1. Introduction 

2. Literature in Second/Foreign Language Teaching and Learning 

3. Children’s Literature in the Adult Second/Foreign Classroom 

4. Children’s Literature and the Adult Reader 

5. Hebrew Children’s Literature

6. The Potential of Hebrew Children’s Literature for the Adult Students

7. Story Time in the Vancouver Mini Ulpan 

8. Four Hebrew Children Stories 

9. Conclusion 

10. References

Teaching an additional language (second or foreign language) to adults starts by focusing on pragmatic language. Ideally it integrates the most frequent vocabulary and grammar in order to find an optimal mix of the simple with the practical. Feelings, thoughts and opinions are postponed to later stages. Similarly postponed are students’ opportunities to enjoy valuable works of literature. Many Hebrew textbooks for the beginner adult learner, available today, are thoughtfully planned and graduated, as well as skilfully written. They are much livelier than they used to be. The content of these textbooks though, is still mostly pragmatic. Students must be satisfied for a long time with textbook written material, which in spite of its pedagogical merits, lacks the artistic value found in works of literature. Students also have to wait long before they encounter subjects dealing with more than the day to day practicalities, with which they can engage on an adult level.

This paper promotes integrating into the curriculum of the adult Beginners’ and Low Intermediate levels of additional language, second language and foreign language (AL, SL, FL or L2 in general) curriculum more inspiring material drawn from children’s literature. Even though these works were not originally written for teaching purposes, nor primarily for adults, they can provide the students with support for their learning of frequent vocabulary and grammar in a pleasurable way. Through the study of these works students can learn effective strategies for listening and reading with comprehension. It can offer them opportunities for going beyond the usual limited scope of subjects possible at their level, and begin to express feelings and opinions, as well as to discuss them, albeit in a simple manner. Moreover, much of the authentic, even if adapted, material, written originally for young readers, contains a significant cultural component. It can open before the adult students a window to the culture of the language they are learning.

All the above is certainly relevant to the teaching and learning of Modern Hebrew. Modern Hebrew children’s literature is rich and versatile. If chosen and incorporated appropriately into the curriculum, it can reinforce and enhance the adult students’ learning, as well as offer them many glimpses, not only into Modern Israeli, but also traditional Jewish culture.

This paper draws much support, information and insight from polysystem theory , children’s literature research and Hebrew children’s literature in particular, as well as from language acquisition and SL/FL teaching methodologies. The paper relies heavily on my practical experience as a teacher of Classical and Modern Hebrew, and especially on the work I have done in the Vancouver Summer Mini Ulpan, experimenting with the introduction of children’s literature to the students of three levels. A general description of these intensive courses, with their important Story Time component, will be offered. Four stories will be presented and discussed. The way each story is exploited in each of the levels of the Mini Ulpan will be demonstrated. Finally, some suggestions for further work in this direction will be made.

The value of literature for the L2 learner has been recognized, but not necessarily widely acted upon. Historically, studying literary canons was the focus of  the study of classical languages. The study of modern languages, as foreign languages, has also emphasised literature. It was only in the second half of the twentieth century that the focus shifted sharply from literature, to communication and pragmatics. The renewed interest in bringing literature back into the L2 classroom is not necessarily for  the sake of studying literature, but instead as a medium, through which students can be exposed to the culture in question, as well as expand their vocabulary and have an opportunity to exercise their conversational skills. (Onestopenglish, 2005).   However, authentic literary texts (novels, short stories and poems) are used mostly in more advanced levels of the learning process.

             A look at Hebrew University Ulpan (immersion courses) textbooks for beginners and lower intermediate students shows that they do not lack in classical and modern pieces of literature (prose is usually adapted, whereas poetry is included as is). The Ulpan method is based on the communicative-pragmatic approach. Therefore, , the purpose in offering this extra literary material is to expose the students to rich authentic texts and urge them to read them while making courageous educated guesses about meaning. These enriching texts, though, are suggested material only, not an integral part of the curriculum . (Hayyat, Yisraeli, & Kovliner, 2000-2001).

            Interestingly enough, textbooks written in the Diaspora, give more emphasis to text than to communication. For example, in Ivrit Shalav Guimel (Band, 1986) prose pieces, half of which are simplified literary works, are the starting point for each of its lessons. Here too, the poems offered are introduced without adaptation. Some of the literary texts offered were originally written for adults and some are taken from children’s literature. Another textbook, Ha-Yesod includes texts which are taken mostly “from the treasure of the Jewish culture in all its layers. The material was rewritten and suited for the demonstration of the grammatical forms of that lesson” (Uveeler & Bronznick, 1972, p. v). These texts are integral to the teaching of lexicon and grammar in this textbook. They are therefore heavily adapted to be compatible with the level of each lesson. They deal with historical Jewish personalities and historical events, and retell biblical, midrashic, and hassidic stories. This content, in its simplified manner, would be close to similar genres in Hebrew CL.

            As mentioned above, literature is not a common integral part of the lower level communicative-pragmatic approach curriculum. It is taught as part of the curriculum in Ulpanim (immersion programs) only in the higher levels. An interesting attempt to include literature of absurd humoristic qualities, in six levels of ulpan program, including the lower ones, made use of works by the renowned Israeli playwright, Hanoch Levine. This was done, explain Weis and Abadi, because humour creates a relaxed learning atmosphere, is a good communicative medium and allows for easier grasp and retention of the material. Surprisingly, they managed to find among Hanoch’s writings, pieces written originally in relatively simple language, suitable even for the lower levels. The pieces they use offer both level appropriate lexical and grammatical subjects for teaching and a variety of options for post reading activities (Weis & Abadi, 2003).

Adult literature may indeed be unsuitable for the lower L2 classroom due to students’ limited repertoire and classroom time constraints. Children’s literature, however, may offer these students the pleasure of reading real works of literature much earlier on. Some  educators might reject this material based on the assumption that adult students expect mature material. They would question why should childish texts be used as an integral part of the curriculum, when there is so much good material, prepared especially for the purpose of L2 teaching. Indeed the variety of textbooks and their rich content, as well as other modern learning materials, make the teaching and the learning of L2 today much easier. Textbook material may be a good and effective in imparting the lexicon and the grammar. Still, it cannot compete with the depth, inspiration and artistic qualities which can be found in literature. Adult literature is beyond low level students’ grasp in the newly learned language. Therefore, adult students have to bear with utilitarian material, tailored exactly to each lesson and the lexical and grammatical subjects it imparts. For a long time adult learners either enjoy or do not enjoy the made-up stories,  with their, at times,  forced humour, and they tend to wait patiently for much more advanced stages, when they can encounter a meaningful piece of authentic fiction or non-fiction as an integral part of the curriculum. In the meantime, the suggested CL, much of which is good literature, can offer an appropriate lively addition to effective, but often uninspiring textbook material.

Acknowledging that “When learning is pleasurable, a greater learning takes place”, Gayle Flickinger reviewed a number of American children’s books and analyzed their potential to enhance adult ESOL students. These stories provide the students with the opportunity to improve on their reading, give them glimpses of the American customs and culture, and allow them to express themselves through meaningful universal issues which transcend cultures (Flickinger, 1984)..

The use of CL in the development of English literacy in elementary students, both with native and non native speakers, has been successful. Subsequently it has increasingly been tried with adult students as well, especially in ESL family literacy programs. The selection of books should consider age-appropriate themes, compatible language level, learning enhancement style, illustration and cultural input, as well as clear class presentation and development of related lessons, are essential to the success of such attempts (Smallwood, 1992).

In spite of a few limitations, children’s picture books and short stories were found to be very effective in the lower levels of English as a foreign language for Chinese university students. Even though relatively simple, and probably because of that, they motivated the students and were used for pronunciation exercises, reading practice, discussion and expression of opinions. They stimulated literary appreciation and comparison between Chinese and English literary practices. Themes in stories were discussed seriously and at times even understood as symbolising political issues relevant to students’ life. The stories were “intellectually stimulating, encouragingly readable, linguistically challenging, literarily fulfilling, and educationally rewarding”. They were a good stepping stone to confronting more mature material, and saved the students the deterrence of the sophisticated linguistic style, themes, or unfamiliar genre, if introduced too early (Ho, 2000).

Indeed, good CL which is as meaningful, artistically written, and enjoyable as adult literature, still has specific features which make it appropriate for its integration into L2 lower levels curriculum.

Material written for children tends to revolve to a large extent around  a child’s life and world. Therefore, it uses much of children’s vocabulary which overlaps greatly with frequently used adult vocabulary. Learning the most frequent vocabulary is extremely important in the acquisition of a L2, as it covers most of the word count of any oral or written text (Haramati, 1983, p. 109). The use of children’s literature can impart such words as well as support the retention of others previously learned. The significant appearance of frequent everyday vocabulary in children’s literature does not mean necessarily that the work is simple or unsophisticated or that it cannot use higher register. At the same time, even if higher is used, the language in children’s literature would still be less complex than in a text written for the adult. It  can therefore be a good introduction to literary writing for the lower level student

 As in songs and poetry, much of young children’s literature uses extensive literary devices which facilitate language learning at any age.  Repetition, rhymes, and imagery make it easier to memorize sentences and passages. Memorization, or near memorization, helps familiarize and probably even internalize certain word formations (i.e., verb conjugation) and syntactic patterns characteristic of the language learned.

Most important for our purpose is the simple structure of CL, the clear story line, economical depiction of characters and ideas, as well as the text’s relatively short span. This makes such material easier for the beginner-learner to approach than the more demanding texts of mature literature.  

However, simple features do not necessarily imply simple content. As described  in  Chapter 2, [RH1] CL may deal with serious human issues in a deep way, albeit in a simple form. A good work of literature, written for any age, cannot be grasped fully at first glance. A good story or poem gradually reveals its many facets and layers only with repeated readings and depends on the different aspects of a reader’s level of development such as age, life experience, reading experience etc. (Elkad-Lehman, 2003). Stories that may seem naïve at first glance, can be interpreted differently, at times in an unexpected way, by different readers of different backgrounds. Children’s stories can thus raise interesting, mature subjects suitable for adult discussion. They can provide opportunities for students to talk about feelings and express opinions in various subjects. Even while using basic vocabulary, students are able discuss not only practical subjects (work, housing, food etc.), but even more general ones (i.e., social, economical, political, and moral).

Subjects found in CL may transcend cultural differences and allow the students the comfort of dealing with familiar universal questions through the newly learned language. At the same time, the setting of these questions in children’s texts may highlight the differences between cultures, inform the students and provide them with insights about the target culture, its reality and its values.

Illustrated stories and picture books in particular can be most suitable for integration into lower level FL/SL programs. Visual material has been shown to enhance listening and reading comprehension, providing the student with organizational schema for the text (Omaggio-Hadley, 2001, p. 150).

A good measure of humour, found often in children’s literature, can contribute to a relaxed learning atmosphere and may even ensure better retention of the lexical and grammatical subjects learned (Weis & Abadi, 2003). If carefully chosen, works written for children may offer another layer of comic messages for the secondary addressee, the adult.

L2 textbook material, tailored for specific lexical and grammatical subjects imparted in a lesson, are usually studied intensively to ensure full comprehension. This though, should not be the treatment of a children’s story introduced in class. It is important to clarify to students that in order to capture the plot, the characters, and the basic ideas, they do not have necessarily to understand every word and every grammatical item appearing in the text. Students should learn how to get the gist of a text that they listen to or that is read by them. Adopting appropriate strategies (such as filling the blanks and educated guessing) for this purpose helps them cover a complete story and even discuss it seriously in a much shorter time and a much more gratifying way, without having to dwell on it to the point of boredom. Moreover, the less intensive treatment of a children’s story may empower the students and lead them to a stage in language learning in which they will feel confident enough to confront a text or a conversation they don’t  completely understand. The introduction to the story in class, together with further rereading and re-listening at home, can encourage the students to embark on further independent and extensive, level-appropriate reading and listening. Such out-of-class exposure to the language is most important for progress into higher levels, at times even more than further class input, as it draws the students closer to the ‘real’ language.                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                              

Story telling, which for ages has captured the attention, not only of children, but of adults as well, has been replaced in our era by individual quiet reading and the un-interactive watching of screens. Surprisingly, adult students enjoy very much listening to an animated presentation of a story offered to them. One should bear in mind though, that stories may have unexpected great psychological or intellectual impact on listeners and readers.  Often they are used creatively and effectively in bibliotherapy (Cohen, 1990), drama therapy (Golan, 1983), and various communication workshops, in order to help participants open up to dealing with difficult, even painful personal issues, as well as for analysis of situations and for expressing opinions. Indeed, CL provides the L2 students with ample opportunities to present their point of view as well as their feelings about topics raised by the stories. Teachers should be extremely careful though, not to let the discussion and openness overflow beyond reasonable proportions. They should be sensitive and keep remembering, even reminding their students, that the main purpose of the lesson is learning the language and its culture and not delving into dangerously deep emotional, moral, political and other grounds. One of the ways to avoid extreme reactions is assign various roles to different students in order to present different points of view or emotional stands.

All the above shows that CL has the potential of contributing much to enliven the L2 curriculum of the lower levels, enrich students’ language skills and introduce them to the culture whose language they are learning much earlier on.

Children’s literature was valued in the past only for its educational, pedagogical and psychological importance for the welfare of children. Nowadays though, there are scholars who regard it "as literature per se... a part of the literary system...an integral part of society’s cultural life". Therefore, it is studied as reflecting the general patterns of behaviour in the literary and cultural context from which it has developed (Shavit, 1986, pp. x-xi).

The various literatures, or systems, in any literary polysystem tend to overlap and intersect (Even-Zohar, 1990). So does children’s literature (CL) with other kinds of literature in various aspects such as text types, styles, themes, ideologies, and appeal to different groups of readership. Thus, historical novels, humour, fantasy and science fiction have their versions addressed at younger readers. Books may be read by those they were not originally meant for. Books such as Robinson Crusoe and Gulliver, originally written for adults, have been adopted by children, whereas The Little Prince and Alice’s Adventures, admittedly written for children, are read by adults. Many adult readers do not depart from favourite books of their childhood and youth, long after growing up, finding in them not only comfort and joy of nostalgia, but even deeper insights and layers with every additional reading. At the same time, fairy tales, which were originally created for and enjoyed by all ages throughout history and all over the world, are offered now, especially in the Western world, mostly to children.

Fairy tales, as described by Bruno Bettleheim, are still important for the adult. Indeed, they simplify situations and deal with them briefly and pointedly. They use broad strokes with the minimum, most important details used to draw their figures, and present characters which are typical rather than unique. Yet, they deal with universal human problems, which they convey through overt and covert meanings "in a manner which reaches the uneducated mind of the child as well as that of the sophisticated adult" , addressing the conscious, the preconscious, and the unconscious, thus enriching and satisfying all ages (Bettelheim, 1976, p. 5-8).

Many modern children stories follow folk tales characteristics and qualities and have similar impact. Under what would be perceived at first glance as a simplistic childish story, the reader of CL may encounter serious social, emotional and existential problems and dilemmas concerning good and evil, loss, fear, identity, straggle, choice etc. For example, Robert Munsch’s The Paper Bag Princess uses the familiar features of fairy tales including repetitive structure, humoristic presentation, and age old motives of the courageous smaller or weaker protagonist and their victory of wit over the cruel and powerful. The model of the traditional fairy tale, skilfully manipulated, allows for the introduction of current feminist dilemmas, ending with a counter formula happy ending.

The content of children’s stories as well as the artistic presentations are not necessarily childish. Children’s literature should be good and pleasurable for both the child and the adult, agree two of the most important authors and scholars of Hebrew children literature (Goldberg, 1977, p. 67. Roth, 1969, p. 11). Children can find themselves and their own troubles in stories. At the same time, they experience through stories "birth and death – love, hate, heroism, courage and fear" and in fact,, their culture’s life patterns and ethics. This way they can feel part of the human society and its struggles. (Roth, 1969, p.13). Lea Goldberg, quoting Prince Mishkin, the protagonist of Dostoyevsky’s Idiot, insists that "You can tell children everything, everything indeed". The pedagogical question is only, how (Goldberg, 1977, p. 125).

Children stories, with their plots, messages and artistic presentation may not only interest children. Sometimes CL is written with more than just the child in mind. Writers want their works to be liked and approved by the adults, parents, teachers, librarians, who provide literature to children. Writers, no doubt, struggle, consciously or unconsciously, with the problem of writing for these two very different addressees, "because of the contradictory necessity of appealing to both…" (Shavit, 1986, p. 41). While determining the complexity, structure, stylistic level and the subject matter of the story, authors have to take into consideration these two potential readers. The results may be found on a continuum between two extremes, the one in which the writers "wink agreeingly to the adults and ignore the child" (Astrid Lindgren as quoted in Shavit, 1986, p. 42), and the other in which the popular commercial children literature ignores the adults all together and caters only to the young readers ( Shavit, 1986). Writers of a good number of works on this continuum though, beloved by children and adults alike, have found the right balance in creating works that appeal to both groups. They present sincere values or address psychological or social issues troubling any age group, albeit in a less complex manner. They use themes, structures and language to be grasped intuitively by the child and more intellectually by the adult. They use humour for the child, and at the same time offer the adult parodies or hidden jokes as a bonus. In books of CL like in many works of adult literature, a text can be layered and understood and realised in different ways by different readers. Dr. Seuss’s The Cat in the Hat is an excellent example. It is greatly enjoyed by children for its plot, illustrations, humour and language juggling. The Story reflects the child’s inner tension between obedience and rebellion, between following rules and creative anarchy etc. This cannot be intellectually grasped by children who may only intuitively sense its resonance with their unconscious inner struggle. An adult, on the other hand, may read the story on a different level, see the cat and the fish as reflections of the child’s inner polarity, the child narrator’s jump into action, as the immergence of self discipline, and the orderly ending as the ideal balance between passions and norms.

Addressing two or even more groups of consumers (different age groups, different levels of familiarity with North American popular culture, etc.), is common in popular animated movies (Jungle book, Lion King and Shrek, to name just a few). Often sophisticated and well executed movies succeed in entertaining the children without loosing their accompanying adults and in fact drawing more adult viewers without the excuse of accompanying children. Their creators do so consciously, offering works that are based on visual, verbal and even musical layers, double meanings, allusions etc. Such movies are interpreted on different levels by the child and the adult. Children are entertained by the ‘overt’, simpler story, while the more knowledgeable adults enjoy the messages addressed at them, identifying the many ‘hidden’ stories and appreciating the parodies (Elkad-Lehman, 2003).

Ambivalent literature, such as Alice in Wonderland, The Hobbit, Winnie-the-Poo or The little Prince, is discussed thoroughly by Zohar Shavit. These works, she claims, supposedly belonging to the children’s literary system, are deliberately written as ambivalent texts targeting two groups of implied readers, children and adults. In these books the child may be only the pseudo addressee, where as the real reader targeted is in fact the sophisticated adult. This is done by employing at least two coexisting models, one more conventional for the child, and the other less established or innovative for the adult. Different reading habits and norms of the two groups allow for the full realizations of such a text on different levels. As a result "the writer not only enlarges his reading public… but also ensures the elite’s recognition of the dominant status of the text in the canonized children’s system… and his status in the literary system…" (Shavit, 1986, p. 68). By proceeding this way through the peripheral children’s literary system, writers manage to introduce into the general literary polysystem new models previously rejected by the adult canon. The acceptance of their works into the children’s canon by the elite, allows eventually for the acceptance of their innovations further into the adult literary systems (Shavit, 1986, chapter 3).

Whether deliberately written primarily for the adult, or masterfully written especially for the child with further deeper insights for the adult to enjoy, many works in CL are good and satisfying reading material for the mature reader. It can therefore, be a good additional source of authentic material for the additional language learners of all ages.

Hebrew CL also includes many excellent works enjoyed by children and adults alike. It can certainly be a good source of material for adults learning Hebrew as an additional language at any level. Throughout its young history, of less than a century, Hebrew CL has clearly reflected many aspects of the changing society which produced it and whose young generation it has addressed. Hebrew CL includes depictions of ancient Jewish history, more recent Zionist and Israeli history, social issues, ethics and religious beliefs, different ethnic traditions, science and nature, and even competing values and ideologies.

What has established itself as Hebrew children’s classics, a corpus still evolving, is considered the basic building blocks of every Hebrew speaking child’s acculturation. Poems and stories by writers from the first half of the twentieth century to more recent decades are not only read to and by children, they are also sung, played in theatres and intensively listened to and watched on screen at home. They are quoted, alluded to, parodied; and are the sources of common expressions even among adults.

Despite a growing number of good books for children written and published today, there has been in the past few years a surprising new trend in which some of the old Hebrew children’s classics which stood the test of times, are being republished. Having already acquired high esteem as part of Israeli cultural wealth, they are readily bought, and at times even reach the best seller lists. They answer a need for Hebrew readers, who not only want to pass their old favourites to their children and grandchildren, but also want to enjoy them themselves (Dar, 2005). Indeed, readers regard the canon of Hebrew CL as part of the general Hebrew literary canon.

The classics of Hebrew CL not only have excellent authors and poets who have written only for children (i.e., Levin Kipnis, Miriam Yalan Shtekelis), but also have some of the most famous adult canon writers (i.e., Hayim Nahman Bialik, Lea Goldberg, Nathan Alterman and Avraham Shlonsky) who in the first half of the twentieth century dedicated some of their creative endeavours to children. They engaged enthusiastically in what was at the time the pioneering writing for young readers and listeners.

Hebrew CL was acknowledged as one of the most effective means for the revitalization of the Hebrew language and culture in modern times (Bialik, 1932).

It has therefore received the utmost attention by writers, publishers, educators and parents who were attempting to fill the almost empty bookshelves of the Hebrew speaking children. Thus, translations from world CL, as well as original writings, contributed through the younger generation to the enrichment of the still evolving revitalized Hebrew with vocabulary and ways of expression more suitable for modern times.

There is no doubt that the impetus of this literature was at the time the creation of pleasurable reading material for children, which would provide new vocabulary and language not yet in use among the first generations of Hebrew speakers. In addition, its content meant to impart gradually "all the creative wealth of the nation" but in an artistic way that would appeal to the child (Bialik, 1932). Thus, biblical and rabbinic stories were sources of content and inspiration together with themes relating to modern times. As expected in times of change, revolution, and nation building, and similar to the soviet CL, which greatly influenced Hebrew CL up to the mid twentieth century, some of its writers saw their purpose as imparting, through their literature, national ideals and educational values. Others, like Lea Goldberg insisted on the humanistic, aesthetic aspects of children’s literature as the most important ones (Hovav, 1977, p. 17). Gradually the focus shifted from the national to the personal. The educational aspect, with emphasis on the individual, was thus advocated later on by Miriam Roth: "Excellent literature educates. Not by morals patched and an ‘educational’ finger wagged. What makes it ‘educational’ is its deep human content offered in an excellent artistic form. Children learn a lesson from the fate of others, expand their view of the world, improve their language, enrich their ability for expression, and upgrade their ability of moral judgement. In short, they are educated in the light of excellent literary works" (Roth, 1969 p. 17).

Hebrew CL is varied therefore. It revolves around Jewish holidays, traditional values, and Jewish history. It reflects events and ideologies in the history of the Zionist movement and the state of Israel. It depicts social tensions or deal with ethical issues. Hebrew CL engages in children’s psychological problems, answers to their curiosity in learning about the world around them and certainly offers fun for fun sake, as well. Indeed, even though addressed to children, Hebrew CL has dealt with events and issues which candidly reflect adult Jewish, Zionist and Israeli culture.

The lower status of the writers for children in the past described in the previous chapter (Shavit 1986, pp. 38-39), does not seem to have been the experience of Hebrew writers for children. It may even be the high standards and high prestige set for Hebrew children’s literature from the nineteen thirties on which encouraged further generations of adult Hebrew literature’s best writers such as AmosOz, Yehudah Amichai and David Grossman, together with other excellent writers who have dedicated their work only to children (i.e., Miriam Roth, Lea Naor, Datya Ben-Dor, Shlomit Cohen-Assif).

The language of Hebrew CL varies greatly depending on its periods, themes and writers. It ranges from the highly literary to the colloquial. Much of it is masterfully written as befitting a literary tradition established by the above mentioned literary giants. Considered one of the means of revitalizing the Hebrew language among Zionist Jews through the younger generations, CL drew much from the language of ancient texts (Biblical, Rabbinic and later). The ancient language though, was modernized in an attempt to create a vibrant new vocabulary and ways of expression, not yet in existence, by which the children could communicate. The conscious attempt to enrich children’s language through literature continued even after Modern Hebrew was well established and secure. Therefore, difficult vocabulary and literary language in general have not been necessarily avoided. Children absorb a text as a whole, claimed Lea Goldberg, including unfamiliar words. Literature eventually develops the child’s sense of language and lays the foundation for expression and style (Goldberg, 1977, p.68).

The range of registers in Hebrew children’s literature today is wide. Rich vocabulary, and what would be considered today highly literary one, has certainly been characteristic of Hebrew children’s literature at its onset. With the development of modern conversational Hebrew, a more lively and flexible repertoire and various registers developed. Writers have had more choice, and with changes in writing norms, allowed have been also able to use of simpler language, even the colloquial. Still, it would be interesting to compare and check if, due to historical circumstances, recent Hebrew CL does include works written in higher registers than commonly used in children’s literature of other languages. If so, it may be due also to the reliance of writers on the fact that Israeli children are exposed from early age to considerable dosages of texts in higher registers (i.e., listening to much of the still best selling ‘classics of children’s stories, poems and songs, familiarity with vocabulary connected with Jewish holidays and traditions, actual encounters with the biblical texts from grade two etc.). Hebrew CL therefore, has been written in a wide variety of styles and registers, and can provide ample linguistic examples reflecting, to a large extent, the language use in writings for adults.

Not uncommon in Hebrew CL are works inspired not only in language but also in content by Bible stories, their midrashic interpretations, rabbinic stories, and folktales from the various Jewish Diasporas. These are sources upon which modern writers for children draw to create their new works. For children, such modern works are to a large extent their first encounter with formative Jewish stories and figures. Ancient stories thus, are retold, at times in a way of innovative, creative interpretation (i.e., Meir Shalev’s or Ephrayim Siddon’s Bible stories), continuing two millennia of midrashic tradition. Also, it is not unusual to detect in modern children literature numerous lexical, stylistic and thematic allusions borrowed from the ancient Jewish texts. These common occurrences of intertextuality are not necessarily meant for, or always clear to the children, but certainly provide them with taste of the language and its culture. The knowledgeable adults reading the same material is able to detect further layers adding deeper meanings and richer texture to the text. This kind of close, more gratifying reading would not be different from reading Modern Hebrew literature, much of which extensively echoes older texts.

To conclude, Hebrew CL is an important system within the Modern Hebrew literary polysytem. Much of it can provide both the child and the adult reader with a rewarding reading experience, enjoying all of its language, style and content.

In the previous chapter discussed the integration of CL into the L2 curriculum Hebrew CL, with its specific history and characteristics has even greater potential for adults studying Hebrew for the pursuit of their roots, familiarity with the Jewish tradition and connection with Israel.

Current Israeli immersion textbooks, with their pragmatic orientation, include few children poems, but only as enriching material, not as an integral part of the curriculum. Ulpan Milah in Jerusalem, which offers a variety of Hebrew courses with cultural content, offers olim, new immigrants, a short six hour course dedicated to children’s literature which "addresses problematic gaps that may arise between olim parents and their children, learning in the Israeli educational system. The chosen texts represent the connection between children's literature and common forms of expression found in day-to-day speech familiar to all Israelis"(Milah, 2005). The value of this CL as an authentic reflection of society is acknowledged, but it is used only to familiarize a limited group of learners with their children’s new world. CL is not used for the sake of the adult learners themselves.

Hebrew children’s literature is an important dynamic system in the Modern Hebrew polysystem. It is widely consumed in its written, staged, filmed and sung forms. Hebrew CL not only acculturates the Hebrew speaking children into their society, but contributes considerably to the basic images and idioms accompanying every Hebrew speaker from childhood into adulthood. Its content and language keep echoing in written or oral texts addressed to the adults, whether in conversation, advertisement, popular music, non fiction or fiction publications. This is done in various manifestations of intertextuality: borrowing, imitations, citations, manipulation etc. Not surprisingly, even a simple Google search of any ‘classic’ CL titles or their famous lines from them, produces an interesting variety of intertextuality in texts related to consumerism, career searching, tourism, social, political and psychological issues, and so on. Introducing an adult learner to some of the ‘musts’ in Hebrew CL is a good way to familiarize them with some of the basic elements of Israeli culture.

Much of Hebrew CL is inspired by Classical Jewish texts in both form and content (see chapters 3, 8b.& 8d.). Biblical and rabbinic idioms and imagery are often found not only in religious contexts but also in day to day conversations, news in the media, popular music, fiction and non-fiction publications, be it sophisticated or popular, of any. Introducing Hebrew CL literature, which echoes the classical sources through intertextuality, to the adult Hebrew learner is a good introduction to textured Modern Hebrew and its texts which keep drawing upon its roots.

Depictions of Israeli society in Hebrew CL may provide the adult learner of Hebrew with glimpses of the country, its people and its culture. As Hebrew CL through its short history has been one of society’s most effective tools to pass its values and cultural patterns on to its younger generation, it can give the adult reader an idea about social, ideological and political changes reflected in it (Gonen, 2005). One can learn about such developments and value shifts even through the works of one writer (Elkad-Lehman, 2003). Ruth Gonen, who reviewed illustrated Hebrew children’s books from 1948-1984, found in them a gradual shift from recruited literature, and its focus on the collective and its national issues, to the more open approach which is child centred. Among the value categories she examined were: creativity and humour, study, materialism, industriousness and courage, Jewish tradition, growth, happiness, family, law and order, friendship and peace, patriotism, nature, individualism, sensitivity and social criticism (Gonen, 2005). Dealing with any of these values through CL in the adult classroom can certainly allow students deeper insights into Israeli society as well as provide them with opportunities to compare between cultures and develop discussions.

Relatively short works of Hebrew CL can certainly be used as a stepping stone to adult literature (Ho, 2000) adapted or not. The next stepping stone for motivated students towards the end of Bet level may be books of the Gesher series published by the Jewish Agency Education Department. The series includes both fiction and non-fiction, adapted from the original Hebrew works, with vowels added as well as translation of key words on every page. These texts are not meant for intensive reading but encourage the students to read fluently and get the main content without analysing every lexical and grammatical item, thus, familiarizing themselves and absorbing the characteristic ‘behaviour’ of the new language. This is a good introduction to Hebrew writings of various genres, and a gradual entrance to reading longer untreated texts.

As mentioned above (chapter 3. & 8c.), some of the best works in Hebrew CL literature were written by renowned authors for adults. Reading their works of CL in the lower level adult Hebrew class is a good opportunity for the teacher to tell students about their place in adult Modern Hebrew canon. Teacher may encourage the students to read their works for the time being, in their first language, and start learning about the Israeli literary scene. Works by canon writers are included in the Gesher books series and could be recommended for students at the end of level Bet, with the hope that they will progress eventually and will be able to read the original in the future. Story telling which for ages captured the attention not only of children but of adults as well has been replaced in our era by individual quiet reading and the un-interactive watching of screens. Surprisingly (or not) adults students seem to greatly enjoy listening to an animated presentation of a story, even if children’s story, offered to them, which may resonate with issues they are interested in discussing on an adult level.

Thus, Hebrew CL can provide pleasurable, effective material to the adult Hebrew classroom, even in the beginners and lower intermediate levels, and support language learning. It can give students a glimpse into Jewish traditions, adult Hebrew literature and Israeli history, society and culture. Familiarity with good Hebrew CL may create the motivation to read further independently and progress gradually to more challenging literary texts.

Three of the four stories presented in this paper have been used as an important part of the curriculum at the Vancouver Mini Ulpan and have always received very positive response from students. The Vancouver Mini Ulpan consists of three immersion non-consecutive courses (25 hours in 5 days each), offered in small classes. The levels offered to date are Aleph (Beginner), Aleph Plus (Mid Beginner) and Bet (Lower Intermediate). Each should be regarded as an intensive introduction to the specific level, requiring further study for the slow ‘digestion’ of its content and completion of the level in weekly classes offered. The way Story Time is implemented in the Mini Ulpan does not suggest that this is the only method or the ideal framework in which children’s literature can be used in L2 teaching and learning. It is certainly possible that experimenting with such material in the more expanded framework of Ulpan courses, or the more limited weekly classes, will produce good results. Each framework requires appropriate adjustments in order to integrate the material into its program with its particular objectives, time, span and pace. There is no doubt that CL has a great potential for the teaching of children studying L2. The way it should be used with different young age groups has to be specifically tried and studied.

The program of the Vancouver Mini Ulpan for each of the three levels includes: singing, conversation, grammar, story time, video watching, games, optional Hebrew window shopping at the local mall and a visit to local Israeli restaurant (ordering and service in Hebrew). The attempt is to teach grammar and vocabulary in context. Elements taught and practiced in each lesson of the Mini Ulpan hours are constantly referred to and reinforced in the others. For example, the songs sung in the morning are chosen carefully to reflect the grammatical subjects taught that day. Thus, when the particular grammatical subject is introduced later in the day, students are reminded of the corresponding song, sing it again, and go on to apply that grammatical subject in conversation. Later at story time that same grammatical subject may occur again and the students’ attention is drawn into it. During story discussion attention is paid to proper use of those grammatical or lexical elements learned earlier in the day. The same is done with vocabulary emphasised in each level. Even lunch time, spent usually with the teachers (in a relaxed English/Hebrew conversation), presents many opportunities to tie different lexical, grammatical and thematic elements together.

Story time occupies the last of the five hours of the Mini Ulpan day. The stories are chosen so that they are compatible with, and can reinforce the grammar and vocabulary introduced and reviewed in each level. The story is divided into five, relatively short passages/chapters to be delivered through the five study days. The length of the passages is well controlled:

Aleph: 45-200 words for each day

Aleph Plus: 90-120

Bet: about 200

However, other than answering to the pragmatic requirements of compatibility with material taught, these particular stories were chosen first and foremost because they are good stories. It is also worth mentioning that I personally liked them very much and therefore have been able to present them enthusiastically to the students. I feel that this is an important subjective point to emphasis, especially for story time situations. Teachers’ enjoyment of a story is contagious and can create an exciting fun atmosphere which, I believe enhances students learning and retention of the material learned.

In each session of story time the teacher reads aloud the daily chapter. The students, who have the text in their binders, are asked not to follow it during the first reading, but rather to listen. They are expected to concentrate on the animated reading. For the first time, the daily chapter is not read necessarily, exactly as in the text. The teacher stops often to point to the illustrations, point to objects around the classroom and out the window, use expressive body language and tone, paraphrase and explain, refer to vocabulary used in earlier hours of the study day. English is used rarely and only as a last resort. All this is done while constantly ensuring students’ comprehension of the storyline. Following this first expanded presentation, the teacher reads the text aloud for the second time in the same animated way pointing to illustrations, but with less explanation. This time students follow the text and in Aleph and Aleph Plus levels even join the teacher in reading it allowed. If time allows, students listen to the daily passage for two times without reading, and follow the text only for the third time.

This part of story time, even though not participatory, is extremely important. For a short while story time allows the students to sit back and enjoy a work of literature. They are exposed to an input of language needed for their learning, but not under the pressure of having to produce an output in the new language. The text they listen to and watch being presented more than once is: meaningful (real story), authentic (not written originally for L2 teaching purposes, as well as read and well pronounced by a native Hebrew speaker), and comprehensible. This are the three qualities expected from an effective input in order to enhance second language acquisition and ensure a better output in the language learned later on (Krashen, 1982). No time is dedicated in class for independent reading by the students. They are asked to reread the text at home and re-listen to it read (on CD provided).

In general, the students are encouraged to relax, not worry about every singular word or every single grammatical phenomenon they encounter. Rather, they are expected to try and capture the general meaning and follow the story line. The various extra-textual means used allow them to gradually construct their schema before approaching the actual written text. It might be worth reminding students that as children in their first language they were open enough to do so, construct the meaning of anything they heard or read, even if it contained words not yet familiar. This is the way they have built their first language vocabulary. In fact, though to a lesser extent, they keep capturing the meaning of texts as adults, when they succeed in constructing meaning of what they hear or read in spite of possible ‘disturbances’, missing words, and the occasional unknown words they encounter. Some L2 adult students tend to loose confidence when they do not understand every single word and structure read or listened to in the new language studied. This is not an efficient language learning approach. It is important therefore to encourage them to venture at ‘educated guess’ with the help of context, schema, familiar forms, which give partial information (i.e., tense, person, gender or familiar roots in unknown forms etc.). Story time is therefore an excellent medium for the development of such strategies which lead to increased confidence.

After listening to the story twice at least, the students start retelling the story, prompted by the teacher’s guiding questions, with the illustrations in front of them. Alternately, illustrations (photocopied, mounted on large cards and laminated) are used by every two students to retell the story to each other.

A discussion of the interesting subjects stemming from the passage follows. The extent of the conversation varies, stemming from the actual story and expanding in order to be applied to the students’ world and background. The discussion ranges from concrete subjects (weather, home, work etc.) to more general issues (social, psychological, moral, etc.), depending on the group’s level, group makeup, creativity and interests and time constraints. In Levels Aleph Plus and Bet, students are also provided also with basic discussion expressions: ‘I think that…’ ‘I agree with...’, etc. The teacher repeats and summarizes the information and ideas offered by the students in a correct manner, as well as soliciting further feedback from the class: ‘He/She says that…. ‘What do you think?’ ‘Do you agree?’ The repetition and summary of participants’ contribution by the teacher not only highlights the information and ideas expressed, but presents them in a clearer more normative way, which is easier for the others to comprehend and to retain. Again, this is a meaningful and comprehensive input presented in an authentic voice. Corrections, or expected self corrections, are limited mostly to the lexical and grammatical subjects, central to the particular course. Otherwise, more emphasis is given to encourage participation.

Students who try to express an idea beyond the linguistic scope of their level are helped by offering them the level appropriate lexical and grammatical options. In order not to delay dealing with interesting, relevant issues at a much higher level and to save themselves much frustration, students are advised (in English of course) to adopt general ‘simplifying’ strategies in order to produce the best approximation to what they want to express. Breaking a complex message into shorter, simpler sentences, grammatically and lexically level-appropriate, without loosing its essence, is often possible. In such a case the student is allowed to summarise his/her idea in English and the teacher (together with the class) try to suggest the Hebrew alternatives. While doing so, the teacher should be careful to stay within the level appropriate grammatical boundaries. As for the vocabulary, one can be more flexible and offer more accurate words, if needed, even beyond the controlled, most frequent vocabulary of the specific level. An ability to ‘translate’ a sophisticated and complex idea into simpler discourse is a skill to be learned, important especially for students of the lower level FL/SL. Good children’s literature with the variety of adult appropriate issues they offer for discussion, can be a good medium in which effective strategies can be practiced.

Story time of the next day starts with the students, in turns, retelling the story so far, guided by the teacher, with the help of the illustrations. The teacher, then, repeats the reading of the previous chapters, before adding the new portion in the same way described above. This again is followed by retelling and discussion. The story is completed on the fifth and last day of the course. If a video of the story is available it is watched at this point of conclusion. Continuous repetition of familiar portions of the story help the students apply much of what has been learnt during the course as a whole and provide a sense of mastery and completion.

The Mini Ulpan program relies heavily on frequent vocabulary. As explained above (chapter 5), it is not surprising to find a great overlap between words learned throughout the program and those encountered in the story presented. Frequency in every word category (verbs, nouns, adjectives etc.) is indeed one of the most important considerations when planning a L2 language course. The developing familiarity with frequent vocabulary allows for ample opportunities to refer to it and to apply it in the various parts of the day. It also expands students’ passive and active repertoire and allows for better comprehension and participation during story time.

As familiarity with the Hebrew verb is deemed essential to any of the Mini Ulpan levels, great attention is given to teaching and reinforcing its forms and grammar (always in context) in earlier hours of the course day. Level Aleph concentrates on the Present tense (Participle) and the Infinitive, level Aleph Plus concentrates on the Past tense, and level Bet concentrates on the Future tense. At any of these levels, frequent verbs from the five major stems (בנינים) and the various root groups are presented. As with the general frequent vocabulary there is of course a considerable overlap between the verbs presented in every level and those appearing in the story. The following numbers depict the makeup of each level’s verb list:

A. 28 most frequent verbs presented during the course.

B. 20 story (ואז הצב בנה לו בית / Ve’az Hatsav Banah Lo Bayit) verbs, all of which are

frequent verbs.

C. 20 (100%) of the story verbs are most frequent verbs.

At this level there are no story verbs which do not appear in the basic verb list of the course. In the next two levels many more known verbs are reinforced and new ones presented, but the stories contain also new verbs which are not considered frequent verbs and students are not expected to retain them at this stage.

Aleph Plus (Beginners Plus):

A. 63 frequent verbs are presented (whether new, or known and reinforced).

B. 33 story ( / דירה להשכירDira Lehaskir ) verbs

C. 22 (67%) of the story verbs may be considered level-appropriate frequent verbs.

Bet (Lower Intermediate):

A. 100 frequent verbs are presented (whether new or known and reinforced).

B. 69 story (איתמר מטייל על קירות / Itamar Metayel al Kirot) verbs

C. 49 (70%) of the story verbs may be considered level-appropriate frequent verbs.

In the three levels there is considerable overlap between frequent verbs in the stories (C) and frequent verbs dealt with in the course as a whole (A):

Aleph (71%),

Aleph Plus (35%)

Bet (49%).

Thus, the particular stories used for each of the Mini Ulpan levels support the learning of a large percentage of the verbs imparted, and hopefully their retention as well. Other stories that can be used may contain different verbs, but such which would still overlap greatly with level-appropriate frequent verbs. While listening to the story, reading it and discussing it, the students learn much of the frequent verbs they are expected to know and are able to reinforce their familiarity with previously learned verbs, and then use them in discussion. Due to their learning in an enjoyable atmosphere, interesting context and instant meaningful application, chances for better retention are increased. For their convenience, the students are offered a comprehensive glossary of the story verbs in form of a partial-conjugation chart (see appendix), identical in format to the frequent verbs charts offered while studying the grammar earlier in the day.

As described above, the emphasis in these week long intensive courses is on two of the four language skills. Listening and speaking are given first priority. Reading (not independent) is given some time in class. Students though, are expected to read and reread at home in order to ensure their intake of the material learned. However, because of time constraints, writing, deemed the last on the priority list in this framework, is not given any time in class. Written exercises are offered and recommended for homework, but are only optional. Indeed, much attention is given in these levels to massive meaningful, authentic and comprehensible input, assuming that it will eventually translate into better reading and conversational skills. As well, much effort is given to provide the students with opportunities to practice these skills, listen with comprehension and talk meaningfully, on a variety of subjects.

Another objective of the Mini Ulpan is to encourage the students to read independently at home and beyond textbook material. This is especially important for the Bet level, by which time the students know the three major tenses and have a good familiarity with most common syntactic structures and basic vocabulary. If courageous enough, some of the students are capable of venturing, by the end of Bet level, to reading extracurricular texts (vowels included) such as similar children literature as well as books from the Gesher series mentioned above (chapter 6).

Only 5 out of the 25 Mini Ulpan hours are dedicated to story time. Longer courses may allow more time for this purpose and the exploitation of the story in different effective activities such as role playing, creative writing, discussions in pairs etc. The advantage of story time though, is the brief pleasurable exposure to a work of literature in the new language and the fostering of students’ openness and confidence to confront a text not closely read and understood. Therefore, during a longer course it might be more beneficial to expose the students to more stories, rather than to exploit the full potential of one. Stories will overlap differently with level-appropriate frequent words and basic grammar, as well as provide opportunities to learn, review, practice and help retain the material imparted. Wide daily exposure to a larger corpus of texts (listened to and read) has great merits in FL/SL language acquisition, not unlike daily story time at home and in school for young children during their first language acquisition.

Three stories already in use in the Vancouver Mini Ulpan and a fourth suggested for a future Bet Plus level are presented below. They are assessed for their use as additional material in teaching Hebrew to adults. The literary analysis included in this assessment is by no means comprehensive. Rather, it is meant only to point to the potential of using well selected children stories for the adult Hebrew (Second/Foreign/Heritage/ Additional Language) classroom. Their complex nature, their styles, layers and the issues with which they deal provide ample opportunities for teaching and learning the language, encountering issues on an adult level, in spite of the elementary linguistic repertoire, gaining some insight into the studied culture, as well as enjoying a real work of literature. Also, the discussion concerning these stories and their way of presentation and use does not suggest that all that is offered can find its use in every adult Hebrew classroom or that it is an exhaustive analysis. Rather, what is suggested can be adapted to different frameworks, class makeup, interest, etc., as well as explored and developed further.

The following discussion revolves around linguistic, technical and literary aspects of every story. Much credit should be given to all past Vancouver Mini Ulpan students who have creatively used their restricted repertoire to express their insights on the stories, in addition to skilfully applied what they have learned to lively conversations in Hebrew.

 To read this chapter please click   And Then the Turtle built Himself a House

8b. Level Aleph Plus (Mid Beginners’ level).

 To read this chapter please click  A Flat for Rent

 To read this chapter please click Itamar Walks on Walls

 To read this chapter please click Yonatan and Littlegrandpa

Literature can be an important and enriching component of the intermediate and advanced levels of L2 courses. L2 students in lower levels though, would have difficulty coping with its lengthy and complex make up as well as highly advanced vocabulary and grammar. For the beginner’s and the lower intermediate levels, children literature can be used. It should not be dismissed as simplistic and deemed inappropriate medium for imparting the language for the adult student. Good works of CL offer the adult students artistic texts from the culture they are introduced to, interesting, all-age themes, opportunities to use their emerging language skills in more challenging subjects, and of course, an excellent medium through which they can practice their basic vocabulary and grammar. Much of the rich and lively Hebrew children’s literature can do the same. It is sophisticated enough for adults’ appreciation. It can greatly contribute to and complement the curriculum of lower levels (Aleph and Bet) ulpan programs. It can reinforce much of the material taught in these courses, allow the students to discuss a variety of universal, Jewish and Israeli topics, and expose the students to some of the important building blocks of Modern Hebrew culture. The four stories presented in this paper show the potential of Hebrew CL. A search for more suitable material from this literature is needed. It can, no doubt, constitute an excellent addition to ulpan programs, which strive to offer the adult learner, not only an effective way to acquire a language, but also and exposure to its culture.

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