ARTICLE FOR ADVANCED WRITING COURSE (Lectured by: PUSPITA DEVI, M.Pd)

UNDERSTANDING FIGURATIVE LANGUAGE IN A LITERARY WORK THROUGH LITERATURE CIRCLE METHOD

By Oka Rodi Putra

Baturaja University

2016

okarorody@gmail.com

oseanoka.blogspot.co.id

ABSTRACT

This article is launched by seeing the highly seriously significant problems that are faced by the students in literature class. They are dealing with students’ interest and motivation in learning literature. Most of students are uninterested and unmotivated to learn about literature since they find difficulties in understanding figurative language that is mostly overwhelming the language preceded in literary works. In fact, students do not get the point on how the figurative language is preceded to illustrate the implied meaning of the passage, so it will be best to introduce them the figurative language to be the staffing stone in owning the interests of learning literature. Understanding figurative language, therefore, can be perfectly retrieved through a cooperative learning covering ESA principles, that is, literature circles. Literature circles is a temporary discussion groups between students who have chosen to read the same book in which each of the students has their own roles that differ one another. Literature circles are one important tool to motivate students. When students are given a voice in what they read they are more likely to learn and enjoy the experience. Additionally, their learning deepens and becomes more meaningful.

Keywords: figurative language, literature circles, literature course, students’ interests

1. INTRODUCTION:

This article is intended to provide a crucial overview of the students’ uninteresting toward reading a literature, beyond just reading a common passage. It is greatly intriguing to do something significant by seeing the crucial low percentage of reading interest in South East Asian, especially Indonesia indicating 4.2% (PISA). In Indonesia itself, books, however, have less priority and tend to be left behind. Hence, it results the lack of owning a reading habit, not only a common passage but a literary work too. This also falls onto education field, specifically in English education study program of Baturaja University where the students have difficulties in understanding the language that is used in a literary work inasmuch as it causes a lack of interest in learning such courses dealing with literature. According to Ogunsiji (2000), language in a literary work may be said to work in two board dimensions namely literal and figurative dimensions. Figuration, therefore, implies extended or associative meanings, i.e., the use of language in an imaginative manner to elaborate a proposition and/or to appeal the emotions of the reader or listener. Ogbulogo (2005) explains that literature as an aspect of communication expresses meaning incidentally in which the language is coded in a creative way, using figure of speech. The role played by figurative language in encoding the meaning of a literary text cannot be overemphasized. Specifically, it serves both functional and artistic purposes.

Figurative and extended uses of language essentially depend on the perception and processing of more concrete core concepts and phenomena, the commonly observed failure in atypical populations to understand figurative language remains a puzzle. Various accounts have been offered to explain this issue, ranging from linking potential failure directly to overall structural language competence (Norbury, 2005; Brock, Norbury, Einav, & Nation K., 2008) to right-hemispheric involvement (Gold and Faust, 2010). Figurative language is a cover term for linguistic expressions whose interpretation is non-literal, where the meaning of the expression as a whole cannot be computed directly from the meaning of its constituents. Figurative language can vary in types, degrees of extension from the literal and degrees of transparency, and structure. Moreover, figurative expressions can fluctuate from a single word to a long sentence. Here belong a range of phenomena, such as metaphors, idioms, proverbs, humours and jokes, hyperbole, indirect requests, clichés (Gibbs, 1999).

It has been claimed that it is exactly the need to go beyond the literal interpretation and grasp the intended meaning that makes figurative language special and more demanding for processing (Levorato and Cacciari, 2002). Unlike literal language, such expressions depend more heavily on both linguistic and visual context, and are often—in fact, impossible—to understand in the absence of such context. Still, in everyday communication much of the meaning is implied, and can be understood following linguistic and contextual cues (Coulson, 2005).

Yet, research in developmental disorders documents subtle dissociations between the ability to understand literal expressions and the comprehension of non-literal (figurative) language. For instance, high-functioning individuals with autism with intact structural language skills often fail to understand the meaning of jokes, irony, and idiomatic language (Gold and Faust, 2010; Vulchanova, Talcott, Vulchanov, Stankova, & Eshuis, 2012a.b). Thus, they present a case against a simple continuum view of figurative language.

This research presents evidence from studies of figurative language processing in the fifth semester students of English education study program arguing that this evidence calls for a revision of a simple continuum view. The author first reviewed issues of relevance to the main topic, such as how to best approach and understand the similarities and differences in the processing of literal and figurative language. For this purpose the author started by interviewing and discussing evidence from basically simple scope of brainstorming question indicating their points of view toward learning literature, to then move on to comment and feedback on the data that can be found in looking at an instrument of special interest to figurative language. The author concludes by suggesting possible ways in which these data can be interpreted in the light of current cognitive accounts of broader approaches to figurative language comprehension, that is, through literature circle.

According to Burns (1998) literature circles incorporate several features that enhance students’ reading experience and encourage growth in reading. Student choice, groups of mixed ability, and student-directed interactions are among them. It is powerful when students are given the responsibility to control their own learning. Indeed, Burns (1998) also shares the idea that the study of literature through literature circles takes an individual act and turns it into a social one where students create meaning with other students. Students are not left to guess or figure things out on their own; rather, they are supported by their lecturer and peers to do well.

An extremely attentively brilliant quote is pretty sure convenient in reflecting the goal of literature circle in basic terms as in “The primary goal of literature circles is to help kids fall in love with books” (Kasten, 1995, p.7). Literature circles targets many learning styles and allows all students to be successful. Students learn cooperatively with one another in a safe and protective environment where they can share their experiences and grow as a learner. Long and Gove (2003) discuss the idea that reading literary works should be purposeful and reflective. In addition, learning literature is pretty sure effective to enrich the students’ knowledge (Mila Arizah, personal communication, September 2015).

Literature circles are a pedagogically sound alternative to teacher-centered discourse. They can be used at all grade and ability levels, and are often creditedwith instilling a love of reading and discussion in students. Furthermore, current research indicates that peer collaboration has a positive effect on student learning and performance in Language Arts (Fall, Webb, & Chudowsky, 2000), increases student learning, and also improves reading comprehension and content-knowledge (Klinger, Vaugn and Schumm, 1998, cited in Daniels, 2002). Nevertheless, the broad main of this earlier issue is drawn up clearly through literature circle, especially is caused by the stage holder in this literature circles, that is, literary luminary. This role includes identification of various types of figurative language, including but not limited to simile, metaphor, personification, hyperbole, and idiom. This may lead to discussion about the author's craft - why the author chose to use those particular words or phrases, and whether or not they were effective. This in-context identification can be more relevant and memorable than isolated instruction by the teacher of these types of tools. By doing such so, the main aim of this issue in which the students can have huge amount of interest in literature courses is exactly reached.

2. METHODOLOGIES:

2.1.Participants

The participants of this research were 21 students in the third semester from English education study program at Baturaja University. The average age was 19. Of the total, 18 were female while 3 were male. They learned English as a foreign language for about 10 years, beyond just a year they have until now. In most of their courses, English is used as the medium of instruction. They have just had such a course dealing with English literature in this third semester. In the guidance of their lecturer, Mrs.Mila Arizah, M.Pd, they are provided the brief origins and histories of English literature in the form of authenticity of English used in the covering of Introduction to Literature course.

2.2.Procedure of the Study

The author first asked the chief of the class about their class’ schedule. After arguing in a particular space, a light was found. The author met the lecturer who would teach the A.3.1 class, that was, Mrs.Trisilia Devana, M.Pd to ask permission. Prior to collecting data, the author conducted informal observations of the classroom climate unconditionally before the due time. Upon observing the diverse population of the class, the author realized a need to incorporate authentic text in the form of short story written by Sherwood Anderson entitled “The Dumb Man”. Lastly, the author then considered the awkward classroom schedule (because at that time, they had a make-up class) and gathered baseline data about the students’ attitudes toward comprehending figurative language in another field of literary work, i.e. song. At that time, the author used to provide a hit from New Zealand’s singer, Lorde, which is highly amazingly full of figure of speech, beyond just irony.

2.3.Instruments

In an ideal situation, this research would consists solely study which examined the effects of Literature Circles on learning literature and other literacy skills in students at the third semester in English education study program. The quantitative research paradigm is the framework of this study. Using this paradigm, the collection and analysis of data is completed. The method of quantitative research focuses on narrow questions and attempts to prove an issue in everyday context through interviews, field notes, records, observations, and student artefacts (Smythe & Giddings, 2007). When conducting quantitative research, the context of the study is important because people do not act in isolation. The setting of the study has the potential to influence actions and behavior of the participants. Usually in quantitative research, two or more variables are closely examined and statistical data is gathered. The purpose of quantitative research is to describe, compare, and attribute causality (Smythe & Giddings, 2007).

This study analyzed the effects of Literature Circles in understanding figurative language in order to reach the goal, that is, to have interests in learning literature course. These following instruments are perfectly drawn up and illustrate how the researcher of this study did it.

UNDERSTANDING FIGURATIVE LANGUAGE

Quiz Format

The data of test-taker

Complete Name : ……………………………….

Student’s Number : ……………………………….

Class/ Semester : ……………………………….

GPK for this semester : ……………………………….

Birth : ……………………………….

Simultaneous-Interview Questions

1. Do you ever read, watch, hear or perform a literary work? If yes you do, what kind of literary work?

(A) poem (B) prose (C) drama (D) theatre (E) others (mention them!)

2. Which one do you prefer indicating to the most convenient course to learn, linguistics or literature?

3. Do you have a course dealing with literature? What’s that?

(A) Introduction to Literature (C) English Prose

(B) Literary Appreciation (D) English Drama

4. Back to number 3, do you love that course?

5. Back to number 3, do you find any difficulty in learning that course? If yes you do, what’s the reason?

(A) because of the lecturer who teaches it

(B) because of the using of the complex language in it, that is, figurative language

(D) because the materials include bored histories and theories

(E) others (mention them!)

Literature concerning: Understanding Figurative Language

A. Multiple Choice

Instruction: Find out the BEST one to indicate CORRECT meaning of these figurative sentences!

1. Simon, hurry up! You know that time is money for me

(A) both time and money have the same materials in printing

(B) time is worthy for everyone to do something

(D) time is seen like a money in its form

2. Julia gave me a hand when I was weak last night

(A) shaking hand with somebody

(B) taking something through hand with somebody

(D) giving help to somebody

3. Calvin has listened to that current news and now he gets the point

(A) getting particular score or grade

(B) understanding toward something

(D) reaching certain place or space

4. Farah dressed up the cake

(A) having a beautiful dress

(B) designing a lovely dress

(D) wearing something

5. The class of fish is knocking on heaven’s door

(A) knocking the door of the heaven

(B) staying close to death

(D) being the guest to anyone’s home

6. My soul is spiraling in frozen fractals all around

(A) the determination is strong

(B) the frozen water turn in spiral form

(D) the happiness of somebody

7. Hello, dear. You are totally the apple in my eyes

(A) giving an apple to somebody

(B) loving and feeling proud of somebody

(D) somebody’s eyeball is like an apple

8. You run as fast as a deer

(A) having the same face like a fast deer

(B) having a tame fast deer

(D) looking alike a deer’s fast running

9. Calm down, Andrew! Every why has a wherefore

(A) every good thing has an unpleasant side

(B) there is an explanation for everything

(D) good thing comes to some answer

10. He can’t go outside, the rain must be cat and dog

(A) there are a cloudburst

(B) there are a cat and a dog under the rain

(D) the rain is fighting with a cat and a dog

B. Literal or Figurative

Instruction: You are given some sentences. Your task is to analyze whether it is literal or figurative language. Write “L” for sentence that has literal meaning or “F” for figurative meaning.

1. My mother gives me some apples

2. A bad tree does not yield good apples

3. A rotten apple spoils the barrel

4. I have a pen, I have an apple

5. She is as heavy as an elephant

6. His name is Aladdin

7. Natalya was flopping like a fish on a line

8. The students march in one line

9. The man with his line is my uncle

10. Let me help you

11. Let me give you a hand

12. Bertha is a beautiful girl

13. Bertha is like a red rose

14. Where there is a will, there is a way

15. I will not only go to the Baturaja Citimall but Ramayana department store too

Indeed, this is the instrument of the text in the form of lyrics of a song

Royals

By Lorde

I’ve never seen a diamond in the flesh

I cut my teeth on wedding ring in a movie

And I’m not proud of my address

In a torn up town, no post code envy

But every song’s like gold teeth, gray goose,

trippin’ in a bathroom, blood stains, ball gowns,

trashin’ the hotel room, we don’t care

We’re drivin’ Cadillacs in our dreams

But everybody’s like crystal Maybach, diamonds on your timepiece,

jet-planes islands, tiger’s on a gold leash, we don’t care

We aren’t caught up in your love affair

(CHORUS)

And we’ll never be royals, it don’t run in our blood

That kind of lux just ain’t for us, we crave a different kind of buzz

Let me be your ruler, you can call me Queen Bee, and baby I’ll rule

Let me live that fantasy

My friends and I, we’ve cracked a code

We count our dollars on the train to the party

And everyone who knows us knows

That we’re fine with this, we didn’t come from money

Repeat *

Repeat CHORUS

2.4.Data Collections and Analysis

The author used multiple different quantitative research techniques to establish data for the study. At the beginning of the study, the author gathered data about the students’ interest and motivation towards learning literature using the mini-survey. The author then charted that data to further analyze how the students felt about literary works for academic and recreational purposes. Throughout the study the author observed all students as they worked in their peer led groups. The author observed discussion techniques, interaction, and engagement. He recorded this to track the students’ responses, reactions, and comprehensions. By analyzing this data, the author was able to determine the students’ level of comprehension of figurative language.

The data collected throughout the study was used to determine the effects of literature circles and culturally relevant literature in relation to comprehension and student interest and motivation.

3. RESULTS AND DISCUSSIONS:

3.A Results

The purpose of this study was to evaluate the effectiveness of using literature circles as an intervention to improve students’ motivation and interests to enjoyably learn literature. In order to assess motivation the students completed surveys before and after the study began. Table 1 shows the result of the survey. The survey scores can be found in column three. Each option the students chose from the survey was worth a certain amount of "points". Students could earn a maximum of 100 points in all. A higher score meant the student had more positive feelings toward understanding the language in a literary work, that is to say, figurative language, vice versa.

Results of Interview/Survey

No	Student’s Name	Understanding Figurative Language
1	Zuhrotun Khasanah	80
2	Emi Sumarani	52
3	Herni Sapta Sari	47
4	Nyoman Yuningsih	60
5	Ira Santika	60
6	Novriyanita A.	88
7	Mutsiratu	55
8	Tika Willya Andesta	60
9	Yuni Syafitri	63
10	Mesi Handika	52
11	Rumiyati	70
12	Dicky Thamrin	88
13	Selvin	15
14	Lora Claudia	58
15	Devi Astiana	63
16	Eviyatin Nisa Ulya	65
17	Aldo Ilhamalando	85
18	Wiwid Eka Agustin	65
19	Intan Sela S.	63
20	Melly	57
21	Risti Nuratiah	60
AVERAGE		62,19

In the second meeting, they were introduced the term literature circles to be applied in literature class, this was predominantly attracted to one of the significant roles in the literature circles, that is, literary luminary role. In order to assess their comprehension students were given questions to answer upon the completion of the literature circle itself. The comprehension check was then graded and assigned a percentage score. Table 2 shows the outcome of the average of those scores of three groups in the literature circles they build up. The one who concerned on literary luminary role was the stage holder in each group to determine the successfulness of his/her group.

No	Groups	Student’s Name	Implementing Literature Circles Literary Work: Royals By : Lorde
No	Groups	Student’s Name	Role	Group Score
1	GROUP A	Zuhrotun Khasanah	Discussion Director & Vocabulary Enricher	80
2		Wiwid Eka Ag.	Travel Tracer
3		Intan Sela S.	Summarizer
4		Nyoman Yuningsih	Connector
5		Novriyanita A.	Literary Luminary
6	GROUP B	Melly	Summarizer	85
7		Mutsiratu	Travel Tracer
8		Tika Willya Andesta	Discussion Director & Vocabulary Enricher
9		Aldo Ilhamalando	Connector
10		Dicky Thamrin	Literary Luminarry
11	GROUP C	Risti Nuratiah	Summarizer	70
12		Emi Sumarani	Connector
13		Rumiyati	Literary Luminary
14		Yuni Syafitri	Discussion Director & Vocabulary Enricher
15		Devi Astiana	Travel Tracer
AVERAGE				78,33

3.B Discussions

3. B.1 Figurative Language

3. B.1.1 Definition

Figurative language is language that uses words or expressions with a meaning that is different from the literal interpretation. Figurative language is rarely used in our daily conversation. Figurative language is often found in literary works, such as: articles in newspaper, advertisements, novels, poems, etc. Figurative language is the use of words that go beyond their ordinary meaning. It requires you to use your imagination to figure out the author's meaning. When a writer uses literal language, he or she is simply stating the facts as they are. Figurative language is commonly used in literary works, such as: poem, prose and nonfiction writing as well.

Figurative language refers to words, and groups of words, that exaggerate or alter the usual meaning in figures of speeches of the component of words. A figure of speech may be said to occur whenever a speaker or writer, from the sake of freshness or emphasis, departs from the usual denotations of words (Kennedy, 1983: 479).

The Webster‘s New World College Dictionary (1996: 571) explains that figurative speech is an expression (as metaphor or euphemism) that substitutes a variation of points of view by which things or notions which is referred to as if it is different in some ways (in identify, degree, shape) from what it actually is or seems to be but so related to the expression successfully implies an intended meaning of effect either or greatly different from what is utterly said.

3. B.1.2 Types of Figurative Language

There are many kinds of figurative meaning. Leech in Dewi (2010:2) has classified figurative meaning into eight types. They are: personification, simile, metaphor, hyperbole, irony, litotes, metonymy, and oxymoron. Not only that, figurative language can be broadly vary in many other sub-types.

3. B.1.2.1. Personification

Personification consists of giving human characteristics to an object. Actually, personification is the transfer of human characteristic to an object, animal, or abstract idea. It makes the animals and the animate objects talk or behave as humans do.

Shaw (1972: 283) says that a personification is figure of speech in which abstraction, animals, ideas, and inanimate objects are having human form, character, traits or sensibilities. Indeed, Leech (1969: 158) states that personification whereby an abstraction is figuratively represented as human actually combines all three categories – the concreteness, the animistic and the humanizing.

Examples:

From A Linguistic Guide to English Poetry (Leech 1969: 158):

(1) An angry sky.

(2) Grave yawned.

(3) The shoulder of the hill.

(4) This friendly river.

3. B.1.2.2. Simile

Simile is a kind of figurative meaning comparing two essentially unlike things. Simile expresses a direct comparison between things, which have one or more points in common and be recognized by the use of the word “like” and “as”. Barnhart (1995: 118) says that a simile is figurative of speech in which two quite different things are compared because they appear to be similar in at least one characteristic. Simile is also used to add clarify to the language or make it more careful.

Example:

Taken from ―A Linguistic Guide to English Poetry by Leech (1969: 156):

(1) The ship goes through the waves like a plough ploughing the land.

(2) The sky looks bright at dawn, like someone rejoicing in a birth.

(3) The city now doth, like a garment wear

3. B.1.2.3. Metaphor

Metaphor is a kind of figurative meaning which is an implicit comparison in which two unlike objects are compared by identifying or substituting one with other. Macmillan (1987:702) says that a figure of speech that makes a comparison between two seemingly unlike things is called metaphor.

Example:

Taken from ―A linguistic Guide to English Poetry‖ by Geoffrey Leech (1969: 151):

(1) Life‘s but a walking shadow, a poor player

That struts and frets his hour upon the stage,

And then is heard no more; it is a tale

Told by an idiot, full of sound and fury,

Signifying nothing.

3. B.1.2.4. Hyperbole

Hyperbole is a figurative for exaggeration. It tells more than the truth about the size, number, or degree of something without intending to deceive. Leech (1969: 168) states that hyperbole, like the other two figures, is frequently concerned with personal values and sentiment; that is, with making subjective claims which, however exaggerate, we could not verify unless we were somehow able to get inside the cranium of the person about whom the claims are made.

Example:

Taken from the book ―A Linguistics Guide to English Poetry by Geoffrey Leech (1969: 168):

(1) When Cob says I do honor

the very flea of his dog‖,

He maintains that his esteem for the man is so great that it extends also

to the man‘s dog, and not only to the dog, but even to the flea battening on

the dog‘s blood.

3. B.1.2.5. Irony

H.W Fowler in Leech (1969: 171) describes irony as a mode of expression which postulates a double audience, one of which is in the know ‘and aware of the speaker‘s intention whilst the other is naive enough to take the utterance at its face value. There is some argument about what qualifies as ironic, but all senses of irony revolve around the perceived notion of an incongruity between what is said and what is meant, or between an understanding or expectation of a reality and what actually happens.

Example:

Taken from ―A Linguistic guide to English Poetry by Leech (1969:172):

(1) His designs were strictly honorable, as the saying is;

that is, to rob a lady of her fortune by way of marriage.

(2) Thrift, thrift, Horatio! The funeral baked meats

Did coldly furnish forth the marriages table?

3. B.1.2.6. Litotes

Litotes is a form of understatement, always deliberate and with the intention of subtle emphasis. However, the interpretation of litotes can depend on context, including cultural context. In speech, it may also depend on intonation and emphasis. Leech (1969: 169) says that the term litotes is sometimes reserved for a particular kind of understatement in which the speaker uses the negative expression where a positive one would have been more forceful and direct. The use of litotes appeals specifically to certain cultures including the northern Europeans and is popular with the British. It is a feature of Old English poetry and of the Icelandic sagas and is a means of much stoical restraint.

Examples:

Taken from ―A Linguistic guide to English Poetry‖ by Leech (1969:169):

(1) He was a man; take him for all in all,

I shall not look upon his like again.

3. B.1.2.7. Metonymy

Metonymy is a figurative meaning in which the name of one object or idea is substituted for that of another closely associated with it. Webster‘s Third New International Dictionary in Leech (1969: 152) says that metonymy is a figure of speech that consists in using the name of one thing for that of something else with which it is associated.

Example:

Taken from the book ―Semantics: The Study of Meaning, 2nd Edition by Geoffrey Leech (1981: 217-218)

(1) The neighborhood objected to his plans.

(Neighborhood= the people in the neighborhood‘)

(2) The whole town turned out to welcome us.

(Whole town= all the people living in the town‘)

(3) I enjoy Shakespeare immensely.

(Shakespeare= the works of Shakespeare‘)

3. B.1.2.8. Oxymoron

An oxymoron (plural: oxymora) is a figure of speech that combines two opposing or contradictory ideas. Oxymoron appears in a variety of contexts, including inadvertent errors such as ground pilot and literary oxymoron crafted to reveal a paradox. The most common form of oxymoron involves an adjective-noun combination of two words. Leech (1969:132) states that oxymoron is the yoking together of two expressions which are semantically incompatible, so that in combination they can have no conceivable literal reference to reality.

Example:

One case where many oxymora are strung together can be found in Shakespeare's Romeo and Juliet, where Romeo declares:

(1) O heavy lightness! Serious vanity!

Mis-shapen chaos of well-seeming forms!

Feather of lead, bright smoke, cold fire, sick health!

3. B.2 Literature Circles

3. B.2.1 Definition of Literature Circles

According to Daniels (2006), literature circles are small, peer-led discussion groups who have chosen to read the same story, poem, article, or book. Literature circles can be used to discuss any type or genre of text, for example: fiction, nonfiction, chapter books, picture books, textbooks, articles, or poems. The purpose is for students to interact with peers and their chosen text through ongoing discussions. Students are expected to guide their own instruction by making connections and focusing on issues that are meaningful to them (Carrison, Ernst-Slavit, Spiesman-Laughling, 2009).

Traditionally, the idea of literature circles has been used to read and discuss fictional text; however, Wilfong (2009) encourages educators to use literature circles when reading textbooks. Due to the success with fictional text, the concept of literature circles has been extended to enhance content area vocabulary and related concepts. Although student roles may differ, the process is similar. Discussion techniques are modeled as students participate in student led sessions that involve higher level thinking skills: questioning, responding, inferring, summarizing, and reflecting. Additionally, through extended roles and discussions, students gain a greater sense of responsibility and accountability.

3. B.2.2 The Literature Circle Roles

The following is a list of roles which give a thinking task to each group member. Students divide the tasks among themselves in each group. As the groups reconvene each session, students switch roles, so that by the end of the literature circles "unit," each student will have the opportunity to participate in each role. Again, the ideal is to eventually do away with the roles, although many teachers opt to continue using the roles to assist group on-task behavior. One thing to keep in mind: readers who are deeply engaged with a book and eager to talk about it with others may not need the structure of roles. Many teachers discover that the roles feel restrictive to some students and can become a disincentive to take part in literature circles. Literature circle, in natural approaches, is divided into 6 roles, namely discussion director, vocabulary enricher, travel tracer, literary luminary, connector, and summarizer. Furthermore, there must be a crucial expansion of those roles to be more complex.

3. B.2.2.1 Discussion Facilitator

Sometimes called as discussion director, this role involves developing a list of questions that the group might discuss about the section of the novel to be discussed for that meeting. Questions should be designed to promote lively conversation and insights about the book; they should be open questions. A person with this task asks these questions of the group to prompt discussion; overall, the job is to keep the group talking and on-task. Questions that a student might ask could be: "What was going through your mind when you read this passage?" or "How did the main character change as a result of this incident?"

3. B.2.2.2 Commentator

This role involves locating a few significant passages of text that are thought-provoking, funny, interesting, disturbing, or powerful. The quotations are copied down with properly cited page numbers. A student with this task can read the passages out loud him/herself or ask other group members to read as well. Commentary and discussion will be generated from these passages. And, also draw a part of the scene that locates where the person took place

3. B.2.2.3 Illustrator

As the term implies, this job entails drawing, sketching, or painting a picture, portrait or scene relating to the appropriate section of the novel. Collages from magazines, images from the internet, and other media can also be used. The student with this role then shares the artwork with the group, explaining the passage(s) that relate to the art. Often students who do not like to write do very well with this role. The pictures usually generate interesting group conversations.

3. B.2.2.4 Connector or Reflector

This role involves locating several significant passages in the novel and connecting these passages to real life. The connections might relate to school, friends or family, home, the community, or they might relate to movies, celebrities, the media etc. Students should also feel free to connect incidents or characters with other books that they have read. Of all the roles, this role is often the most personal in its focus.

3. B.2.2.5 Summarizer

This role involves preparing a brief summary of the reading that was assigned for that day's meeting. The summary should include the main ideas or events to remember, major characters, symbols or other significant highlights of the passage. Good summarizers are important to literature circles, as they can help their peers see the overall picture (DaLie, 2001). Also include important events and details.

3. B.2.2.6 Vocabulary Enricher

Also called the word master or word wizard, this role is to record important words for that day's reading. Words that are unusual, unknown, or that stand out in some way are usually chosen by the student. Their page number and definition is also recorded. Often students do not see this role as particularly stimulating; however, it can be a role suited to students who are still developing confidence in English classes or textual analysis.

3. B.2.2.7 Travel Tracer

This role involves recording where the major shifts in action or location take place in the novel for the reading section. Keeping track of shifts in place, time, and characters helps students keep track of important shifts in the novel. Artistic students also are drawn to this role, as artwork can be incorporated into this role as well. The student's role is to describe each setting in detail, using words or maps that illustrate the action.

3. B.2.2.8 Investigator

This role includes investigative work where background information needs to be found on any topic relating to the book. Historical, geographical, cultural, musical or other information that would help readers connect to the novel is often researched and shared with the group. The research is informal in nature, providing small bits of information in order that others can better understand the novel.

3. B.2.2.9 Literary Luminary

Sometimes called as figurative language finder, this role includes identification of various types of figurative language, including but not limited to simile, metaphor, personification, hyperbole, and idiom. This may lead to discussion about the author's craft - why the author chose to use those particular words or phrases, and whether or not they were effective. This in-context identification can be more relevant and memorable than isolated instruction by the teacher of these types of tools.

3. B.2.3 The Significance of Literature Circles in Classroom

Literature circles are one important tool to motivate students. When students are given a voice in what they read they are more likely to learn and enjoy the experience. Additionally when they are afforded the opportunity to discuss what they are reading with others, who are also reading the same text, their understanding deepens and becomes more meaningful.

Literature circles provide for great opportunities to discuss books and get students wanting to read, beyond just a common passage. Long and Gove (2003) argue that students are more likely to engage in purposeful and reflective discussions with literature circles because they are interpreting the text from more than one perspective or point of view. In literature circles students question one another, change their point of view and push each other to delve deeper into the text.

Again, Long and Gove (2003) found that students who participated in literature circles became more curious about what they were reading as well as more involved and absorbed in the texts. Lehman and Sharer (1996) argue that when teachers create an environment, such as a literature circle, they are promoting curiosity and inquiry amongst their students. Teachers who use literature circles push their students understanding beyond the obvious by having them discuss with one another their viewpoints and questions. Literature circles give them the opportunity to read what they want to read and that choice can be powerful.

4. CONCLUSION:

The research on student motivation and learning clearly shows how important it is for students to be motivated in order to learn. This information has important implications for educators. Given that many researchers find a link between student motivation and learning it is critical for educators to continue presenting interesting and intrinsically motivating materials to their students.

Literature circles are just one way to motivate students to learn a literature course. They are a valuable tool to get students interested in learning different and, at times, more challenging literary works consisting of figurtaive languages. When students have the opportunity to discuss with others without judgment or fear of being incorrect they are more likely to take risks and make gains in their comprehension. Remembering that literature circles are student-centered it is critical for teachers to be there to support their students along the way. Only when that occurs will learning be maximized.

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