive “experience”, rather than a simple transmission of knowledge from the teacher to
the pupil (Rosenblatt 1978). Teaching should incorporate the reader’s background
knowledge within the reading process, creating a co-dependency between reader and text
in order to make meaning.

One significant advantage of incorporating Text World Theory into the English classroom is
its ability to enhance students' contextual understanding of literary works. By exploring the
relationship between language choices and the creation of these text worlds, students can
gain a deeper grasp of the author's intended meaning and the contextual nuances which
shape the text either subtly or overtly. This heightened contextual awareness not only
facilitates a more profound engagement with the literary material but also fosters critical
thinking skills as students learn to decode the layers of meaning within a text. I hope that this
contextual awareness will allow pupils to secure marks across their literature exams that
they are not currently securing due to them not having referenced contextual influences.

Atherton posits that poetry is “emotive and affective” and that to successfully read or teach it
requires being “attuned to how it makes us feel and why” (Atherton 2024). This surely
highlights the necessity of foregrounding pupils’ own experiences and knowledge as it will
shape their experience. Shifting the focus of the lesson to pupils’ own personal responses
adds an element of validation and empowerment to the learning sequence that I hope will
ultimately foster a more inclusive environment wherein all pupils feel confident to share
ideas, and subsequently develop a more profound understanding of a given text.

The statement underscores the essence of fostering independent thinking among students in
literary education. Encouraging students to engage with texts without initial interference can
cultivate deeper comprehension and personal interpretation. It enables them to develop
analytical skills, creativity, and confidence in their own insights. However, a balanced
approach is necessary. While independent thinking is crucial, guidance from teachers can
provide valuable frameworks and perspectives, especially for complex texts or unfamiliar
genres. Teachers play a vital role in facilitating discussions that scaffold critical thinking
without overshadowing individual exploration. Ultimately, a harmonious blend of independent
reflection and informed guidance fosters a rich literary learning experience, empowering
students to navigate diverse texts with confidence and insight.

Using reader response methods such as Text World Theory does come with some inherent
limitations that need to be anticipated and mitigated. There is a danger of missing the
author's message by becoming fixated on a specific aspect of the text, and readers might
stick rigidly to their own views rather than considering different perspectives. Also, readers'
understandings vary widely and their responses will inevitably be highly subjective, making it
difficult for teachers to judge which responses are appropriate. To tackle these issues,
teachers should guide students towards solid interpretations of texts.

The assertion that teachers should adopt a facilitator role in guiding students toward
interpretations of texts aligns with contemporary pedagogical approaches that prioritise
student-centred learning and critical thinking. Roen and Karolides (2005) argue convincingly
that the reader-response approach empowers students by acknowledging their agency in
constructing meaning from texts, positioning the teacher not as an authoritative source but
as a facilitator of dialogue and exploration. This perspective fosters a democratic classroom
environment where multiple interpretations are valued and students are encouraged to
actively engage with the text. By embracing this role, teachers can promote deeper
understanding and critical literacy skills among their students.

However, while the facilitator approach has its merits, it also presents challenges and
considerations. One potential concern is the risk of ambiguity or misinformation when
students are left to interpret texts without sufficient guidance or contextual understanding.
Teachers must strike a balance between facilitating open-ended discussions and providing
necessary support and scaffolding to ensure that students develop accurate and nuanced
interpretations. Additionally, the facilitator role requires teachers to relinquish some degree
of control over classroom discourse, which may require a shift in mindset and pedagogical
approach for educators accustomed to more traditional teacher-centred methods.

Methodology

This study aims to investigate the impact of Text World Theory (TWT) on assisting Year 10
students in generating authentic responses to Romantic poetry, with a focus on William
Blake's "London" and Percy Shelley's "Ozymandias." The study employs Brookfield's four
lenses of critical reflection to evaluate the effectiveness of integrating TWT into the
curriculum. Data collection methods include examples of student work, assessment data,
pupil surveys, and observations from an in-school mentor.

The study involves a Year 10 class comprising 15 students from a diverse range of
backgrounds, all of whom are low prior attainers with high levels of individual need. The
intervention involves the incorporation of Text World Theory into the teaching of "London" by
William Blake and "Ozymandias" by Percy Shelley.It is hoped that TWT provides a
framework for students to explore the world created by the text, helping them to delve
deeper into the themes, characters, and narratives presented in the poems ahead of their
upcoming Mini Assessment Point (Henceforth referred to as MAP) in which they are asked
to compare how power is presented in the two poems.

Data Collection

● Examples of Student Work: A selection of student assignments, including essays,

reflections, and analyses, will be collected to evaluate the quality and authenticity of
responses before and after the TWT intervention. These examples will be analysed
for depth of understanding, engagement with the text, and the ability to articulate
connections between the poems and broader themes.
● Assessment Data: Formative and summative assessment scores related to the
study of "London" and "Ozymandias" will be collected. These scores will provide
quantitative data on student performance and progress, allowing for a comparison of
outcomes pre and post-intervention.
● Pupil Surveys: Students will be asked to complete anonymous surveys to gather
qualitative data on their experiences and perceptions of using TWT in their studies.
The surveys will include questions about engagement, understanding, and the
usefulness of TWT in helping them to generate authentic responses to the poems.
 ● Mentor Observations: An in-school mentor will observe selected lessons
throughout the study to provide additional insights into student engagement,
participation, and the effectiveness of the TWT approach. These observations will be
documented and used to inform the evaluation of the intervention.

Critical Reflection

Brookfield's four lenses of critical reflection will be employed to evaluate the impact of the
TWT intervention:

Autobiographical Lens: Reflecting on personal experiences and

biases in implementing TWT and its influence on student engagement and
understanding.
1. Students' Eyes: Considering students' perspectives and experiences with TWT
through survey responses and mentor observations.
2. Colleague's Perceptions: Seeking feedback from colleagues and mentors on the
effectiveness of the TWT approach and its relevance to the broader curriculum.
3. Theoretical Literature: Comparing findings with existing literature on TWT and
pedagogical approaches.

Lesson Planning Overview

Lesson 1: William Blake’s London

The first lesson (Appendix 6) will revisit pupils’ contextual knowledge of Romanticism from
their studies in year 9. I will be selective about what information I present to pupils both in
consideration of cognitive overload, and to guide pupils towards appropriate interpretations
of the text whilst maintaining the space afforded pupils to arrive at their own conclusions. We
will then read through the poem twice with no discussion, allowing pupils to have as
undiluted an aesthetic experience with the poem as possible. They will however be
instructed to highlight any words or phrases they didn’t understand so that I can remove
these barriers to their response. We will then read the poem again, asking pupils to pick out
words for clarification to remove barriers to comprehension. I will then ask pupils to pick out
specific words that give them some sort of emotional response, whatever that may be. I will
collate these words through discussion with the class and ask pupils to tell me what kind of
feelings are being expressed by the poet- what is the overall mood? The lesson will then
move into a discussion drawing upon pupils’ own experiences and understanding of
inequality, informed by their knowledge of Charles Dickens’ A Christmas Carol which they
studied during term 1. We will discuss how London was presented in that novella, with the
view to stimulating pupils’ recollection of the unequal and often miserable visage of London
that Dickens creates.

Impact: Pupil Voice

I designed a sequence of questions (Appendix 5) aiming to break up William Blake’s London
into manageable parts that would hopefully elicit different responses from the pupils. These
included looking for physical descriptions of the city itself, the characters within it, any
actions or events that occur and so on and how these features of the text made them feel or
if anything was familiar or relatable. I then invited comparisons between London today and
London during the Industrial Revolution, and what life might have been like compared to
today. Pupils enjoyed this task and were actively engaging with the poem in a way that felt
authentic and meaningful. At the end I asked pupils to anonymously state whether they
thought this approach to textual analysis which put their feelings at the centre of the
experience was helpful or more enjoyable. All except one pupil said they had found the new
method beneficial (Appendix 4).

Impact: Critical Reflection

In the first lesson on London, I felt that Text World Theory offered an accessible entry point
into deeper textual analysis, allowing pupils to build more meaningful personal connections
with texts. It was evident that the feeling of success and validation the pupils got from being
able to put forward more of their own feelings and ideas generated more enthusiasm for their
subsequent work in their exercise books and Mini Assessment Point. This is supported by a
pupil voice survey I conducted which was overwhelmingly in favour of this approach to new
texts, with pupils specifically noting that it made poems “easier to understand” (Appendix
4A). Pupils quickly grasped that the poem was very critical of London and of society at the
time and were comfortably selecting quotes and reasons for doing so faster than I have seen
the class be able to do so. One pupil who usually requires a lot of one to one support was
able to independently pick out a quote and comment that it was evidence of people in
London living ‘in despair’ (Appendix 3). This pupil has rarely been able to move past very
simplistic comments in response to any texts, so this is clear evidence of the impact the
discussions in this lesson were extremely beneficial for their learning.

TWT was not, however, without limitations. One issue that did occur on a number of
occasions was pupils getting somewhat over enthusiastic and writing down
misinterpretations into their books without having checked with me on their whiteboards.
One such misconception was the “black’ning church” in London and pupils interpreted that
this simply meant the building was dirty. It then required more teacher input into the
discussion in order to guide pupils towards a more sophisticated understanding of the term.
This was ultimately successful as we discussed the more metaphorical implications of “dirty”
and did arrive at Blake’s intended meaning about corruption, but not without a series of
guiding questions. Whilst this does not undermine the usefulness of TWT, it does highlight
that it cannot be used in isolation. Anticipation of and planning for questions ahead of time
where it is likely that there will be some misunderstanding on the pupil’s part is essential to
strike a balance between the pupil’s enjoyment and willing engagement with a text, and
maintaining an appropriate level of academic rigour.

Lesson 2: Ozymandias
The lesson (appendix 7) began with a retrieval task in which pupils were simply asked how
Blake made London seem in his poem, and pupils were asked to make general comments
about their opinion of the text world they imagined when they thought about the poem. This
retrieval task, which is a non- negotiable feature of all lessons in line with school policy,
demonstrated that prior discussions about the poem were fruitful and pupils had
remembered the fundamental themes and ideas expressed in the poem.

This lesson then followed a similar pattern to the previous lesson on Blake’s London, with
pupils reading twice for an initial experience before clarifying unknown language, and being
asked for their personal responses and comparisons to anything else they knew or had
experienced before. Through a moment of discussion about the word “sneer” pupils quickly
arrived at the conclusion that Ozymandias was a harsh, uncaring ruler who abused his
power. The important thing to note upon reflection is that at no point during the discussion
did I tell them this, however through carefully selected questioning the pupils came to their
own conclusions and ultimately appeared to form a deeper understanding of the poem.

Again, the use of mini- whiteboards was a success in generating enthusiasm and confidence
in the pupils. Every pupil was engaged and actively searching for quotes to give their
reactions to. It was clear that setting a precedent that pupils’ feelings are relevant gave
pupils a sense of empowerment to get more involved than they typically would in class
discussion. It is not common to have all members of the class aligned and focused but that
was very much the case when discussing both of these poems. Given that they have studied
other poems from the Educas Anthology with much less enthusiasm, the impact of TWT and
reader-response is evident. Anecdotally, pupils stated that they found the use of whiteboards
“more fun”, with one also commenting in the lesson “I can actually do English when we do it
like this”. This response from the pupils is extremely encouraging as it suggests that TWT
will hopefully foster more willing and thoughtful engagement from the outset in future years.
As stated, the level of enthusiasm for discussion and eagerness to put forward ideas was
unprecedented with that group.

Impact: Assessment Data

Quantitative assessment data (Appendix A) from the MAP in which pupils had to compare
the two poems shows a quantifiable uplift in pupils’ understanding of the texts and ability to
confidently discuss language choices and their implications for the meaning of a text. Pupils
have also begun to explore authorial intent with some accuracy, and whilst this is definitely
an area for improvement it is promising that pupils had the confidence to go beyond just
making very simplistic, one- sentence comments on quotes with little to no critical insight
beyond describing the meanings of words.

Impact: Colleague Reflection

The third lesson required pupils to recall the text worlds they had created for each text
respectively and begin to gather quotes from each to compare how power was presented in
each poem, articulating the presentation of power via their own personal reactions to key
words and phrases. This lesson was observed by my in- school mentor who felt that the
discussion and use of mini whiteboards fostered an environment of enthusiasm and
confidence, describing “an energetic round of targeted questioning” (Appendix) as well as
noting that pupils were independently reaching accurate interpretations of the texts by
focusing on the human experience depicted in them. One pupil who has previously really
struggled with any independent analysis was described as being “able to confidently
describe how and why Blake depicted the people of London as living in such despair
accurately using contextual knowledge with reference to the industrial revolution and
portraying the people of London as living ‘sad lives being treated badly by their King.” This
represents a significant leap in progress for this pupil and bodes well for future application of
text world theory to the classroom.

Implications for future practice

Going forward I will be implementing the theories I and pedagogies I have trialled in this
study as I feel that more than any other approach I have implemented previously, Text World
Theory generated the most genuine enthusiasm from my class. As a class with a diverse
and complex level of need, it is rare to have all pupils equally invested in their learning,
however the validation it gave them being simply asked a question such as “what word gives
you a reaction?” meant they were confident to get involved in the lesson and therefore were
not seeking distractions as is often the case when they are struggling. That simple question
then acted as the perfect springboard from which to delve into more specific, challenging
questioning, however by that point the pupils were invested and happy to be challenged,
which is not always the case.

Additionally, I felt using the mini- whiteboards was successful as it offered a more low-
stakes way for pupils to write their ideas down. Pupils throughout the lesson and after
repeatedly asked me if we could use them again next time. Again, this is something I will be
continuing to implement and think about new ways to incorporate across all classes. One
crucial aspect of teaching literature is generating some enthusiasm for discussion and
independent thought, hence my opting to study it for this module. The mini- whiteboards,
whilst not directly connected with Text World Theory, did help me to generate the
enthusiasm needed for fruitful and authentic discussion of texts by making pupils feel more
comfortable and confident.

I have created my own PowerPoint slides (APPENDIX) containing a set of questions in order
to structure and standardise this approach somewhat. My intention is to share the slides with
my department so that other teachers can trial it with their lower- prior attaining classes
where it can be difficult to generate enthusiasm for challenging texts.

Reference List

Andrew, A. (2024) Atherton, Andrew. (2024), Experiencing English Literature: Shaping Authentic
Student Response in Thinking and Writing. First edition. Abingdon, Oxon: Routledge. Available at:
https://ebookcentral.proquest.com/lib/bathspauni/detail.action?docID=30749751.

Cliff Hodges, Gabrielle. (2010). Reasons for reading: Why literature matters. Literacy. 44. 60 – 68.
10.1111/j.1741-4369.2010.00552.x.

Cushing, I. (2018b) ‘Cushing, I. (2018) “Suddenly, I am part of the poem”: texts as worlds, reader-
response and grammar in teaching poetry, English in Education, 52:1, 7-19’, English in Education,
52(1), pp. 7–19. Available at: https://doi.org/10.1080/04250494.2018.1414398.
Gavins, J. and ProQuest (Firm) (2007) Gavins, J. (2007) Text World Theory: An Introduction.
Edinburgh: Edinburgh University Press. Available at:
http://ebookcentral.proquest.com/lib/bathspauni/detail.action?docID=292361.

Giovanelli, M. and Mason, J. (2015) ‘“Well I don’t feel that”: Schemas, worlds and authentic reading in
the classroom’, English in Education, 49(1), pp. 41–55. Doi:10.1111/eie.12052.

Rosenblatt, L.M., 1994. The reader, the text, the poem: The transactional theory of the literary work.
SIU Press.

Woodruff, A.H. and Griffin, R.A. (2017) Reader Response in Secondary Settings: Increasing
comprehension through meaningful interactions with literary texts.’ Texas Journal of Literacy
Education, 5(2), pp.108-116

Appendix 1- Assessment Data

Data shows a significant uplift in pupil understanding and ability to articulate
ideas.
Previous poetry assessment grade Grade after intervention

0 x Grade 4+ 0 x Grade 4+

0 x Grade 3 3 x Grade 3

4 x Grade 2 6 x Grade 2

6 x Grade 1 6 x Grade 1

5 x Grade U 0 x Grade U
Appendix 2- Pupil A Work

Figure A (above): Pupil A could previously only make short, simplistic

comments using a shared sentence stem and their language analysis rarely went
further than this, with no reference whatsoever to authorial intent.

Figure B (above): Pupil A’s textual analysis has developed significantly with
more thoughtful evaluation of language, as well as some attempt to comment on
the author’s intent.

Appendix 3- Pupil B Work

Figure A (below): pupil B would previously only make simplistic comments based
on pre- taught interpretations of the text(s). Responses were very limited and
lacked much, if any, authentic analysis on the pupil’s part.
Figure B (below): pupil B is beginning to be more independent and considered in
their poetry responses. They are also beginning to bring in vocabulary from other
units of work such as A Christmas Carol (see: “despair”). This pupil has dyspraxia
and struggles to write by hand so I have included a transcript for clarity.
“In London it says, ‘black’ning
church’ which shows power as
corrupt the word black’ning
means that it is dark which shows
that the church is not using the
power properly the writer may
have done this because the
people there are un despair”

Appendix 4- Pupil Voice

Yes No

Today’s discussions 14 1
made the poem easier to
understand.

I enjoyed this way of 15 0

discussing poetry.

I’d like more poetry 15 0

lessons to use the
whiteboards.
Appendix 5- TWT Questions for both texts

Setting: How does Blake describe the city of London in the poem? What words or phrases does he
use to paint a picture of the city?
How does this description make you feel about London?
Characters: Who do you think the people in the poem are? What might their lives be like?
How might the people in the poem feel based on what Blake tells us?
Events: What events or actions are taking place in the poem?
How do these events contribute to the overall mood or message of the poem?
Themes: What themes or ideas do you think Blake is exploring in this poem?
Can you find any evidence in the poem to support your ideas about these themes?
Language and Imagery: What words or phrases stand out to you in the poem? Why do you think
Blake chose these particular words?
How does Blake use imagery to help convey his message about London?
Tone and Mood: How would you describe the tone of the poem? Is it hopeful, melancholic, critical,
or something else?
How does the tone affect your understanding and feelings about the poem?
Personal Connection: Can you relate to any aspects of the poem? Why or why not?
How do you think people today might feel about living in a city like London based on what Blake
describes?
Setting: How does Shelley describe the setting where the statue of Ozymandias is found? What details
help you visualize this place?

Characters: Who is Ozymandias? What do we know about him from the poem? How does Shelley
depict Ozymandias through the statue and the inscription?

Events: What events are implied by the state of the statue and the inscription? How do these events
contribute to the meaning of the poem?

Themes: What themes does Shelley explore in "Ozymandias"?

How does the poem address the theme of power?

Language and Imagery: What words or phrases stand out to you in the poem? Why do you think
Shelley chose these words?
How does Shelley use imagery to convey the message about the passage of time and the fragility of
power?

Tone and Mood: How would you describe the tone of the poem? How does the tone contribute to your
understanding of the poem's message?

Personal Connection: Can you relate to anything in "Ozymandias"? Why or why not? How do you
interpret the poem's message about the impermanence of power and the passage of time?
Are there any lessons or warnings that can be drawn from "Ozymandias" about the theme of power?

Appendix 6- ‘London’ Lesson Plan

Timing Activity

10 mins Retrieval task as per school policy

10 mins Recap Romanticism and introduce William Blake, AFL on

Whiteboards

5-7 mins Read the poem twice for “aesthetic experience”, then clarify
vocab to aid comprehension.

15 mins Discuss poem using text world theory/ reader response pre-
planned questions, whiteboards used to identify relevant
words and phrases and the response(s) they illicit. Guide
students to think about how those in power treat the
working classes.

15-17 mins Independent pupil work responding to the poem using

quotations- “how is London presented?”

Appendix 7- ‘Ozymandias’ Lesson Plan

Timing Activity

10 mins Retrieval task as per school policy

10 mins Introduce key vocab: tyranny and recap Romantic

interest in rebellion.

5-7 mins Read the poem twice for “aesthetic experience”,

then clarify vocab to aid comprehension.

15 mins Discuss poem using text world theory/ reader

response pre- planned questions, whiteboards
used to identify relevant words and phrases and
the response(s) they illicit. Guide students
towards discussing what type of ruler
Ozymandias was.

15-17 mins
Independent pupil work responding to the poem
using quotations- “how is Ozymandias
presented?”