Joanne Jenkins and Helen Ramsdale (November Intake, 2015).
Introduction: The literature review will investigate research literature on the topic of gamification, how gamification is being used in education, and why it is being used. For the purpose of this review the following questions were formed; what is gamification (for definition purposes)? What does current literature say about the use and usefulness of gamification in education? What does the literature say about the considerations around implementation and use of gamification in education? Gaps in existing literature will be identified, alongside the limitations around the use of gamification. The scope of this review will include studies that explore the concept of gamification, literature reviews of studies of gamification, its principles, and applications relating to education, and researched backed articles, blogs and reviews on whether or not gamification has the potential to lead to improved learning outcomes for students. Intentional exclusions of this review were literature focused on game development, specific classroom settings, non-learning games, and the availability of games for use in education. Specific games and the application of these games were also excluded, with one exception; in the case where one specific application was used as the focus of an article, the reviewers addressed the concepts around the use of it, not the app itself. Aspects of community engagement and Kaupapa Maori were investigated around the use of gamification. Although the literature explores gamification in a variety of contexts, this review will primarily focus on its use and application in education. Definition: Gamification itself is not a new idea, but the term ‘gamification’ was first introduced in 2003 by Nick Pelling (Jakubowski, 2014). According to Gabe Zichermann and Christopher Cunningham (2011) in ‘Gamification by Design,’ gamification is the process of game-thinking and game mechanics to engage users and solve problems. Deterding, Dixon, Khaled, & Nacke (2011), refer to the application of game elements (mechanics and dynamics), in non-game contexts to engage stakeholders in pre-determined tasks. It provides a means of engaging and motivating, and potentially assessing a variety of skills in a fun, interactive and self-correcting manner. Dr Nigel Martin in the Axios Systems publication, ‘Gamification in Service Management Guide The Foundations of Gamification,’ (2013) asserts that ‘game mechanics’ are the term given to mechanisms used by game developers to motivate and engage; these mechanics are the rules, tools, techniques and currencies of gamification, such as missions or challenges, levels, points, trophies and leader-boards. Game dynamics are the fundamental reason why game mechanics work. The dynamics use knowledge of intrinsic human needs. Effective use of game mechanics are ‘tasks’ and outcomes that appeal to these needs. These dynamics include rewards, achievements, competition, status, self-expression, and even altruism (Martin. Dr N., 2013.) Review of Research Literature on Gamification: The review of research literature completed bySimone de Sousa Borges, Vinicius H. S. Durelli, Helena Macedo Reis, Seiji Isotani (2014) “A Systematic Mapping on Gamification Applied to Education,” comprehensively reviewed 48 papers (from a body of 357 papers) on the topic of gamification applied to education. At the time of the review there were no studies available that covered and classified the types of published research on this topic. The researchers selected 26 studies that were relevant to motivating students, improving the skills of the students, and maximizing learning opportunities. These papers focused on the applications and implications in education, of gamification. Through this review, de Sousa Borges et al. (2014), asserted that most researchers investigated the use of gamification to motivate students, improve and build skills. This review has relevance in determining the current status of gamification in education. Hamari, Koivisto, & Sarsa (2014), in “Does Gamification Work? — A Literature Review of Empirical Studies on Gamification,” also examined the literature around gamification and created a framework to examine gamification and its effects, by unpacking definitions and discussing the motivational affordances of it. The reviewers’ 2014 paper, also examined the current state of research on gamification and identified similar gaps in existing literature. Hamari et al. (2014), concluded that gamification is able to provide positive effects, but stated that these effects are largely dependent on the application of the game elements, the user’s implementation, and the context. In “Does Gamification Work? — A Literature Review of Empirical Studies on Gamification,” Hamari, Koivisto, & Sarsa (2014), searched educational and scientific databases, including ACM Digital library, Google Scholar, Scopus, EBSCOHost, and ScienceDirect. To select appropriate studies, a search was carried out using the term gamification and abbreviations in all of the databases. All result types and fields were included (abstract, full text, title, and keywords). Non-scientific publications were also included. Focused searches were then refined according to set criterion, beginning with full papers published internationally and those peer-reviewed. Empirical studies were included, as were papers which had clearly explicated research methods, identifiable motivational attributes and the topics on gamification as opposed to games. A systematic approach was also used by de Sousa Borges et al., in “A Systematic Mapping on Gamification Applied to Education” (2014). The reviewers applied a five-fold mapping process, outlined by Petersen, K., Feldt, R., Mujtaba, S. and Mattsson, M. (2008), which entailed defining the research question, searching primary studies of relevance, screening papers, using abstracts identified by keywords, and extracting data. The preliminary focus of this review was also to determine the aspects of educationally applied gamification that have been addressed by researchers, through a study of existing empirical research, and as such, contribute to the overall understanding of gamification. Inclusions such as selecting only the most recent paper (if multiple papers reported the same studies) and papers in other languages were used. In addition to this, technical reports, secondary studies and presentations were utilised. Much of these studies used qualitative data. Limitations identified by Hamari et al. (2014), include the understanding that gamification is a new area for academic study and as such there are few discourses or theoretical frameworks upon which studies can be based. Both of these studies suggest there is a growing interest and body of research in gamification, and its applications, effectiveness, and the emerging implications in education. Gamification Dynamics in Education: According to research conducted by Stott and Neustaedter (2013), outlined in their paper “Analysis of Gamification in Education,” games are engaging and readily utilized in current pedagogical practices, but these reviewers also claimed that varying degrees of successful implementation were experienced by educators. Stott and Neustaedter (2013) present a review, using existing literature, and several case studies on different applications of gamification in higher education, with a view to providing best practice guidelines and identifying key aspects. The case studies were accessed through journal submissions, online articles, course web pages, and examples from student work, and in one example, discussions took place with the course instructor and included a review of previous courses. Four game dynamics were intentionally studied to determine consistently successful aspects. While the use of similar concepts were noted, the concepts essentially fell under these four predetermined game dynamics: safe risk-taking (termed “freedom to fail”), instant/rapid feedback, level progressions, and narrative/storytelling. Through the case studies, Stott and Neustaedter (2013) found certain dynamics of game design were more successful than others in increasing learner engagement. Other gaming dynamics are acknowledged in this study, but not enlarged upon. A noticeable omission in the case studies involved however, was undergraduate level classroom programmes. A common conclusion of the literature reviewed by Stott and Neustaedter (2013), was that gamification (although sometimes dismissed or deemed superficial), has the potential to motivate students and improve achievement if guidelines can be clearly established. Accordingly the researchers conclude gamification has applications across various sectors of education.
Use and Considerations of Gamification in Education: Stott and Neustaedter (2013) cite the research of Jill Laster (2010), who in turn reviewed Lee Sheldon’s 2010 study (later published in 2012) which gamifying aspects of the classroom were claimed to improve grade levels to the extent that a year level ‘jump’ was affected. Sheldon, an assistant professor at Indiana University conducted experimental research in classroom practice, renaming tasks by using engaging names, and celebrating right answers in opposition to punishing wrong ones. Contrary to this, Elizabeth Lawley (2012), also cited by Stott and Neustaedter, (2013), cautions against reducing game design to merely surface characteristics. If this is avoided, she states that "gamification can help enrich educational experiences in a way that students will recognize and respond to." Lawley (2013), gathered data through a workshop “Designing Gamification: Creating Gameful and Playful Experiences” with researchers and gaming and design industry practitioners. The purpose of the workshop was to identify current practices, open research questions around the design of gaming systems, and identify key challenges. Stott and Neustaedter’s (2013) review of additional literature also supported the assertion that surface elements, such as earning points and badges, can limit the potential of gamification. Stott and Neustaedter (2013) concluded that gamified assessment that focuses on learning processes rather than end results is paramount and allows students to self-assess and self-monitor. Accordingly, this results in the ability of teachers to formatively assess, illustrate points, and directly inform teaching. The researchers also allude to opportunities for assessment to be carried out without the student being formally aware of such assessment.
“If students are encouraged to take risks and experiment, the focus is taken away from final results and re-centered on the process of learning instead. The effectiveness of this change in focus is recognized in modern pedagogy, as shown in the increased use of formative assessment.” (Stott and Neustaedter, 2013).
This research demonstrates the need for further research on aspects of assessment, implementation and game design. Barbara Kurshan, a Senior Fellow in Education and Executive Director of Academic Innovation, among other credentials, concurs with Stott and Neustaedter (2103), regarding the growing body of research on gamification and learning. In the 2016 article authored by Barbara Kurshan, “The Intersection of Learning and Fun: Gamification in Education,” published in the online edition of Forbes magazine, this researcher also maintains that there is a need to address the lack of pertinent guidelines around how to achieve successful implementation in the classroom. Kurshan (2016) advocates the need for a functional shift in research focus, to explore ways of effectively implementing gamification in classroom contexts. Kurshan (2016) cites the research of Klopfer, Osterweil, and Salen “Moving learning games forward: Obstacles, opportunities, and Openness” (2009), which describes many ways gamification is approached in today’s schools. This paper answers questions involving digital games, users, and learning. Also referenced in Kurshan’s 2016 research is the work of the Games and Learning Assessment Lab (GlassLab), the programming and development group of SRI International. In the 2014 report “Digital Games, Design, and Learning: A systematic Review and Meta-Analysis(Executive Summary),” GlassLab outline ways that teachers can indirectly collect and review student data in a manner that allows for personalised assessment during the process of gameplay. Kurshan’s (2016) findings raise important questions, and make pertinent points around addressing issues relevant to gamifying education.
Klopfer et al. (2009), explored commercial games market aspects, analysed the history of ‘edutainment’ and the difference between the past movement and the current resurgence. This paper also maps out the ecology of games and learning applications. It outlines principles and best practice to positively progress learning game methodologies and provides a solid foundation for participants, and barriers. These barriers are addressed under three main headings: Barriers to Adoption, Barriers to Design and Development, and Barriers to Sustainability. The barriers Klopfer et al. (2009), identified in relation to adoption, are curriculum requirements, attitudes, logistics, support for teachers, assessment, evidence, uses of games, limited view, and social and cultural structures. Barriers identified in relation to design and development are high development costs, development processes, ‘playtesting’ in schools, and limited sources of funding. Barriers to sustainability addressed are the fickle nature of gamers, the speed of change, and maintenance and support, including funding. Barriers to innovation are deemed to be data limitations, limited pedagogical paradigms, limited research, and limited ambition. In contrast to Stott and Neustaedter (2013), Kurshan (2016) warns that game designers need to avoid focusing solely on learning objectives in educational settings. Games must still be fun to engage and motivate students and be used to enhance curriculum development, as opposed to a separatist approach, where contexts and curriculum are built around games instead of being developed with integration in mind. This assertion by Kurshan (2016) was also a finding of Zichermann and Cunningham (2011) who state that learning through games is not effective if the educational outcome is more prevalent than the fun aspect. Karl Kapp (2012), in “The gamification of learning and instruction: game-based methods and strategies for training and education,” extends these findings to conclude that gamification provides an additional layer of interest, a new way of weaving together psychology and game design elements to motivate and educate learners. Kapp’s research is both empirically solid and peer-reviewed, and uses additional research including meta-analysis studies to back up claims, assertions, and ideas. Rowan Tulloch (2015) also supports much of the work of the previous reviewers. Concern regarding the concept of gamification is highlighted in a blog post entitled “Gamification: not a gimmick but a radical new way of teaching,” alongside the missed potential that is apparent in education.This blog post is based on reflections on research which focuses on technological and cultural logics that are embedded within practices of interactivity. A definition of gamification in relation to the processes and mechanics, is also reiterated. While Tulloch (2015) alludes to the use of gamification in other disciplines, comments regarding implementation and the focus afforded to game elements, is the main focus of this literature. Concern is raised about implementation alongside a lack of understanding of the principles and purposes of gamification mechanisms, which can also prove to be counterproductive if implemented incorrectly or too simplistically.
Tulloch (2015) outlines the historical perspective of gameplay (traditional play and video gaming), and its functionality, to establish the foundation of the emergence of gamification. These two aspects of play have different processes, with video gaming often requiring more complexity in task-performance, rules, logistics, and environments (unfamiliar worlds). As a result video game designers develop inbuilt methods of instructing and training players, to teach the required skills and introduce the conceptual frameworks needed. These methods are essentially teaching mechanisms. In agreement with the research of Stott and Neustaedter (2013), Tulloch (2015) addresses the significance of these game dynamics, and the potential to give real-time feedback in an unambiguous manner. This researcher argues that current attempts to gamify learning experiences is limited by the pedagogy of teachers who lack knowledge about the fundamental use of the elements to instruct. Similarly, regarding this need for teacher support, Klopfer et al. (2009), highlighted that limitations in teacher knowledge could be addressed through providing teachers with materials, which enable the teachers to relate the games to effective learning processes…
“...we have to stop trying to fit game design elements into traditional ways of teaching and think about gaming as an entirely different way of teaching.” Tulloch (2015).
In stating this, the researcher advocates that gamification itself is already a method of teaching. The research findings conclude with the assertion that game design’s primary purpose is to engage, entertain and make learning fun, through innovative gameplay. This post, addresses the value and uniqueness of using gamification to enhance relevant learning by generating interest. Klopfer et al., (2009) states that well designed games can benefit the understanding of both students and teachers. The researchers maintain that change can be introduced incrementally, and integrated into classrooms regardless of the overall rate of reform in relation to the system as a whole. The elements of Te Noho Kotahitanga and Gamification:
An unintentional exclusion to this literature review is the aspect of culture, and in particular Maori culture and gamification. This occurred due to an absence of research material available. There is no evidence that any of the literature reviewed applied principles relevant to Maori, with one exception. An online article “Kaitiaki iPad App is Preserving Maori Culture with Gamification” authored by Taavi Lindmaa (February 7, 2013) was accessed as part of this review. This article is based around a particular product and its implementation. The article ‘Kaitiaki’ was included in this review as it refers to education and disengagement in Maori. The author addresses the potential of gamification as a future methodology to re-engage Maori learners through apps such as the one promoted. The rationale behind the ideas of gamification in examples like the Kaitiaki app can be applied through a Māori ethical framework known as Te Noho Kotahitanga (Kawharu, H., n.d. - referenced by Pū Tai Ora, in a Tumana Research powerpoint presentation, 18 October 2006). The five principles of Te Noho Kotahitanga are, Rangatiratanga (Authority and Responsibility), Wakaritenga (Legitimacy), Kaitiakitanga (Guardianship), Nohotahi (Co-operation), and Ngākau Mahaki (Respect).
In applying the ‘Rangatiratanga’ element of Te Noho Kotahitanga, Lindmaa (2013), in the ‘Kaitiaki’ article, refers to the following research and thinking:Thedisadvantage (in terms of education) of Maori manifests through negative statistics such as youth unemployment, the ongoing need for social assistance, high criminal offending and ill health” (retrieved from a blog post from tangatawhenua.com, referenced by Lindmaa). Lindmaa’s (2013) article goes on to claim that the disenfranchised youth can potentially be re-engaged by bridging the cultural and educational gap through game based learning that has been specifically created with their culture and position as tangata whenua. The gamification of environmental aspects from a cultural perspective is claimed to improve students’ performance in other related areas. The attempt to address an authentic context and enhance preservation of language through Katiaki, and specifically the use of rich visual environments and Maori characters reflects the concept of Wakaritenga (Legitimacy). This, in turn demonstrates Ngākau Mahaki (respect), through integrating gamification with heritage and customary contexts to meet learners needs. This review suggests that this type of indigenous based gamification has the potential to help Maori become digital natives in both using and developing games for education, which also brings in Mahi Kotahitanga (co-operation) and the aspect of tuakana-teina, as one of gamifications foundational ideas is collaboration.
Conclusion: The research review investigated the definition and different aspects of gamification in educational use. According to the majority of the research reviewed, which included empirical case studies, quantitative assessment data, systematic mapping reviews, and literature such as articles and blog posts authored by researchers, the potential for gamification to engage and motivate learners, develop learner agency and improve outcomes is a recurring theme, and has become the subject of research. General findings of this review identify the need to understand and apply game dynamics, develop new pedagogies around implementation, and overcome limitations. The review also concludes that gamification is a relatively new area of study, and as such there are gaps in research and publications surrounding the types of studies and effectiveness of gamification, particularly in educational contexts. Other commonalities among findings include the need to understand the fundamentals of game design and dynamics, and the importance of establishing discourse and guiding principles around the use of gamification. Developing knowledge to improve educators’ use of gamification is a consideration needing further investigation. Obvious gaps also identified in current literature include community consultation and engagement practices, and application to cultural contexts. In New Zealand, the Maori ethical framework of Te Noho Kotahitanga has been adopted across a wide range of organisations as an approach to validate all Maori learners, and is potentially useful for all future discussions around gamification for indigenous peoples. The Te Noho Kotahitanga framework principles can be used to guide community consultation around gamification and the use of it in classrooms. Perceptions around the use and value of games need to be addressed to ensure community engagement. Through redefining the form and function of games in various contexts, validity of content and purpose can be established. Overall the reviewed research suggests that gamification requires a fundamental shift in thinking, both critically and creatively. Further research and investigation is required around the whole concept of gamification and the pedagogy surrounding its application to educational practice. REFERENCES
Clark, D., Tanner-Smith, E. Killingsworth, S. (2014). Digital Games, Design and Learning: A Systematic Review and Meta-Analysis (Executive Summary). GlassLab: Menlo Park, CA: SRI International.
de Sousa Borges, S., Durelli, V. H. S., Reis, H.M., Isotani, S. (2014). A systematic mapping on gamification applied to education. March 2014 SAC '14: Proceedings of the 29th Annual ACM Symposium on Applied Computing. Deterding, S., Dixon, D., Khaled, R., & Nacke, L. E. (2011), Gamification: towards a definition. CHI, Vancouver, BC, Canada.
Hamari, J., Koivisto, J, and Sarsa, H. (2014). Does Gamification Work? — A Literature Review of Empirical Studies on Gamification.School of Information Sciences, University of Tampere. 47th Hawaii International Conference on System Science, 2014. Jakubowski, M. (2014). Gamification in Business and Education – Project of Gamified Course for University Students. Kozminski University, Page 339, Developments in Business Simulation and Experiential Learning, volume 41, 2014.
Kapp, Karl M. (2012). The gamification of learning and instruction: game-based methods and strategies for training and education. Pfeiffer, John Wiley & Sons Inc. USA. Klopfer, E., Osterweil, S., and Salen, K. (2009). Moving learning games forward: Obstacles, opportunities, and Openness. The Education Arcade Massachusetts Institute of Technology.
Kurshan, B. (2016). The Intersection of Learning and Fun: Gamification in Education. Forbes Magazine News Article, February 11, 2016. Retrieved from http://www.forbes.com/sites/barbarakurshan/2016/02/11/the-intersection-of-learning-and-fun-gamification-in-education/#6ae465691d36 Laster, Jill. (2010). A Class on Game Design Has Students Playing to Win. The Chronicle of Higher Education: Indiana University.
Lawley, E. (2012). Games as an alternate lens for design. In S. Deterding (Ed. July + August 2012), Gamification: Designing for Motivation. Interactions, 19 (4), 14-17.
Lindmaa, T. (February 7, 2013). Kaitiaki iPad App is Preserving Maori Culture with Gamification. [Web log post]. Retrieved fromhttp://www.gamification.co/2013/02/07/kaitiaki-ipad-app-is-preserving-maori-culture-with-gamification/ Martin, Dr. N. (2013). 5 Minute Briefing: Gamification in Service Management. Axios systems.
Sheldon, Lee. (2012). The Multiplayer Classroom: Designing Coursework as a Game. Cengage Learning: Boston, MA.
Stott, A., & Neustaedter, C. (2013). Analysis of gamification in education.School of Interactive Arts and Technology, Simon Fraser University: Surrey, BC, Canada. Tulloch, Rowan. (2015, February 08). Gamification: not a gimmick but a radical new way of teaching. [Web log post]. Retrieved from http://www.aare.edu.au/blog/?p=893 Zichermann, Gabe, and Cunningham, Christopher (2011). Gamification by Design: Implementing Game Mechanics in Web and Mobile Apps. O'Reilly Media, Canada.
R&C Assignment 1 – A TEAM (Joanne Jenkins and Helen Ramsdale, MINDLAB: November Intake).


Co-authored by Raymond R. Skye, Grand River Six Nations Territory and Zig Misiak. The Six Nations Iroquois Program Teachers Resource Guide has been revised based on the 2014/2015 curriculum changes. It has also been broadened to include other First Nations across Canada as well as other cultures around the world.
This resource meets requirements outlined in the First Nations, Métis and Inuit Ed. Policy Framework and is compatible with all of the grade levels and subjects in the Aboriginal Perspectives; The Teacher’s Toolkit.
The SNIPTRG is inter-disciplinary, cross-curricular, easy to use, a ‘big thinking’ concept and loaded with many interesting class room activities.
Below the video you’ll find the introductory letter, table of contents, over view and list of contributors.
The Six Nations Iroquois Program Teachers Resource Guide, though focused on the Six Nations, is now much broader and inclusive of other First Nations, Métis and Inuit. The resource/guide also reaches out to other cultures from around the world. The lesson plans have input from a myriad of First Nations sources as well as both the Public and Catholic School Boards. In-class testing was done and teachers passed it with flying colours.
As of December 2019, our guide is currently being used by 723 assorted teaching institutions. It has been acknowledged by the Aboriginal Education department of the Ministry of Education, and recognized by the Ontario Native Literacy Coalition, the Elementary Teachers Federation of Ontario and the Canadian Indigenous/Native Studies Association (CINSA), ASLC Lit Picks (Alberta School Library Council).
The Six Nations Iroquois Program Teachers Resource Guide is current, based on the 2013/2014 curriculum updates. It aligns with the First Nations, Métis and Inuit Education Policy Framework. It also supports all the topics found in the Ministry of Education’s Aboriginal Perspectives – The Teacher’s Toolkit.
While some of the content is aimed at specific grades as directed in the Ontario Curriculum, this guide can be used at all levels of education and for various subject areas.
Evaluation and Assessment can focus on what works for you in your classroom and what works for your students and therefore is left open to the user.
All three stories and the artwork related to these stories are provided by Raymond Skye, Tuscarora/Seneca from the Grand River Six Nations. Ray and I documented the oral history he recalled hearing from his parents and other elders.
My non-Native perspective comes from accumulated knowledge derived from over five decades of academic studies, as a historic re-enactor and my long time relationship with Ray and his people. We carefully blended both views that resulted in this wonderful grass-rooted, authentic and trusted resource.
Your Six Nations Iroquois Program Teachers Resource Guide contains many wonderful hands on components that stimulate all five senses and bring the material alive for you and your students.
O:nen ki’wahi, until the next time we meet,
Zig M. Misiak and Raymond R. Skye
** The traditional songs CD’s and the bone rattles come from Grand River Six Nations.
Section 1: TABLE of CONTENTS Page 1-2
Section 2: OVERVIEW
Summary; First Nations, Métis, and Inuit Ed. Policy Framework Pages 1-4
Section 3: STORIES
Phonetics Page 1
Creation Story Pages 2-5
Clans of the Haudenosaunee Pages 6-18
Formation of the Confederacy Pages 19-31
Secton 4: LESSON PLANS
Lesson 1 is in 2 parts Creation Story
Lesson 1-1, 3 days – 140 minutes Tab 1: Pages 1-9
Lesson 1-2, 4 days – 180 minutes Pages 10-19
Lesson 2 Clans of the Haudenosaunee
6 days – 210 minutes Tab 2: Pages 1-15
Lesson 3 in 3 parts Formation of the Confederacy
Lesson 3-1, The Peacemaker & Jikonsaseh, 2 days – 120 min. Tab 3: Pages 1-5
Lesson 3-2, Hayenwah:tha & the Peacemaker, 4 days – 300 min. Pages 6-14
Lesson 3-3, The Conversions & The Great Law, 3 days – 180 min. Pages 15-20
Culmination Activity & Extended Learning, 3 days – 180 min. Tab 4: Pages 1-11
Section 5: SUPPORT MATERIAL
Six Nations Iroquois Clans poster & chart
Master booklet template of all three stories
Large coloured clan images (9)
Blank masters for maps, clan footprints, wampum belt
6” bone/wood rattle
Wampum: The story of Shaylyn the Clam, book + CD + e-book
Western Hooves of Thunder, book + CD
War of 1812: Highlighting Native Nations, book
4 in 1 Learning in French & English, book + e-book
Section 6: DVD & CD’s
20 min. DVD, historical overview
20 min. audio CD, reading of the 3 stories
Two music CD’s, Haudenosaunee traditional songs
46 min. audio CD, Western Hooves of Thunder
12 min. audio CD, Wampum: The story of Shaylyn the Clam
Section 7: WORD WALL and GLOSSARY Pages 1-4
Section 8: CREATORS and CONTRIBUTORS Pages 1-2
Wampum: The story of Shaylyn the Clam (Grade 2 to 7) is a beautifully illustrated book about a clam that was picked up by a little Native girl named Skawennahá:wi. The clam was used for food and its shell made into wampum. This book gently draws the reader into understanding wampum, wampum belts and strings.
Includes audio CD and e-book.
War of 1812: Highlighting Native Nations (Grade 6 to 8) is a pictorial journey that will enlighten you by explaining the First/Native Nations and Métis involvement during the War of 1812. Pages 111-112 list the 48 distinct First/Native Nations and Métis that were honoured, in 2012, by the Governor General and the Prime Minister of Canada
Western Hooves of Thunder (Grade 3 to 6) is about a young Mohawk boy and his non Native friend Catherine who lived peacefully on the banks of the Grand River never thinking that the War of 1812 events would end up in their own back yard. Ayewate and Catherine respect and share their cultural differences.
Includes an audio CD.
4 in 1 Learning (K to grade 3) is 4 books in one, ABC’s, 123’s, Colours & Shapes. It is in French & English, and is based on nature and First Nations, Métis and Inuit themes and imagery.
4 in 1 Learning has over 80 beautifully drawn panels with over 70 assorted animals, insects, plants and inanimate objects. They are interwoven creating a powerful and stimulating tapestry of colours and shapes. Enjoy, have fun and learn.
Includes and e-book.
Supplemental Q & A for the books are available in ‘Product Resources’ tab.
Summarized and Condensed Version of the
First Nations, Métis, & Inuit Education Policy Framework
The following is a framework summary prepared by Linda McGregor, Manager of First Nations Métis and Inuit (FNMI) Education Initiatives with the Simcoe Muskoka Catholic District School Board further edited and condensed by Zig Misiak.
The Ministry will provide progress reports every three years based on the following goals and performance measures.
Three goals and ten performance measures
1. Significant increase of FNMI students in reading, writing, & mathematics.
2. Significant increase in FNMI teaching and non teaching staff in school boards.
3. Significant increase in FNMI graduation.
4. Significant improvement in FNMI student achievement.
5. Significant improvement in FNMI student self-esteem.
6. Increased collaboration to ensure FNMI students in FNMI education authorities are adequately prepared to make the transition to provincially funded schools.
7. Increased satisfaction among educators in provincially funded schools with respect to professional development and resources to meet the Policy Framework.
8. Increased participation of FNMI parents in the education of their children.
9. Increased opportunities for knowledge sharing, collaboration, and issue resolution among FNMI communities, schools and school boards and the Ministry of Education.
10. Integration of education opportunities to improve knowledge of ALL students and educators in Ontario about the rich culture and histories of the FNMI Peoples.
First Nations, Métis, & Inuit Educational Policy Framework
Roles and Responsibilities for each “stakeholder”
Total of 81 – Ministry of Education (34), School Boards (29), Schools (18)
Stakeholders shall work together in support of all Aboriginal student success as follows:
1. Improve areas of literacy and numeracy.
2. Increase retention, graduation and advancement to post-secondary studies.
The Ontario FNMI Education Policy Framework identifies contributing factors that affect Aboriginal students as follows:
1. Lack of awareness and understanding related to Aboriginal learning styles, culture, history and perspectives.
2. Lack of curriculum that reflects First Nations, Métis and Inuit culture.
3. Lack of effective counseling and outreach.
4. Lack of awareness of intergenerational mistrust of the “system” attributed to residential school experiences.
Measures to close the gap between Aboriginal and non-Aboriginal students
1. Create a real sense of belonging.
2. Create engaging school community outreach and inclusion of culture in curriculum.
3. Create systems responding specifically to learning and cultural needs.
4. Create programs, services and resources for achievement, esteem, and cultural identity.
5. Create and facilitate learning about traditional and contemporary perspectives.
Section 2 – Overview
The primary focus of the First Nations, Métis, Inuit Teachers Resource Guide is on integrating the learning about First Nations Studies. This includes Character Development/Faith based Virtues, and existing curriculum, highlighting similarities between First Nations Peoples and non First Nations people – and people from all other parts of the world, referred to by the Haudenosaunee as Turtle Island.
The objective of the First Nations, Métis, Inuit Teachers Resource Guide is to support Ontario educators in all areas set out by the Ministry of Education:
- First Nations, Métis, and Inuit Education Policy Framework
- Ontario Curriculum, Cross Curricular & Interdisciplinary lesson plans.
The First Nations, Métis, Inuit Teachers Resource Guide has been supported by First Nations and non First Nations educators and curriculum experts from the boards of education in Brant Haldimand Norfolk CDSB, Grand River Six Nations Territory, Grand Erie DSB and many other First Nations and non First Nations contributors. The approach used in our resource guide seeks a balance between written and oral tradition, recognizing and respecting the validity of both.
Summary of the binder contents
- Section 3 – Stories
The Creation Story tells of the formation of the planet earth and all living things. The Clans of the Haudenosaunee story describes how the clans came to be. The third story, Formation of the Confederacy, is in three parts. The first part begins with the coming of the Peacemaker to the land of the Five Nations. The second is his meeting Hayenwah:tha and the third is their journey throughout the land of the Haudenosaunee bringing the people the ‘Good Word’ and presenting the ‘Great Law’.
- Section 4 – Lesson Plans
There are seven sections of lesson plans, 4.1 to 4.7, and classroom activities related to the stories contained in Section 3 including contemporary references. The lesson plans focus on the new curriculum and are appropriate and applicable for many levels including secondary and post secondary schools.
- Section 5 – Support Material
Assorted images support the stories in Section 3 and the inclusion of three books, Western Hooves of Thunder, War of 1812: Highlighting Native Nations and Tonto: The Man in Front of the Mask, relate to post contact history, geography and culture.
For the users convenience a template of the student booklet has been included in section 5. Permission is granted to make unlimited copies.
With the purchase and ownership of this First Nations, Métis, Inuit Teachers Resource Guide each teacher’s resource binder allows the user to copy the related printed contents specifically for one classroom.
A written request and a validated response is required before any other part of the First Nations, Métis, Inuit Teachers Resource Guide can be copied for other than the above intended uses.
- Section 6 – DVD & CD’s
A DVD introduces the First Nations, Métis, Inuit Teachers Resource Guide. It includes village scenes from early-contact, scenes in a longhouse and along a river. A Haudenosaunee elder and his grandchildren are seated around a modern campfire as they are visited by three Haudenosaunee story-tellers who each share a shortened version of the three stories. Enjoy the background sounds of the traditional water drum and rattle, as well as clan images, maps and photographs.
An audio CD contains the complete readings of the three stories in the binder and is supported by the student booklets. The stories are read by Haudenosaunee educators Stacey Hill, story-teller Lorrie Gallant, and artist/historian Raymond R. Skye.
Two music CD’s, #1 and #2, are authentic Haudenosaunee traditional songs.
A 46 min. audio CD, Western Hooves of Thunder, read by author.
- Section 7 – Word Wall and Glossary
Integrated into the stories are Haudenosaunee names, words and terms in the Mohawk (M) language. Cayuga (C) and Onondaga (O) are also referenced in the glossary.
- Section 8 – Creators, Benefactors and Contributors
Zig Misiak, author/historian and Six Nations artist, Raymond R. Skye collaborated on the development of the First Nations, Métis, Inuit Teachers Resource Guide with significant contribution from both First Nations and non First Nations communities, including but not limited to historians, educators, Clan Mothers, Elders and Chiefs, professionals from the Ministry of Education, Ministry of Aboriginal Affairs, the Ontario Federation of Elementary School Teachers, along with a host of other contributors from culture, tourism, and First Nations organizations. It has been through the generous contribution of our benefactor, King and Benton, that we have been able to produce this valuable, unique and easy to use teacher’s resource guide.
CREATORS, BENEFACTOR and CONTRIBUTORS
The First Nations, Métis, Inuit Teachers Resource Guide was initiated and created by Zig Misiak and Raymond R. Skye, two people who are passionate about learning and sharing their knowledge of First/Native Nations history and culture.
ZIG MISIAK’s experiences as a historical activist, author, and long time re-enactor span several decades. He sits on numerous boards and organizations, consulting with people who document history through film, books, re-enactments, and educational publications. He has been working with educators over the past several years to augment existing curriculum relative to First/Native Nations, specifically the Haudenosaunee.
Raymond R. Skye
Awę́dǫdyǫh a.k.a. RAYMOND R. SKYE, Haudenosaunee Artist, from Six Nations Grand River Territory, who credits much of the inspiration for his artwork to the traditional teachings of his father (Seneca) and mother (Tuscarora). He has distinguished himself as an artist who bases his work on extensive research of both oral and written sources pertaining to Haudenosaunee history and culture.
The First Nations, Métis, Inuit Teachers Resource Guide was made possible by the generous contribution of our benefactor, King & Benton, who sponsored the initial development of the curriculum guide, DVD and audio CD.
The following people or organizations made significant contributions to content, applicability to curriculum, and/or formatting, piloted the program or helped with refinements for the classroom (alphabetical order):
- Fines, Lin, BA, Corporate Educator & Communications Consultant
- Hill Sr., Richard W. Tuscarora, Beaver Clan, Artist, Historian, Teacher, Coordinator: Indigenous Knowledge Center
- Martin Hill, Dawn PhD, Mohawk, Wolf Clan, Academic Director, Indigenous Studies, McMaster University, Hamilton, Ontario
- Misiak, Shaylyn, Laurier University MBA, Mohawk College Early Childhood Education
- Montour, Deneen, Onondaga Nation, Deer Clan, Grand Erie DSB, Native Advisor
- Montour, Rick Mohawk, Turtle Clan, PhD, Indigenous Studies Program, McMaster University, Hamilton, Ontario, Canada
- Rice, Brian PhD, Mohawk Nation, Dept of Education, U of Winnipeg
- Tehahent:eh, Frank Miller, Mohawk, Turtle, Mohawk Language Instructor
- Tessaro, Mary Lynn PhD, Professor, Concurrent Education, Nipissing University
- Braemar House, Annette Minutillo, Executive Director
- Brant Haldimand Norfolk CDSB, Bill Chopp, Rob Santilli, Manuela Torto, Peter Marchand, Tiziana Agriesti, Erin Esposito, Janina Fediurek
- Grand Erie DSB, Cory Judson
The following people supported the program through its various stages:
Sakokwenionk:was, Tom Porter, author, (Mohawk, Bear Clan Elder, Akwesasne), Dianna Clare, Teacher; Catherine Cornelius, (Oneida of the Thames, Wolf Clan), Indian Art-I-Crafts; Dina Dalia, PhD, Principal, St Johns College; Stacey Hill, (Mohawk Nation, Turtle Clan), Language Teacher/Cultural Resource; Patricia Kings, Superintendent of Education, Brant Haldimand Norfolk CDSB; Dave, Levac, MPP Brant; John Lostracco, Principal, Niagara CDSB; Evelyn Martin, Superintendent of Schools Indian and Northern Affairs Canada; Lynn Millar, Elementary School Teacher; Lois Paquette, School Teacher, St. Mary’s; Ron Robert, (Metis), Indian Art-I-Crafts of Ontario; Lloyd St. Amand, MP Brant; Roxanne Sky, (Cayuga Nation, Bear Clan); George Thomas, (Mohawk Nation, Wolf Clan), British Native Allies Re-enactor; Leslie White-Eye, Ministry of Aboriginal Affairs; Paula Whitlow, (Mohawk Nation) Woodland Cultural Centre, Curator, Grand River Six Nations Territory. Jack MacFadden consultant and past president of OHSSTA, Bill Alexander retired teacher/ Curriculum Co-coordinator Geography/ History, Eric Shapero retired teacher, Jan Howse teacher, Meri Marja-Terttu MacLeod First Nations Studies Advisor, Linda McGregor, Manager of First Nation Metis and Inuit (FNMI) Education Initiatives with the Simcoe Muskoka CDSB, Teyowisonte: Tom Deer, Kahnawake Mohawk Territory.
The following individuals generously donated their time to create the DVD and/or CD:
Native Educators, Artists and Elders: Lorrie Gallant, (Cayuga Nation, Turtle Clan), Author/Illustrator/Story Teller; Rene Hill, (Mohawk Nation, Turtle Clan), Story Teller/ Cultural Resource Person; Tehahenteh, Frank Miller, Mohawk, Turtle, Mohawk Language Instructor; Don Monture, (Mohawk Nation, Bear Clan), Elder; Ohwendonh:deyo, Raymond Skye, (Tuscarora/Seneca), Artist; Tekonwaniahe:sen, Stacy Hill, (Mohawk Nation, Turtle Clan), Educator.
Traditional Singers: Ojihgwaea:yoh – Old Mush Singers
Students: Kirstin Bomberry, Student, (Cayuga, Turtle Clan), Assumption College; Godrihwagehoh, Kiana Sky, (Cayuga Nation, Bear Clan); Hanehe:gwahs, Hunter Sky, (Cayuga Nation, Bear Clan); and the students from Princess, Elizabeth Public School of the Grand Erie DSB: Ashley Grabauskas, Orennaha:wi, Bailey Hill, (Mohawk Nation, Turtle Clan), Rahsenni:saks, Daris Hill, (Mohawk Nation, Turtle Clan); Jocelynn Hill, Henry Mudford, Silence Staats, Carter Van Every, Noah Van Every, Travis Walton.
Re-enactors: Lynda Balena, British Native Allies Re-enactor; Lenny Foley, (Mohawk Nation, Turtle Clan) Haudenosaunee Re-enactor; Nancy Jensen, British Native Allies Re-enactor; Debbie Klymer, British Native Allies Re-enactor; Kim Lundberg, , British Native Allies Re-enactor, Bert Summerhayes, British Native Allies Re-enactor; Douglas Wooldridge, British Native Allies Re-enactor.
Locations: Narrative location courtesy of the Woodland Cultural Centre and Historical footage at Kanata Village and Interpretive Centre and the Grand River in cooperation with the Grand River Six Nations and the City of Brantford.
Co-authored by Raymond R. Skye, Grand River Six Nations Territory and Zig Misiak, the First Nations, Métis, Inuit Teachers Resource Guide has been revised based on the 2014/2015 curriculum changes. It has also been broadened to include other First Nations across Canada as well as other cultures around the world.
This resource/guide meets requirements outlined in the First Nations, Metis and Inuit Ed. Policy Framework and is compatible with all of the grade levels and subjects in the Aboriginal Perspectives/ The Teacher’s Toolkit.
The FNMITRG is inter-disciplinary, cross-curricular, easy to use, a ‘big thinking’ concept and loaded with many interesting class room activities.
Below the video you’ll find the introductory letter, table of contents, over view and list of contributors.


NOWADAYS analytical prose passages are a common part of the English exams: GCSE and IGCSE; SAT, ACT, or AP English. But what are they? What do students have to know and master? How do students tackle questions on prose passages?
I have compiled a dossier for you here . . . so, please get yourself a cup of coffee and enjoy the cruise . . .
PROSE is simply writing or speech that is not poetry. Prose is the most common form of writing. It is not restricted by rhythm or dialogue, and it most closely resembles everyday speech. It is usually straightforward, and may utilize figurative language, dialogue, characters, and imagery.
Prose writing is often divided into two primary categories: Fiction and Non-Fiction
- Fictional Prose is narrative writing that originates from the author’s imagination. It is designed to entertain, but it can also inspire, inform, or persuade.
Primary sub-genres of fiction include a novel, novella (a short novel or long short story), and short story.
- Nonfictional Prose is writing that is based on true events, people, places, and facts. It is designed to inform, and sometimes to entertain.
Primary sub-genres of nonfiction include autobiography and biography; essays, diaries and journals as well as narrative non-fiction.
- Heroic Prose is writing based on the formulaic expressions found in oral traditions, eg: myths and legends as well as fables.
ADDITIONALLY, prose can be . . . .
- Narrative writing which has a storyline and characters. It is often told chronologically.
- Expository writing denotes writing that explains or explores particular topics and themes. Expository writing differs from narrative writing because it does not necessarily tell a story.
- Descriptive writing uses detail, such as the five senses, to discuss a topic in depth. This form of writing is often used in conjunction with narrative, expository, or persuasive writing.
- Persuasive writing attempts to convince the audience of the merits or disadvantages of the topic.
Something inherent in prose is a sense of style, or how speakers and writers communicate their meanings. Prose style is specific to a particular work, author, or genre. Thus, for any analysis done on a piece of prose there are some literary works to be engaged in.
STRUCTURE is also key to prose writing and commonly asked in questions. Structure, or form, is the arrangement of story elements according to purpose, style and genre. While the plot is the events in the story itself, which are heavily affected by character, setting and theme, the structure, on the other hand, is how these elements are presented to the reader.
TWO KINDS OF LITERARY DEVICES
Commonly, the term Literary Devices refers to the typical structures used by writers in their works to convey their message(s) in a simple manner to their readers. When employed properly, the different literary devices help readers to appreciate, interpret and analyze a literary work.
Literary Devices have two aspects. They can be treated as either Literary Elements or Literary Techniques. It will be convenient to define them separately.
Literary Elements have an inherent existence in literary piece and are extensively employed by writers to develop a literary piece e.g. plot, setting, narrative structure, characters, mood, theme, moral etc. Writers simply cannot create his desired work without including Literary Elements in a thoroughly professional manner.
COMMON LITERARY ELEMENTS
- PLOT: It is the logical sequence of events that develops a story. There are five basic elements to the plot:
- Exposition – Often before the plot begins, a section of exposition is provided, which is the introduction that presents the background information to help readers understand the situation of the story.
- Rising action – This is the series of struggles (conflicts and complications) that builds a story toward its climax. The conflicts and complications within a story are what creates the rising action.
- Climax – This is the point of greatest intensity, interest, or suspense in a narrative which will somehow determine the outcome of the story. In drama, the climax is also identified with the terms crisis and/or turning point. It’s the point of the story that “changes everything.”
- Falling action – This is the part of the story that shows the “working out” of the action that occurred during the story’s climax. (Certain issues/ happenings must be resolved (worked out) to reach a resolution).
- Resolution – The resolution is also called the denouement. This is the portion of the story where the problem is somehow resolved. It follows after the climax and falling action and is intended to bring the story to a satisfactory end/close.
- SETTING: It refers to the time and place in which a story takes place. This is the time and place of the action of a story. Setting can be of great importance in establishing not only the physical background, but also in creating the atmosphere/mood of the story (tension, suspense, peacefulness, etc.) Setting can include time (minute/hour, year, month, decade, etc.), weather (season, literal weather, etc.), places (planets, countries, cities, buildings, homes, stores, etc.) or any other thing that helps set the background.
- CHARACTERIZATION – This is the personality a character displays as well as the means by which an author reveals that personality. Characters in a story can be one of two types. They can be…
- Static: they remain the same throughout the entire story.
- Dynamic: they change in some important way during the course of the story.
Also… Rounded = a developed character (we get to know them)
- Flat = an undeveloped character (we never get to know them)
Stories often include a protagonist and an antagonist.
- Protagonist: This is the chief character in a work on whom our interest centers. This term is preferable over the terms hero or heroine because a protagonist can sometimes include characters who might be, for example, villainous or weak (but characters whom we are still interested in or concerned about regardless of their flaws in character).
- Foil: This is a character that has characteristics that oppose another character, usually the protagonist. The foil character may be completely opposite to the protagonist, or very similar with one key difference. The foil character is used to highlight some particular quality or qualities of the main character.
- Antagonist: This is the character or force which opposes (literally “wrestles”) the main character; therefore, if the protagonist is pitted against an important opponent, that opponent is called the antagonist.
- POINT OF VIEW: This is the angle or position from which the story is told the narrative view. There are two basic points of view for storytelling: the first-person point of view and the third-person point of view.
- First-person: Through this view, the story is told by one of the characters in his or her own words by using “I.” First-person point of view is always considered to be a limited point of view since the reader is told only what one specific character knows and observes.
- Second -person: Even less common is a story narrated with “you.” This is a very difficult point of view to sustain, as the reader must identify with the “you”, or it must be clear that the “you” character is, in fact, a way for the narrator to reflect back on his or her own actions.
- Third person: Through this view, the story is told by someone outside of the story itself by using “he” or “she.” The third-person narrator may be working from an omniscient view or a limited omniscient view.
- Omniscient: This narrator is an all-knowing observer who can describe all the characters’ actions, thoughts, and feelings.
- Limited omniscient: This is a storyteller who shares the thoughts and feelings of only one particular character or a select group of characters (clearly lacking or failing to share information about other characters).
SPEECH PATTERNS – These forms include:
- Dialogue – where characters of a narrative speak to one another.
- Monologue – delivered by one character to other characters, or at least overheard by other characters if delivered to the audience.
- Interior monologue – a character’s thoughts that addresses the character itself.
- Soliloquy – A speech delivered alone by one character without any other characters overhearing.
- Aside – A speech delivered directly to the audience without any other characters overhearing, the aside is a very short observation, whereas a soliloquy is a longer explanation of the character’s thoughts.
- Stream Of Consciousness – A method of narration that describes in words the flow of thoughts in the mind of a character. The technique aspires to give readers the impression of being inside the mind of the character. Therefore, the internal view of the mind of the character sheds light on plot and motivation in the novel.
- Apostrophe – A character breaks off from addressing one character to address a third party who may either be present or absent in the scene, or even to an inanimate object or intangible concept.
CONFLICT: It is an issue in a narrative around which the whole story revolves. It is also the struggle between two opposing forces or characters in a story that triggers action. Conflict can be internal or external.
- Internal Conflict = Man vs. Self: This is the conflict that takes place within an individual (an inner battle of conscience).
- External Conflict = This is an individual’s struggle against something outside of themselves. There are five basic types of external
- man vs. man (or group of people)
- man vs. society
- man vs. nature/animal
- man vs. supernatural
- man vs. fate or destiny conflict…
Conflicts are also known as complications. When you read, keep in mind that there may be a single conflict that is uncomplicated or easy to recognize in the story or there may be several, more subtle conflicts involved.
MOOD AND TONE: A general atmosphere of a narrative. Mood is the feeling a text arouses and creates in the reader/ audience (such as happiness, anger, sadness, depression, joy, etc.). It is the attitude of the audience/reader toward the subject matter he or she is reading. Tone is the overall feeling, or effect, created by a writer’s use of words. Tone reveals the author’s attitude toward his own subject matter and the audience.
So . . . mood is the attitude of the audience/reader toward the particular subject matter he or she is reading AND tone is the author’s apparent attitude toward his own subject matter and/or the audience
THEME: It is central idea or concept of a story – the basic meaning of a literary work. It is a statement about life…specifically “the human condition”. Themes are UNIVERSAL truths about life.
Because they are universal, they stand the test of time, and themes are repeated over-and-over in books, movies, songs, etc (and then they become what’s called a motif). Theme is rarely a moral/lesson (it is usually just a statement about life that we know/accept to be true).
MOTIF: a narrative element with symbolic meaning that repeats throughout, eg: Martin Luther King Jr. used the motif of “I have a dream” to tie together different ideas such as the historic language of the United States of America’s “Declaration of Independence” with the more concrete images of people who once were at odds sitting down together.
Literary Techniques, on the contrary, are structures usually a word or phrases in literary texts that writers employ to achieve not merely artistic ends but also for readers to gain a greater understanding and appreciation of their literary works. Examples are: metaphor, simile, alliteration, hyperbole, allegory etc. In contrast to Literary Elements, Literary Techniques are not unavoidable aspect of literary works.
To have a better understanding of Literary Devices, it is useful to look at their definition and examples: Techniques, by their nature, are used by writers as an attempt to make the reader think in a certain way. These techniques can be used to intrigue, inspire, persuade or simply convey information to the reader.
COMMON LITERARY TECHNIQUES
IMAGERY: It is the use of figurative language to create visual representations of actions, objects and ideas in our mind in such a way that they appeal to our physical senses. For example: The room was dark and gloomy. -The words “dark” and “gloomy” are visual images. The river was roaring in the mountains. – The word “roaring” appeals to our sense of hearing.
SIMILE AND METAPHOR: Both compare two distinct objects and draws similarity between them. The difference is that Simile uses “as” or “like” and Metaphor does not. For example: My love is like a red red rose” (Simile); He is an old fox very cunning. (Metaphor)
HYPERBOLE: It is deliberate exaggeration of actions and ideas for the sake of emphasis, eg: I have got a million issues to look after!
PERSONIFICATION: It gives a thing, an idea or an animal human qualities, eg: Have you see my new car? She is a real beauty!
ALLITERATION: It refers to the same consonant sounds in words coming together. For example: Better butter always makes the batter better.
ONOMATOPOEIA: words that sound a little like they mean, eg: The autumn leaves and twigs cracked and crunched underfoot.
ALLEGORY: It is a literary technique in which an abstract idea is given a form of characters, actions or events. For example: “Animal Farm”, written by George Orwell, is an example of allegory using the actions of animals on a farm to represent the overthrow of the last of the Russian Tsar Nicholas II In addition, the actions of the animals on the farm are used to expose the greed and corruption of the Revolution.
IRONY: It is use of the words in such a way in which the intended meaning is completely opposite to their literal meaning. For example: So nice of you to break my new PSP!
- Situational Irony: A situation in which the outcome is very different than what was expected.
- Dramatic Irony: Part of a piece of literature in which the reader or audience member has more information than the character(s) and there is thus incongruity between what the characters expect and what the audience knows to be true.
- Verbal Irony: It occurs when a speaker means or feels something very different from what he or she says, often involving sarcasm.
METAPHOR – a descriptive technique that names a person, thing or action as something else, eg: The circus was a magnet for the children.
EMOTIVE LANGUAGE – language intended to create an emotional response, eg: A heart-breaking aroma of death filled the air as he surveyed the devastation and destruction that had befallen them all
OXYMORON – a phrase combining two or more contradictory terms, eg: There was a deafening silence
ANECDOTE – a very short story that is usually interesting or amusing, and concerns real people and real incidents. Anecdotes are often humorous, but also often impart a deeper truth.
PATHETIC FALLACY – a type of personification where emotions are given to a setting, an object or the weather, eg: The clouds crowded together suspiciously overhead as the sky darkened.
STATISTICS and FIGURES – factual data used in a persuasive way, eg: About 80% of people agreed that this would change their community for the better.
RHETORICAL – A question asked just for effect with no answer expected.
HYPOPHORA – a figure of speech in which the speaker both asks a question and immediately answers it.
FLASHBACK – an occurrence in which a character remembers an earlier event that happened before the current point of the story.
FORESHADOWING – the author gives clues about events that will happen later in the story. Often these clues are fairly subtle so that they can only be noticed or fully understood upon a second reading.
ARCHETYPE – also known as universal symbol maybe a character, a theme, a symbol or even a setting or a situation that seems to represent such universal patterns of human nature.
BILDUNGSROMAN is a coming-of-age story, which focuses on a narrative of a young adult growing morally and psychologically into an adult. Thus, a bildungsroman is also sometimes called a novel of formation or novel of education. The most important element of a bildungsroman is the character development that the young adult undergoes through the course of the narrative.
SATIRE is a genre of literature that uses wit for the purpose of social criticism poking fun at some failing of human behavior. Satire ridicules problems in society, government, businesses, and individuals in order to bring attention to certain follies, vices, and abuses, as well as to lead to improvements. It can either be gentle, amusing, and light-hearted or be biting, bitter, and even savage.
ANTICLIMAX – a conclusion that is unsatisfying because is does not meet the expectations that the narrative has been building toward.
HUBRIS – extreme pride and arrogance shown by a character that ultimately brings about his downfall. A character suffering from Hubris tries to cross normal human limits and violates moral codes.
JUXTAPOSITION – to place two concepts, characters, ideas, or places near or next to each other so that the reader will compare and contrast them.
ANTITHESIS – the use of contrasting concepts, words, or sentences within parallel grammatical structures.
Antithesis is very similar to juxtaposition, as juxtaposition also sets two different things close to each other to emphasize the difference between them. However, juxtaposition does not necessarily deal with completely opposite ideas
PARALLELISM – the usage of repeating words and forms to give pattern and rhythm to a passage in literature.
SYMBOLISM – the use of symbols to signify ideas and qualities, by giving them symbolic meanings that are different from their literal sense. Generally, it is an object representing another, to give an entirely different meaning that is much deeper and more significant.
TAUTOLOGY – states the same thing twice in slightly different wording, or adds redundant and unnecessary words.
UTOPIA – an illusionary place that projects the notion of a perfect society to the reader.
DYSTOPIA – a community or society that is undesirable or frightening.
POETIC JUSTICE – an ideal form of justice in which the good characters are rewarded and the bad characters are punished by an ironic twist of their fate.
CARICATURE – an exaggerated description used to create a silly or comic effect.
TRIPLES – three points to support an argument. Safer streets means comfort, reassurance and peace of mind for you, your family and your friends.
Function of Literary Devices
In general, the literary devices are a collection of universal artistic structures that are so typical of all works of literature frequently employed by the writers to give meanings and a logical framework to their works through language. When such works are read by readers, they ultimately recognize and appreciate them -this is the ANALYSIS part required of High School students.
They not only beautify the piece of literature but also give deeper meanings to it, testing the very understanding of the readers along with providing them enjoyment of reading. Besides, they help motivating readers’ imagination to visualize the characters and scenes more clearly.
Only through practice will you get things right.
Good luck in your endeavours.
As of old: Be EMPOWERED and EXCEL!


The Color Purple is an epistolary novel written by Alice Walker in 1972 which was later made into a film by Steven Spielberg in 1985, gaining her even more recognition for her work. The Color Purple is a story that follows the life of Celie, an impoverished, uneducated African American woman who struggles to escape from the brutality and degradation of her treatment by men. The story is told through letters she writes to God in moments of desperation, weakness and pain, all of which she suffers in solitary. When Celie started to view God as a “distant white man” who disdained women of colour, she implicitly accepts the white and masculine dominance that has been imposed on her and makes the assumption that her voice can never be heard. Due to this, she stops writing to God and starts writing letters to her sister Nettie instead, which marks the point of her newfound strength and resilience in battling the perpetual racism and sexism that surrounds her. Over the course of the novel, the progression of the way by which Celie chooses to live her life drastically changes. She goes from living a life that is achromatic and futile to adoring and relishing in the creation of life which is otherwise known as the concept of the color purple.Whether it be from hearing stories about her grandmothers that were consistently getting beaten up by their husbands or watching her mother pick up a coconut and smashing it on her father’s head, Walker had develop a keen interest in wanting to understand the concept of violence. She had previously stated that her family comes from a history of ‘slave-owner’ ancestry which instills a ‘slave owning’ mentality in the men in her family, thus constantly being surrounded by sexist and abusive men from her childhood. Due to the environment she was surrounded by, Walker felt compelled to write stories that address the themes of female assault and oppression, especially in the African American community. American writers in the 1970s placed a large emphasis on the community and its subversive future especially during the point of time in which the black nationalist movement was at its peak. Walker chose to highlight the importance of the notions of black unity and its revolution by showing that their utopian ideals would not be achieved without acknowledging the pre-existing damage in relationships between black men and women, which has already altered their lives. Walker shows how violence, specifically in domestic spheres, has ruptured female subjectivity. She shows that not only has this violence posed a threat to women’s wholeness but also the establishment of a whole black nation. The plethora of violence in the form of harsh economic, social and emotional crisis facing the blacks, notably in women is shown through the life of the character Celie in the novel. The ways by which these are specifically shown are through her relationships with the various men in her life, her relationship with God and lastly the reliance of the females around her.Relationships with the various men in Celie’s lifeOne of the key character traits instilled in women in the 1900s was obedience. Women were expected to comply and abide by the rules created by the men in their household. Only then were they considered the ideal woman, thus showing that a woman’s opinion was of no matter or significance at the point of time. In the novel, it is evident that Celie is inhibited from exploring and asserting her own identity and sovereignty due to male dominance exerted over her. This initially begins with her stepfather who uses her as a substitute to fulfill his sexual wants and desires, ‘First he put his thing up gainst my hip and sort of wiggle it around. Then he grab hold my titties'(1). The explicit language and tone used in this sentence is ample to evoke emotions of disgust and abhorrence from the readers. The choice of the word ‘wiggle’ is not only graphic but emphasizes on the amount of force needed in order to penetrate Celie, which further shows the discomfort and invasive nature of his actions. The use of the word “titties” also shows how the objectification and lack of respect that was shown to Celie, was now projected by her as well. In the 1900s the word “titties” were viewed as cuss words that were most commonly used by men. This shows how from a young age, Celie’s perception of herself has been annihilated due to what was supposed to be her father figure’s abusive tendencies towards her. Furthermore, after hearing that the second child Celie birthed after getting impregnated by her stepfather was sold, she says ‘I got a breast full of milk running down myself’. This casts an illustrative and literal image of Celie’s womanhood being drained out of her. The purity of the milk carelessly spilling over her breasts is messy and unsightly, showing how Celie is stripped away from her fecundity and womanhood. More specifically, this shows that from a young age, Celie’s body has been transformed into a site of subversion and oppression, and constitutes as the site of permanent anxiety which is seen throughout the novel. The lack of control Celie has over her body reflects the overarching theme of having a woman’s body reduced to a point lower than its reproductive function, and having men fight for dominance and power with women themselves over the literary terrain that is the women’s body. It also acts as a broader message to show the lack of control Celie now has on the physical environment around her due to the lack of ownership of Celie has over her own self. However, despite this concept being further emphasized on when Celie gets married off to her husband Mr __, otherwise known as Albert, it is also through him where she finds empowerment. From the start of their relationship, it was evident that Albert had no interest whatsoever in marrying Celie. He viewed her as ‘fat’ and ‘ugly’, and saw no worth in her. The only reason why he agreed to marrying her in the first place was because she was promised to have been a good mother to his kids, and she was guaranteed to have been the perfect fit to take on the domestic role in his household which was expected of women in that era. Not only did Celie function as a labourer and source or work in the household, but she was also the source of his pleasure thus further dehumanising her. Due to the fear instilled in her from both Albert and her stepfather, Celie takes a passive approach as a means of survival and does as she is told, thus emphasising on her weakness. However, despite his abusive tendencies and inability to show any form of love and compassion for his children and Celie, it is revealed that Mr __ is indeed capable of displaying these affectionate qualities and is not as stone cold as he is portrayed to be. This is seen when the character Shug Avery, his previous lover, is introduced and stays with them for a while due to her illness. The first instance in which we see Mr __ putting another person, let alone a woman before him, was from the time when he heard she had fallen sick, showing that he was capable of love. Upon hearing the news, he takes matters into his own hands and asks Harpo to “hitch up the wagon” without telling anyone in the family as to why he needs to leave so urgently, so that he could personally pick Shug up and bring her to his home where he planned on nursing her. This is the first indication of selflessness that is seen from Mr __ which adds a new dimension to him and suggests that he was indeed capable of showing respect and empathy. It can also be seen that the second Shug Avery enters their home, Mr __ stops abusing Celie. This is first seen when Celie manages to get Shug Avery to finally consume food which puts Mr __ to ease. Upon seeing this, he is content and starts to develop a certain propensity towards Celie which can be seen when he initiates a normal conversation with her. He asks ” how you git her to eat” followed by a laugh to her response. This is the first instance of Celie and Mr __ having a normal relationship without having him assert his dominance and authority as a male. This glimpse into Mr __ and Celie acts as a moment of foreshadowing as it reflects the type of civil relationship they are both able to have despite the confinement they are bounded by due to their individual genders, which is seen later in the text. As mentioned before, it is seen that after Shug’s arrival, Mr __ stops abusing Celie and Celie starts to morph into her own person. However, what brings her further empowerment was when she deliberately made the decision to leave Mr __ after fully comprehending the oppressive environment she was forced to live in. When Celie makes the choice to leave, Mr __ is left in genuine confusion and shock as he was unaware of the effects that the patriarchal system he religiously followed had on Celie. This again adds a different dimension to Mr __ as it can be inferred that he was genuinely naive and thought that this was the only way of life. It is mentioned that Mr __ was brought up in a household that was strictly governed by his strict and demanding father, where the idea of male dominance had to be asserted and that a woman was not allowed to have her own opinion. If she did, she was deemed as unworthy and unfitting to be a wife which serves as an explanation as to why he was unable to marry Shug Avery when they were in love. Due to the fact that this was the only way Mr __ viewed women, he was unable to comprehend the reason as to why Celie was unhappy, as all he has done is merely live his life the way he was told he should. This further empowers Celie’s character as she too was brought up in a household where male dominance was enforced. However, she manages to grasp the concept of the derogatory and abusive nature of her environment and leave which is especially empowering, considering the fact that Celie was indeed uneducated and not familiar with the concept of women’s rights. The fact that Celie herself was able to comprehend and acknowledge the concept of the patriarchy and Mr __ could not, acts as one of the markers and major turning points in Celie’s character turning from submissive to autonomous. However, what truly marks Celie’s reformed character would be effect Celie’s departure had on Mr __. He starts taking on more domestic roles such as cooking, cleaning and taking care of the children, and starts being viewed as a grandfatherly figure. The reason as to why he chooses to do this is due to the fact that Celie has become her own person and these domestic roles no longer define her. The second Celie started becoming her own person, she also no longer addressed him as Mr __. Rather, she started addressing him by his real name, Albert. The concept of addressing him as Mr __ highlighted the fear that Celie faced when it came to him. The fact that she was unable to address him by his real name and was only addressed by Mr __ shows how a large emphasis on his gender was placed. Furthermore, there is an element of power from having her husband be known without a name as it undoubtedly erases the idea that he has a real human quality. However, when she finally returns back to Georgia and sees that he has indeed made an effort to change, she finds it in her to forgive him and starts calling him Albert. This is largely significant as it shows that she has come into acceptance and forgiveness with the past thus indicating a new beginning for her. She maintains a healthy friendship with Albert after Albert’s character begins to change as they both start to discover and understand their mutual affection for Shug. By being more vulnerable and letting go of his oppressive ‘male’ conditioning in this way, he is enabled to transform himself into a man who can act naturally and in tranquility with his environment rather than coercing it. His love of beauty and creativity re-emerges in his shell collection and shirt designs and the compassion and care he once could only bear for Shug starts to extend to his wider family, whom he learns to appreciate rather than try to dominate. Ultimately he forges a relationship with Celie based on respect, at last valuing her opinions and skills. The fact that Celie was able to spark this change in Albert is telling enough of the power she starts to have over him, thus showing that her relationship with Albert though dehumanising and degrading at first, was one of the key events and relationships that eventually led her to a state of empowerment and strength, thus showing the evolution of Celie’s identity through her relationships with the men around her. Relationship with God Another key event that occurs which marks Celie’s growth as a person would be the fact that the letters she writes begin addressed to God but eventually starts being addressed to her sister Nettie. At the start of the novel, Celie’s birth mother dies (6) which leads Celie to feeling more isolated and lonely than she ever felt before. Furthermore, when she got married to Mr __, Nettie, her only friend that she could confide in got taken away from her. Due to the loneliness that consumes her, Celie turns to God and chooses to confide in him. Due to the conservative society that they live in, Celie was brought up to be religious. Due to the patriarchal religious teachings that has been used to instil obedience and subversion in women, Celie felt that she was unable to express her innermost feelings of anger and hurt. Due to Celie’s upbringing that revolves around submitting to the ideologies of the patriarchy, she uses the biblical teaching as a tool to navigate her life. She entrusted her life in God’s hands and believed that God was indeed responsible for change and that by writing to God in a colloquial manner, he would eventually hear her desperate cries for help and solve her pre-existing issues. However, after finding out that Albert had been keeping Nettie’s letters from her, she accuses him of falling asleep on her and loses her faith in him altogether. After this incident, Celie starts to realise that her belief and faith in God has no relevance to her needs. She realises that by aimlessly writing to God, none of her problems were going to be resolved which was a fundamental moment for Celie. From this point on, she realises that it is her that is responsible for her own actions and life therefore deciding to stop writing to God. Upon learning that Albert has been keeping the letters Nettie writes to her, she recovers the letters and chooses to write to Nettie to express her feelings instead of God. There is a stark contrast in the way Celie starts to write her letters after she started writing them to Nettie. Each letter after the ones addressed to God started to become more concise, less pleading and much stronger. In her letters to God, Celie merely questions the situation she is in and aimlessly recounts events from that day. However, in her letters to Nettie, she is braver and more confrontational. Celie starts to opens up and talks about events such as her stepfather raping her as a kid and how that had truly affected her which shows her coming into acceptance with the traumatic events in her life. The fact that Celie is coming to terms with and accepting the horrific events that has occured in her life serves as a marker of her strength. This is because she would consistently neglect and push aside her feelings that she felt, and worse still would withstand and carry around the pain and agony of all these events. Furthermore, at the time, women were also forced to comply and accept their fate no matter how cruel and grotesque due to the patriarchal expectations of the era. However, the fact that she chooses to against that and share her feelings and stories with Nettie shows her pushing past the societal boundaries and in fact challenging the notion of the patriarchy. Not only does this show strength but this is indicative of Celie’s resilience. This is monumental as it shows that Celie is doing more than just acknowledging the issue, she is actually taking the steps needed in order to change her life which shows the vast change of character in Celie from the beginning point of the novel. From being extremely passive and compliant, Celie grew to be resilient and has mustered up the strength to actually talk about these “taboo” subjects. This shows the development of Celie’s character, from passive to strong and outspoken. More importantly, from this it can be inferred that the abandonment of God who is a symbol of the negligent male figure demonstrates Celie’s independence and self-sufficiency (173). The modifications in Celie’s letters reflect a developing autonomous woman.Another driving force that caused Celie to stop writing letters to God was Shug Avery. Shug introduced the concept of “The color purple”. The concept of the color purple is representative of ‘all good things in the world that is made by God for both women and men to enjoy’. In other words, instead of living everyday merely by surviving, the concept of the color purple is to enjoy and appreciate the nature of life made for every human to enjoy. According to Shug, God wants people to notice the beauty of his/her creation which includes subjects like sex. She theorizes that God is within us and not outside of us which causes Celie to view the concept of God and religion differently. Shug has rejected the false ideas that the church has tried to inflict on her and redefines religion for Celie. She tells her that God has no gender or race, and exists as an ‘it’. She also states that worship is enjoyment and awareness of the whole natural world, including human sexuality. Shug’s religion is the shared experience of beauty and an appreciation of the richness of life. Celie’s liberation occurs when she accepts this view, which enables Celie to assert her own independence and find her self-confidence, thus no longer writing to God, but to Nettie instead. Again, this shows her growth as a woman and the growing self-love that has been imbued in her.Reliance on the females around herLastly, one of the most fundamental ways Celie has grown as a person was due to the influence of the strong ladies she was surrounded by. Apart from Nettie and Shug, the first instance Celie came face to face with a strong woman was Sofia, Albert son’s, Harpo’s wife. Envious of Sofia’s ability to stand up to Harpo, Celie advises him to beat her to discipline her. Sofia confronts Celie about this and deems her as weak and submissive which acted as a moment of self actualization for Celie. This is crucial because it was in this moment that Celie was challenged to be a stronger individual. Celie looked up to Sofia as a role model. When Sofia was in prison, she lost her sense of self and felt degraded. She goes on to say she “was like Miss Celie now”. After seeing Sofia at her weakness, Celie realizes that she could not be submissive anymore and had to start taking matters into her own hands. This scene served as a moment of realization to Celie. She realised that no woman could thrive in this world as submissive and forces herself to find the strength needed to be a much stronger person. Furthermore, characters like Shug evidently had a large part to play in aiding Celie to becoming more confident. Apart from the various ways she has helped Celie mentioned above, she allows for Celie to explore love and her sexual identity without any shame or remorse whatsoever which aided Celie in finding some sort of liberation and tenacity. Shug’s love for Celie made her feel important and wanted, feelings of which she lacked from those around her. A significant symbol of this would be when Shug decides to sing a song entitled “Miss Celie song” dedicated to Celie in a bar. This not only makes Celie feel loved and appreciated but also gives her sense of identity as it was the first time someone had written a song about her. This puts Celie to ease emotionally and through the course of their relationship, physically and sexually as well. This also symbolises motherhood because reason as to why Celie develops a sense of importance in the novel is owed to Shug. With Shug’s guidance and love, it made growing into an independent individual possible for Celie. ConclusionIn the novel, the character development of Celie indeed plays a significant part highlighting and accentuating the bigger themes such as racism and sexism in the story. Specifically, it is crucial how each individual relationship Celie has with people has aided tremendously in morphing her into the autonomous and resilient individual she has blossomed into. The degradation of womanhood from men, her reconstruction of beliefs in God and the immense amount of support she gains from the women she is surrounded by is used to exemplify her transformation.