Motivation and Direction of Reading Assignments on the Intermediate Level

THE topic of this paper cannot be discussed without reference to a greater and unresolved issue. In the light of the audio-lingual substructure of contemporary foreign language learning, the intermediate level has become quite a puzzle for methodological considerations. The character of the approach on this level not only determines whether or not the instructional process will be an organic continuum that maintains and expands the active language habit, but it also determines whether or not the tremendous efforts and considerable expenses of audio-lingual first-year work are justified. The problem is centered in the reading course that occupies the most prominent position of secondyear college work. The main task of intermediate reading is to provide the transition from the plain and practical everyday language to the language of literature. This necessitates a gradual shifting of emphasis from the natural situations to the more unique and often problematic situations of fiction, from simple fact and obvious meaning to complicated thought and hidden meaning, from the mechanics of grammar to the subtleties of style. From the ideal view of the continuum this task must be guided by two essential and demanding principles: first, the development of reading techniques that enable the student to get meaning directly from the printed page with little or no recourse to translation; second, the development of ability and confidence to discuss the reading matter in the foreign language and with an ever increasing degree of sophistication. The first principle offers a challenge, especially for textbook editing, and indeed it is already reflected and supported by a growing number of recent texts that feature marginal glosses in the foreign language instead of the more traditional English equivalents. These glosses encourage the student to stay within the foreign language when confronted with new vocabulary; the English equivalents simply reduce thumbing time without contributing to the realization of the principle stated. Unfortunately, the second principle of the continuum cannot count on a device or technique that equals the effectiveness of carefully worked out marginal glosses. This causes many teachers (especially also excellent teachers) who value mature literary discussion to surrender to the use of English. A radical audio-lingualist would have to call this treason, but in so doing he fails to accept the dual commitment of the intermediate phase toward language and literature. The rather genuine argument for the return to English is simply this: the student lacks ease of expression and the more refined, critical vocabulary to take part in and profit from the discussion of a literary work. This can hardly be denied. On the other hand, it is part and parcel of the intermediate commitment to develop this ease of expression; furthermore, much of the vocabulary of literary criticism exists, though dormantly, in the form of readily accessible cognates. In German, for example, one can rely on words such as: Vers, Reim, Strophe, Rhythmus, Alliteration, Allegorie, Metapher, Symbol, Humor, Ironie, Satire, (and their respective derivatives). These are but a very few of a long list. There is no doubt that this vocabulary can be supplied, either gradually or in form of a handout at the beginning of the course. Naturally, no miracles are to be expected from these words, words, words, since there are many other factors involved,-linguistic, literary, psychological, and methodological. But nevertheless, early familiarity with the terms of literary criticism is one of the prerequisites for rewarding discussions of literary works in the foreign language. The more such prerequisites are recognized and fulfilled, the closer will we come to the realization of the continuum principles. The main purpose of this paper is to re-examine the assignment practice, and to find out what new concepts are necessary to make the