Abstract
Imparting 'literary competence' (understood here as a combination of skills involved in engaging with 'texts' of various kinds, among them film) has always been a core concern within German critical pedagogy. This article presents 11 aspects of literary learning, covering subjective involvement and the development of a text within the imagination; cognitive approaches such as awareness of perspectives, logic of action and linguistic style; and consciousness of genre-related and literary-historical classification. While these suggestions pertain in particular to the teaching of written literature, they are presented here as also having considerable significance for the teaching of film, and with a new introduction from German film education scholar Petra Anders.
Highlights
Petra Anders** – Humboldt University of Berlin, GermanySpinner’s Aspects of Literary Learning (2006) as a reference point for international film educationIn German-speaking countries, the concept of literary learning as explored in the following article by Kaspar H
While Schulze (1996), Abraham (1998), Büker (2002) and others conceptualized learning with literary texts long before Spinner (2006), Spinner’s theorization of 11 aspects of literary learning provided an opportunity to summarize some of the central ideas surrounding literary learning, while reacting to the increasingly standardized view of learning according to the Programme for International Student Assessment (PISA)
The difficulty in defining literary learning in terms of levels arises from the fact that literary learning is more than the ability to cognitively understand literary texts
Summary
Spinner’s Aspects of Literary Learning (2006) as a reference point for international film education. Processes of alienation play an important role in this interplay between subjective involvement and accurate text perception: one sees oneself and one’s experiences in a literary text as if in a mirror, and at the same time, one becomes irritated The implementation of these different aspects of literary learning in teaching methodologies is made harder by the fact that they cannot be tested: they concern individual processes that are not directly observable and for which students would be justifiably entitled to reserve the right to their own privacy. Literary learning takes place first and foremost in contact with texts via reading and listening, and in the case of theatre or film, via watching It plays a role in writing, and not just because productive and creative tasks can be helpful in numerous ways for the development of competences regarding the reception of literature, and because literary modes of expression play a role within the framework of creative writing. With regard to primary school, the strong connection between reading and writing with regard to literary learning has been clearly proven (see, for example, Dehn, 1999; Kruse 2003)
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