REFLECTION ON THE STAGES OF LITERARY APPRECIATION

Given that the individual is an integral asset in defining literature and critiques have equated it to an experience, it therefore means that there are some stages that we to have to go through ourselves. “The reality of how children develop literary appreciation indicates that their experiences with literature move through recognizable stages that build on earlier interactions” (Rycik 1999). These stages are interrelated. It is imperative that we realise that this stages are “gone through” but are built upon as. For example Carlsen (1974) is of the opinion that if students do not go through the stage of “losing oneself in the text”- level 4- nothing else in Literature would make much sense.

 Prior knowledge of these stages would have made me better equipped to package the subject for the students and would have improved my pedagogy in the classroom.

Firstly, knowledge of the stages of literary appreciation would have given me a better understanding of the texts students should have been exposed to. Readers derive their greatest sense of literature when they are taken “back to the realities of human situations, problems, feelings and relationships (Ighile (2011)) which give a perfect definition of the characteristics of stage four. Additionally, at this stage students begin to discriminate. They begin to enjoy some experiences more than others and find some distasteful or “deeply absorbing”. Thus, whatever text students were exposed to, should have served these purposes.  An understanding of the stages of literary appreciation would have also influenced the strategies and techniques that were employed in the classroom. Ighile (2011) contends that “literature can best be thought of as a process of communication between the writer or the artist and his public”. Students could have been engaged in more meaningful guided discussions about the writer’s craft and to relate their experiences to that of the characters (Flood et al 1994). Students should have been able to make the connections so as to enable them to identify with the characters and the issues discussed in the text (a characteristic of Young Adult Literature).

Other strategies suggested by Flood et al 1994 that would definitely ‘create a communication channel’ between the student and the distant author are reading out loud, writing responses to the story, revisiting the story and extending to other stories which includes students reading alone, students reading with partners and readers workshop. Although some of these techniques were utilised, they were not stressed upon and were done superficially. Had they been done with the intention of guiding my students through the stages of literary appreciation, they would have been more meaningful and help students to appreciate the subject for what it is.

The literature experience has to be a satisfying one filled with “pleasure and profit” for students, one which focuses less on the academics and more on the student. All students should aim at reaching the highest stage of literary appreciation so that they can be classified as an avid literature student (Nilsen and Donelson 2001). Therefore as teachers we have to meet them half way and comfortably take them through the stages.

Flood, J. & Lapp, D. (1994) Developing literary appreciation and literacy skill: A blueprint for success, (48) 1, 76-79

Knickerbocker, J. l. & Rycik, J. (2002) Growing into literature: Adolescents' literary interpretation and appreciation, (46) 3, 196-208
http://www.pucpr.edu/facultad/ssantiago/english326/326-Stages%20of%20Literary%20Appreciation%203.pdf
http://business.highbeam.com/435378/article-1G1-94123328/growing-into-literature-adolescent-literary-interpretation
http://www.jstor.org/pss/40017127
http://www.pucpr.edu/facultad/ssantiago/english326/326-Stages%20of%20Literary%20Appreciation%203.pdf
Nilsen,A.&Donelson,K.(2009).Literaturefortoday’syoungadult.(8thed.).Boston:PearsonEducationInc.pp.10-16