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AEF i Mexico
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SECRETARY OF
PUBLIC EDUCATION FEDERAL EDUCATIONAL AUTHORITY IN MEXICO CITY

PROJECT MANUAL
“LITERARY
TERTULIAS”
PRIMARY LEVEL

General Directorate of Innovation and Academic Strengthening

CURRICULAR AUTONOMY
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Secretary of Public Education

Federal Educational Authority in Mexico City
General Directorate of Innovation and Academic Strengthening

Otto Granados Roldan

Secretary of Public Education

Luis Ignacio Sánchez Gómez

Head of the Federal Educational Authority in Mexico City

Sofialeticia Morales Garza

General Director of Innovation and Academic Strengthening

Via AC Education
Allied organization in the implementation of Successful Educational Actions in Mexico.
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SECRETARY OF AEF J Mexico
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PUBLIC EDUCATION
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FEDERAL EDUCATIONAL AUTHORITY IN MEXICO CITY

INDEX
PRESENTATION
CONTEXTUALIZATION
GOALS
RECOMMENDATIONS
WHAT IS THE DIALOGICAL LITERARY TERTUULIA?
PEDAGOGICAL APPROACH
DIDACTIC GUIDELINES AND RECOMMENDATIONS
STRUCTURE OF THE PROJECT AND WORK SESSIONS
WORK BLOCKS AND ACTIVITIES FOR THE PROJECT
ORGANIZATION
ASSESSMENT
Session A: SELECTION OF LITERARY WORK
Session B: DIALOGICAL LITERARY TERTUULIA
COMPLEMENTARY SESSIONS

PRESENTATION
The Federal Educational Authority in Mexico City (AEFCM) promotes, for the third time, Summer
School in Preschool, Primary, Special and Secondary Education centers that belong to the Full-
Time Schools Program. In the previous broadcast, 2017, 414 schools participated and
implemented recreational projects, where children were the main protagonists.

The purpose of promoting Summer School in 2018 is to offer a space for recreation and
coexistence, where play is a strategic means to awaken the interest, curiosity and joy of girls,
boys and young people in learning new things; That is, the aim is to promote comprehensive
development, as well as favor inclusion and educational equity by offering sports, cultural,
artistic and scientific activities in public schools.

The above is framed in accordance with the pedagogical principles of the Educational Model
and its curricular components, especially the areas of Curricular Autonomy, to which the
Summer School projects that are made available to educational centers respond.
SETo achieve the purposes mentioned above, the role of the monitors is key, whom the AEFCM
thanks for their enthusiastic participation and commitment, since they are the ones who make it
P possible to work with children of various school grades, who are given the opportunity to
experiment in new ways. of teaching and who mobilize all their knowledge to attend to the
participants in a pertinent manner.

In this sense, the project manuals contain elements that support the practice of the monitors in
the 2018 Summer School; such as, for example, the purposes of each proposal, the expected
learning, the didactic guidelines, the structure of ten sessions lasting 20 hours and annexes to
complement information.

The AEFCM invites each educational institution to contextualize and operate the projects offered
to them according to the interests and tastes of girls, boys and adolescents, the characteristics
of the school, as well as all aspects around it, which may favor and enrich the implementation of
the didactic offer. Finally, they are invited to share their experiences and results.
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CONTEXTUALIZATION
This project is part of the following area of Curricular Autonomy:
SCOPE OF CURRICULAR
AUTONOMY EXPAND ACADEMIC TRAINING

The Literary Gatherings encourage the collective interpretation of the works that
are read, the shared construction of knowledge, the reinforcement of critical
PURPOSE reading, the improvement of reading comprehension and other cognitive skills
related to reading, as well as the improvement of technical aspects such as
vocabulary or spelling. In addition, Literary Gatherings significantly increase the
communicative skills of the participants, and encourage the development of
values such as respect, tolerance, solidarity or coexistence.

ADDRESSED TO Primary

ESTIMATED TIME PER 60 minutes*

*The duration of each session may vary according to the internal organization of each
SESSION
school.

It consists of meetings around literature in which participants read, debate and

collectively enjoy the best works of universal classical literature. In this way, boys
METHODOLOGY
and girls have access to the best literary works that have been written to date and
that represent the cultural heritage of humanity.

CONTRIBUTION TO THE • Communicate feelings, events and ideas.

STUDENT'S GRADUATION • Develop empathy and coexist with others
PROFILE • Work collaboratively. Identify your abilities, and recognize and appreciate those
of others

• Choose and comment on different reading materials.

• Identify and read various informative texts.
EXPECTED LEARNING • Read and listen to simple narrative texts.
• Read stories from the children's literary tradition.
• Prepare reviews of various works.
• Uses informational texts to expand your knowledge on various topics.
• Read short stories and novels.
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GOALS
General
Promote the collective construction of meanings around universal classical literature, bringing
together the best contributions made by humanity in the field of literature.

Specific
• Promote critical thinking and the ability to reflect on classical literature.
• Promote an approach to world history and culture through the best literary works.
• Expand vocabulary and literary knowledge through dialogic reading.
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RECOMMENDATIONS
Before starting we recommend:
Take the interactive group online course, lasting 4 hours. It is found on the Learning Communities Distance
Education portal:
http://www.comunidaddeaprendizaje.com.es/ead/modules/view/tertulia-dialogica

You just need to register and search for the “Dialogic Tertulia”
course:
Dialogical Gathering

Read More

The Literary Dialogical Tertulia is a form of...

Performance 100%

Lesson progress: EEGG DOWNLOAD CERTIFICATE REDO COURSE

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The course is free and you will obtain a certificate that ensures the minimum knowledge to carry out
Dialogical Tertulia.

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SECRETARY OF AEF I Mexico
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WHAT IS THE DIALOGICAL LITERARY TERTUULIA?

The Dialogical Literary Gathering 1 is a dialogic
reading practice that consists of meetings around
literature in which participants read, debate and
collectively enjoy the best works of universal
classical literature. Through the Literary
Gatherings, all people, even those who have
never read a book before or those who come
from areas with a high concentration of poverty
and marginality, have access to the best literary
works that

have been written to date and that represent the cultural heritage of humanity.

With this, the Literary Gatherings encourage the collective interpretation of the works that are read, the
shared construction of knowledge, the reinforcement of critical reading, the improvement of reading
comprehension and other cognitive skills related to reading, as well as the improvement of technical aspects
such as vocabulary or spelling. Furthermore, Literary Gatherings significantly increase the communicative
skills of the participants, and encourage the development of values such as respect, tolerance, solidarity or
coexistence.

The integrated project INCLUD-ED Strategies for Inclusion and Social Cohesion in Europe from Education 2 ,
funded by the 6th Research Framework Program of the European Commission (2006 2011) and directed by
the research center CREA (Community of Researchers on Excellence for All 3 ), identified Dialogical Literary
Gatherings as a Successful Educational Action, for being a practice that generates social inclusion and
academic success in any context where implements. INCLUD-ED is the school education project with the
most resources and the highest scientific range in Europe to date, which was chosen by the European
Commission in its list of 10 “success stories” of research projects from its 6th and 7th Framework Program,
the only one in Social and Human Sciences.

Currently, the Dialogical Literary Gathering is developed and promoted by different entities, such as family
associations, women's groups, cultural and educational entities, penitentiary centers, as well as schools of all
types and educational levels: from high school 0-3 years old, going through primary and secondary school to
adult schools 4 ; from “regular” schools to special education schools; in Spain, but also in other European
countries such as England, Italy, Cyprus and Malta5, and in Latin America, in countries such as Argentina,
Brazil, Chile, Colombia, Ecuador, Peru and Mexico6.
1
http://comunidadesdeaprendizaje.net/actuaciones-de-exito/tertulias-literarias-dialogicas/tertulias-literarias-dialogicas-
tld/
2
http://creaub.info/included/about/
1
http://crea.ub.edu/
4 http://confapea.org/tertulias/
5 http://seas4all.eu
6 http://www.comunidaddeaprendizaje.com.es

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PEDAGOGICAL APPROACH

Dialogical Literary Gatherings base their operation on the

principles of Dialogical Learning (egalitarian dialogue,
cultural intelligence, transformation, instrumental dimension,
creation of meaning, solidarity, equality of differences), a
communicative conception of learning developed by Ramón
Flecha and whose theoretical bases can be found in
publications such as Sharing Words (Flecha, 1997),
Dialogical Learning in the Information Society (Aubert,
Flecha, García, Flecha & Racionero, 2008) or Learning With
You (Racionero, Ortega, García & Flecha, 2012). He
Dialogical Learning includes contributions from authors such
as Lev Vygotsky, Paulo Freire, Jerome Bruner, Noam
Chomsky, Bárbara Rogoff, Gordon Wells, among others. Under this Dialogical Learning approach, the
fundamental importance of intersubjectivity, interactions and dialogue is highlighted as keys to generating
maximum learning.

For this reason, Dialogical Reading (Soler, 20017) is the reading approach on which Dialogical Literary
Gatherings are based. This approach is defined as the intersubjective process of reading and understanding
a text about which people deepen their interpretations, critically reflect on it and the context, and intensify
their reading comprehension through interaction with other agents, thus opening possibilities. of
transformation as a reader and as a person in the world (Flecha, Soler & Valls, 20088).

In this way, Dialogical Reading goes beyond the

conceptions of reading that are based solely on the
individual act of reading, in which only the person
reading and the written text intervene, and that focus
on enhancing individual cognitive processes. . On the
contrary, Dialogical Reading considers the reading
act as a social, intersubjective and shared process, in
which the interactions and dialogues that children
have with other people around the texts they read
(whether their own classmates, family members,
volunteers, and any other person in their context even beyond school) are the key to improving
understanding, deepening interpretation and developing critical reflection, therefore leading to personal and
social transformations.

7 Dialogic reading. A new understanding or the reading event. Marta Soler Gallart (2001) Doctoral thesis. University
Harvard University.
8 Flecha, R., Soler, M., & Valls, R. (2008). Dialogical reading: Interactions that improve and accelerate reading. Ibero-
American Journal of Education, (46), 71.

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DIDACTIC GUIDELINES AND RECOMMENDATIONS

To start a Literary Gathering it is not necessary for the participants to have any type of literary knowledge.
The steps to follow are those:

BEFORE THE TERTULIA

•A book of universal classical literature is chosen among all the participants (in this case, the boys
and girls in the class). The teacher can propose a number of works and explain a little of the context so
that the group can choose based on minimum criteria. Suggestions for works of classical literature made
by the students can also be considered, if they exist. It is important that each boy and girl has the same
version of the book (for example, in a group of 40 students, everyone must have the same version of the
agreed upon book).
•Once the work has been chosen, it is decided together how many chapters or pages will be read for
the next week (the frequency can be decided by the teacher, although many schools choose to have one
discussion a week).
•The students read the agreed pages at home, either alone or with help, and mark the paragraph or
paragraphs that they liked the most. In some cases, class time can be allocated during the week to
prepare the readings prior to the day of the gathering, and in the case of those who face greater difficulties
in reading, help from a classmate or adult can be offered so that the child or girl manages to read the text
and choose a paragraph prior to the discussion. This ensures that no one, even those who face greater
barriers to learning, is left out of the discussion without participating.

DURING THE GOVERNMENT

•On the day of the Literary Gathering, having read what was agreed upon during the week, the room is
arranged in a circle to facilitate dialogue and debate. The boys and girls who have chosen a paragraph
ask the moderator to speak (in this case, it will be the teacher, although sometimes they can also be
family members, or participants of the same gathering who know very well how it works). .
•The moderator gives the floor to one of the participants who has asked for a turn because they have a
selected paragraph. Then, that person reads their paragraph aloud and explains why they chose it.
•The moderator opens the floor so that people can comment on the paragraph that the person has just
presented.
•When the opinions on that paragraph have run out, the moderator will give the floor to the next person
who has asked to speak to read a paragraph. Once read, opinions on that paragraph will again be
opened , and so on following the order of the chapters or parts of the book.
•This procedure will continue until the book is finished . Once finished, start again from point 1.

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Sometimes, to encourage everyone to speak, you can have a round of words where each person gives a brief
opinion about the work in general, although no one is obliged to intervene in this round. Normally this is done
in the first session of a book and also at the end of it, although it can be done whenever it is considered
appropriate to encourage the debate. The duration and frequency of the Literary Gatherings may vary as
decided by the participants. In primary school it is common for schools to decide to have a weekly discussion
lasting one hour.

THE ROLE OF THE MODERATOR

The moderator must be in charge of giving the floor during the Dialogical Literary Gathering. He is
another person in the gathering and should not impose his opinion on the rest , but rather should
encourage everyone to contribute their own arguments, ensuring an equal dialogue. As a recommendation
to encourage everyone to speak, the moderator should give priority to the people who normally intervene
less during the discussion (without pointing out or shaming these people), which favors more equal
participation.

As moderators, teachers must be very careful not to impose our points of view or interpretations of
the text. We must keep in mind that in the traditional classroom it is the teacher who normally monopolizes
the dialogue; However, in the Dialogical Literary Gathering we try to ensure that the dialogue is
distributed among the greatest number of participants, which is achieved when everyone (including
the teacher) engages in an egalitarian dialogue where the arguments are valued, and not the positions
of power.

WHY THE CLASSICS 9

In the Dialogical Literary Gatherings, only masterpieces of classical universal literature are read. Knowing
why we choose these texts is important to differentiate them from other “easy” books or “best-sellers.” The
classics of universal literature:

• They are model texts of their genre around

which there is a universal consensus that
recognizes their great literary quality, as well as
their contribution to the cultural heritage of
humanity.
• They come from different cultures and times.
• They have the virtue of reflecting with enormous
quality and depth those great themes that
concern humanity, from ancient times to the
present day, which is why these texts do not go
out of style. Therefore, they help to develop
basic learning to understand today's globalized and
multicultural society

9 http://comunidadesdeaprendizaje.net/actuaciones-de-exito/tertulias-literarias-dialogicas/tertulias-literarias-dialogicas-tld/
SECRETARY OF
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Throughout the development of the Dialogical Literary Gatherings it is important to be based on the principles

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of Dialogical Learning (Flecha, 1997; Aubert et al., 2008), which ensure maximum learning for everyone:

EQUALITARIAN DIALOGUE: It is crucial to respect all contributions equally, and it is never accepted that
someone wants to impose their opinion as the only one that is valid, regardless of whether it is the cent or someone
with a lot of experience in Tertulias. On the contrary, everything that is discussed is respected and valued, learning
from each other.

CULTURAL INTELLIGENCE: It is considered that everyone, regardless of their context or origin, has cultural
intelligence since throughout our lives we have learned very diverse and valuable things. This makes it possible for
anyone to be able to participate in an equal dialogue and contribute their point of view from their cultural
intelligence, greatly enriching the debate .

TRANSFORMATION: The egalitarian dialogue established in the Gatherings makes the participants transform
their self-concept to that of people capable of learning much more, in turn transforming the relationships they have
with other people and their environment. Additionally, the Literary Gatherings methodology helps people overcome
the barriers they face to achieve academic success and social inclusion.

INSTRUMENTAL DIMENSION: The dialogue and debates that occur in the Tertulias stimulate the learning of
academic and instrumental aspects, since the participants are often interested in investigating in depth some
aspects related to the work, such as the historical context of the work. text, the life of the author, the literary
movement to which they belong, etc.

CREATION OF MEANING: It refers to the learning that is built from the interaction and the demands and needs
of the people themselves. When the individualities of the students are respected at school, success in learning is
guaranteed and the student finally finds meaning in what they are learning. The creation of meaning fosters
confidence and commitment to the search for personal and collective achievements.

SOLIDARITY: The Literary Gatherings are open to all boys and girls regardless of their previous academic
background, their socioeconomic level or their origin. Furthermore, participation is always prioritized. pation and
comment of those who are at initial academic levels, to stimulate their inclusion in the dialogue, which favors joint
learning of all participants. This solidarity organization in turn stimulates the learning of solidarity among students
who participate in the Tertulia.

EQUALITY OF DIFFERENCES: Refers to real equality in which all people have the same right to be and live
differently and to be treated with respect and dignity. In the Tertulias all the boys and girls are equal and different;
In other words, the right of all people to live differently is always respected.

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STRUCTURE OF THE PROJECT AND WORK SESSIONS

NUMBER NAME SUMMARY MATERIALS

Presentation of literary works

Selection of the literary available and List of universal literature
1
work group consensus of the selection classics
of one of them.

2 as necessary Dialogical Literary Dialogical reading and debate of Copies of the selected
according to the Gathering the selected classic work nothing work.
selected work

Example of organization of a Work Block with Literary Gatherings

Below is an example of how a quarter could be organized with two work blocks of the Literary Gatherings
project, in an Upper Primary case.

LOWER PRIMARY LITERARY GOVERNMENT

SESSION TYPE DESCRIPTION NUMBER OF

SESSIONS SESSION TIME
Selection of the literary Presentation of the available literary works and
1 60 minutes
work group consensus on the selection of one of them.
Dialogical Literary
Dialogical reading of The Odyssey 60 minutes
Gathering 6 (may vary)
Selection of the literary Presentation of the available literary works and 1 60 minutes
work group consensus on the selection of one of them.
Dialogical Literary
Dialogical reading of The Happy Prince 60 minutes
Gathering 4 (may vary)
TOTAL SESSIONS PER
QUARTER 12 SESSIONS (1 EACH WEEK)

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WORK BLOCKS AND ACTIVITIES FOR THE DIALOGICAL LITERARY TERTULIAS PROJECT.

The Project is framed in the purpose of “Curricular Autonomy” in schools and emphasizes the area of
“Expansion of Academic Training”, since it directly impacts the improvement of the reading and
communication skills of the students. . However, the instrumental learning inherent in social gatherings is
much broader than that corresponding to the field of Language and Communication. The approach with
works of universal classical literature allows other instrumental learning such as history, geography or natural
sciences, depending on the content of the work. Furthermore, as explained in the previous sections, the
central themes of the works and the methodology of the development of the gatherings allow the debate of
topics such as love, friendship, family, deception, betrayal, effort, struggle. of classes, hope, improvement,
among many others, which directly impact the social, emotional and sentimental development of those who
participate 10. The egalitarian dialogue on which the Literary Tertulia is based also helps to considerably
improve coexistence based on respect, appreciation of difference and solidarity.

In this Manual we present guidelines for the organization of Dialogical Literary Gatherings within the context
of Curricular Autonomy projects, including a series of complementary activities that affect other training fields,
always based on the main activity: the dialogic reading of literary classics. universal.

To carry out the gatherings, the participation (as one more in the Tertulia) of volunteers (mothers or fathers or
members of the school community) can be requested, because their cultural intelligence can enrich the
dialogue and debates of the texts. . In the case of preschool, volunteering is essential to support reading and
explaining texts. The frequency of the sessions is weekly.

10 It is also important to highlight that there are other types of dialogic gatherings such as musical, artistic, mathematical,
scientific and pedagogical gatherings. However, Literary Gatherings are the most widespread in the world and those with
the most scientific research behind them that supports their effectiveness. Dialogical Literary Gatherings can be carried
out in different environments (in family training, community centers, in libraries, etc.).

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ORGANIZATION WITHIN THE FRAMEWORK OF CURRICULAR AUTONOMY

The “Dialogic Literary Gathering” Project, within the framework of Curricular Autonomy, will be organized by
“Work Blocks”. During a work block, a single work of universal literature will be read. When the block
of work is completed, another block can begin with a new work of literature, so that the project can be
implemented throughout the school year. The number of sessions in a block may vary in relation to
the size of the selected work and the group's reading pace.

This Manual proposes specific sessions for the development of dialogic Literary Gatherings.

Dialogical literary gatherings directly impact the thematic axes of the Language and Communication subject,
especially the components of Study, Literature and Oral Expression. In a transversal way, there is an impact
on Arts and socio-emotional development. Additionally, when the reading of the selected work of literature is
completed, complementary sessions are proposed aimed at strengthening written expression, and relevant
content in subjects such as Exploration and understanding of the natural and social world or Arts.

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ASSESSMENT
Like any Curricular Autonomy project in the field of Expanding Academic Training, the main evaluation must
lie in the improvement of learning in the field of training inherent to the project. That is, in the case of Literary
Gatherings, an impact must be found on the improvement of results in Language and Communication in any
of the evaluative tests carried out in the group that develops it.
The educational impact of literary gatherings lies in the quality with which the project is developed and the
adherence to the principles of dialogic learning with which the gatherings are held. This attachment implies
constant knowledge and reflection on the part of the teacher or teachers who carry out the project. In this
Manual you will find more information about it.

On the other hand, we added a Self-Evaluation Questionnaire that allows us to know how much the
functioning of the Literary Gathering is being respected so that it can be useful to correct some aspects that
may affect obtaining positive results in the project. In this questionnaire, the greater the number of positive
responses, the greater the quality of the implementation.

QUESTIONNAIRE - AEE - T DIALOGICAL ERTULIAS

Does the gathering happen in the group regularly (weekly)?

Yea No
h
Was the text used a classic of universal literature?
Yeah No
Was the text appropriate for the age group?
Yeah No

Did everyone have access to the text before the start of the discussion?
Yea No
h
Did the moderator guarantee that all students who spoke out could participate?
Yeah No
Did the moderator organize the discussion in turn of words?
Yeah No

Did the moderator make interventions that ensured everyone was heard?
Yeah No

Did the moderator remain impartial during the discussion, trying to talk as little as possible?
Yeah No

Did the moderator favor the moment of the discussion being the exercise of free comments on the text?
Yeah No

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Did the students do the reading beforehand?

Yeah No

Did the students relate the book and the topics of their daily lives?
Yeah No

Did the students have space to speak what they think?

Yeah No

Did students respect observations made by other students?

Yeah No

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Session A: SELECTION OF LITERARY WORK

START
The teacher welcomes the group and explains what the activity consists of, describing that it is about
enjoying reading a work of classic literature: the most beautiful and important that have been written around
the world.

The way in which it is suggested to present the activity for the lower primary level is, in principle, by
awakening interest in the action of reading and reading itself. Group participation will be motivated through
questions such as [as a suggestion]:

They like to read? What things can be read? Has anyone read something to you that you liked?
What is the purpose of reading? Do you remember any reading that you really liked? Is it fun to
read, is it easy or is it difficult? Do you know the books, what they are like? What books do we
like the most? How do you think books are made, who will make them, how will they be made?

The idea is to introduce the group to the topic of the reading and awaken their interest. It is important to let
them express themselves and help what they share to relate to the value of reading and its benefits in terms
of allowing them to learn things, discover, imagine and have fun. These questions must also give the teacher
the opportunity to explain that there are different types of reading, since some allow us to stay informed and
others are made to express emotions, ideas or feelings (such as friendship, love, happiness, sadness, etc. ).

Afterwards, the teacher describes to the group how the Dialogical Literary Gatherings work (describe in
summary the methodology of the Gatherings). It is important to emphasize the relevance of the type of text
that is presented, with phrases such as [as a suggestion]:

“What we are going to read are readings that many people from all over the world have read and liked
a lot”
“As we are the best in this group, we like to read the best”

DEVELOPMENT
[Step 1 of the Gathering Methodology]
The teacher presents the reading suggestions available to carry out the Literary Gathering. To do this, a pre-
selection of some works is presented (for example, five or six) extracted from the following reference table
that provides information to share with the group and help make the decision of what to read. The pre-
selection must be made based on the availability of the works, considering that each child must have a copy
of the same book, in the same version.

Many of the following works have free digital versions that can also be downloaded from the Internet. Some
schools that have tablets have decided to download the books and do the readings on the tablets. On other
occasions, some schools have resorted

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to print versions of the works for their students. In any case, it is important that each and every girl has the
same version of the book.

SUGGESTED WORKS OF CLASSICAL LITERATURE FOR LOWER PRIMARY

BOOK-AUTHOR PLOT
EDITORIAL - COLLECTION

ALADDIN AND THE Story about the adventures of Aladdin and the
WONDERFUL LAMP • Period – Children's classics magical genie of the lamp. Part of the Arabian
Anonymous Nights stories.

Alice in Wonderland • Period – Children's classics Novel that tells the story of Alice on her visit to
Lewis Carroll • EMU – Classics for children Wonderland.

It narrates the return home, after the Trojan War,

• Selector – Classics for children
THE ODYSSEY
• EMU – Classics for children
Homer
• Period – Classics for children
of the hero Odysseus. In addition to having
spent ten years fighting, Odysseus takes another
ten years to return to the island of Ithaca, where
he is king, during which time his son
Telemachus and his wife Penelope have to
tolerate in their palace the suitors who seek to
marry her ( they believed Odysseus dead), at the
same time that they consume the family's
assets.

The plot lies in the anger of Achilles. It narrates

• Selector – Classics for children the events that occurred during 51 days in the
THE ILIAD Homer • EMU – Classics for children tenth and last year of the Trojan War. The title of
• Period – Classics for children the work derives from the Greek name of Troy,
Ilion.

PLATERO AND I Juan • EDAF – EDAF Library It is a narrative that poetically recreates the life
Zorrilla • Thresholds – Rain of Classics and death of the donkey Platero.

The phlegmatic and solitary gentleman Phileas

Fogg will abandon his scrupulous life to fulfill a
bet with his colleagues from the Reform Club, in
AROUND THE WORLD IN • Selector – Classics for children
which he will risk his fortune to go around the
80 DAYS • EMU – Classics for children
world in just eighty days using the means
Julio Verne • Period – Classics for children
available in the second half of the 19th century
and following the project of the Morning
Chronicle, your daily reading newspaper.

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JOURNEY TO THE • EMU – School library It is about the expedition of a mineralogy

CENTER OF THE • Selector – Classics for children
professor, his nephew and a guide into the
EARTH • EMU – Classics for children
interior of the globe.
Julio Verne • Period – Classics for children

A blind man takes a boy as his helper and

LAZARILLO DE • EMU – School library
• Selector – Classics for children
TORMES Anonymous • Period – Classics for children
guides him. We are in the 16th century and it is
common for poor orphans to be entrusted to a
master. Our hero thus becomes El Lazarillo de
Tormes, a guide from the name given to the
dogs that guide the blind, which is the treatment
that the blind man in this story gave to the boy
he took as his helper.

Jim Hawkins is a boy who works with his parents

TREASURE ISLAND • EMU – School library
• Selector – Classics for children
Robert L. stevenson
• Period – Classics for children
at Admiral Benbow's inn. One day, pirate Billy
Bones, whose only possession is an old chest,
appears at the inn. The inn is visited by a blind
sailor the same night Jim's father dies. He
threatens Bones by telling him that later he and
his minions will attack him to recover the chest.
Bones dies of apoplexy. Jim and his mother
steal the chest containing the treasure map. This
theft will give rise to a series of adventures, in
which Jim faces various dangers to find the
much coveted treasure.

El Cid Campeador means going back to the 11th

century and conquering the lands of the Moorish
THE CID CAMPEADOR • EMU – School library kings who live in the south of Spain. It also
Anonymous • Selector – Classics for children means camping on extensive sandy plains,
where strong knights bravely face dangers, and,
above all, it means obtaining the invaluable
“Colada” sword as a trophy.

• EMU – School library
FRANKENSTEIN • Selector – Classics for children
Mary Shelley • EMU – Classics for children
• Period – Classics for children
It is the story of a man who defies Nature trying
to avoid death. Which costs him dearly, death
constantly stalks his family and himself. The
monster that Dr. Frankenstein creates is not evil
or violent, but rather a lack of love causes his
destructive behavior.

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• EMU – School library In the adventures of Tom Sawyer, childhood is

THE ADVENTURES OF
• Selector – Classics for children constantly manifested through the anecdotes of
TOM SAWYER Mark a unique boy, whose relationships with other
• EMU – Classics for children
Twain • Period – Classics for children children and with the world of adults are not
always easy.

They are the entanglements experienced by two

THE PRINCE AND THE • Period – Classics for children
PAREGAR Mark Twain • Selector – Classics for children
• EMU – School library
THE HAPPY PRINCE • Selector – Classics for children
Oscar Wilde • EMU – Classics for children
• Period – Classics for children
children who look very similar to each other and
yet do not know each other: Tom Canty, born in
one of the many poor neighborhoods of 16th
century London, and Edward, son of the kings of
England. In addition to the physical
resemblance, these two characters share the
same desire: while Tom imagines being a king
who leaves the life of a beggar behind, Eduardo
dreams of bathing in the river and wandering the
streets.
In these pages you will discover that a restless
swallow that flew in a flock towards Egypt to
live there during the winter, finds, long before
reaching its destination, the warmth and
shelter it sought in a very beautiful sculpture
that adorned the square of a small city.
In the statue of The Happy Prince, with whom
the traveling swallow establishes a beautiful
friendship, thanks to which they also make
other equally charming characters who parade
throughout this famous story happy.

It tells the story of a greedy and selfish man

named Ebenezer Scrooge and his
CHRISTMAS SONG • Selector – Classics for children transformation after being visited by a series
Charles Dickens • EMU – School library of ghosts on Christmas Eve. The novel
achieved immediate success and critical
acclaim.

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SUGGESTED WORKS OF CLASSICAL LITERATURE FOR UPPER PRIMARY

BOOK-AUTHOR
EDITORIAL - COLLECTION
Uncle Tom's Cabin – • Selector – Classics for children
• EMU – Classics for children
Harriet Stowe • Period – Classics for children
PLOT
The work has slavery as its central theme. It tells
two parallel stories: that of the black man in the
house and the black man in the countryside. The
first, Uncle Tom, complacent and obedient,
unable to imagine a future outside the plantation;
the second, willing to do anything to achieve his
freedom and that of his family.

• Selector – Classics for children
The Count of Monte • EMU – Classics for children
Cristo – Alexandre • EMU – School library
Dumas • Period – Classics for children
• Period – School notes
FROM THE EARTH TO • Selector – Classics for children
THE MOON Jules Verne • Period – Classics for children
• Selector – Classics for children
THE CANTERVILLE • EMU – Classics for children
• EMU – School library
GHOST Oscar Wilde
• Period – Classics for children
• Period – School notes
The novel begins with Edmond Dantès returning
to Marseille, where he meets his family and
friends. Dantès is about to receive a promotion
to capi tan, and also about to marry a beautiful
Catalan woman, Mercédes Herrera. Without em
However, Dantès does not realize how his
fortune affects those he considers his friends.
Many years ago, in Baltimore, United States, the
Gun-Club was founded, where inventors of
bullets and projectiles met. Barbicane, the
president of the society, invited the partners to
build the Columbia to travel to the Moon.
Although it was a Yankee project, he made it
universal and asked other countries for help.
Nicholl, another prominent Yankee, challenged
Barbicane and bet that his project would not be
possible. Michael Ardan, a French artist, thought
it was easy to go to the Moon and that is why he
participated in this great feat together with
Barbicane and Nicholl to travel From the Earth to
the Moon.
An American family moves in to live in an old
castle in England. Soon, the tranquility of the
night is disrupted by strange noises: the
dragging of rusty chains and footsteps in the
midst of the worst of storms. The Otis acquired
the mansion despite the warning that it was
inhabited by The Canterville Ghost, who for
centuries had spread terror and death among its
inhabitants.

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The hardships suffered by the little protagonist

• Selector – Classics for children
OLIVER TWIST
• EMU – Classics for children
Charles Dickens
• Period – Classics for children
named Oliver Twist are narrated with great detail
and tenderness. This touching character, an
orphan growing up on the streets, finds himself
in a gang led by unscrupulous individuals who
try to turn him into a petty thief. Despite this,
Oliver also meets good and honest people who
reach out to him.

The play introduces us to Esmeralda, a gypsy

dancer, Quasimodo, a deformed young
hunchback who is in charge of the bells of the
OUR LADY OF PARIS / Cathedral of Notre Dame, and Archdeacon
THE HUNCHBACK OF • Selector – New Talents Claude Frollo, adoptive father of the bell ringer.
NOTRE DAME • Period – Children's classics Esmeralda, thanks to her great physical beauty,
Victor Hugo attracts the poet-student Pierre Gringoire and
Captain Phoebus de Châteaupers, but also
Claude Frollo, who decides to kidnap the gypsy.
Frollo then orders his protégé Quasimodo to
kidnap her under the pretext of "protecting" her
from the other gypsies.

The story is about the lives of Jean Valjean,

• Selector – Classics for children
THE MISERABLES • EMU – School library
Victor Hugo • Period – Classics for children
• Period – School notes
• Period – Children's classics
BRAVE NEW WORLD • Period – School notes
• Era – New talent
Aldoux Huxley • EMU – Classics for children
• Selector – Classics for children
who represents the man full of kindness and
charity for his neighbors even though he is
initially against society. Javert, the police
inspector. Fantine, who will give her life for her
daughter, and Cosette who leads us by the
hand to filial respect and true love with Marius,
a student who decides to succeed despite
everything. It also presents a group of young
friends who strengthen their ties of friendship
and honor, and offer their youth in the service
of freedom and dignity.
In this story, one of the most brilliant works of
the last century, Aldous Huxley tells a story
that takes place in a location center where
human beings are mass produced, who are
created to be happy and genetically capable
of doing the jobs required by their
counterparts. Social strata.

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THE THREE
• Selector – Classics for children
MUSKETEERS Alexander • EMU – Classics for children
Dumas • Period – Classics for children
ROMEO AND JULIET W. • Selector – Classics for children
• EMU – Classics for children
Shakespeare
• Period – Classics for children
• Period – Children's classics
THE PORTRAIT OF • Period – School notes
DORIAN GRAY Oscar • Era – New talent
• EMU – Classics for children
Wilde • Selector – Classics for children
• Selector – Youth Classics
• Selector – Classics for children
THE ODYSSEY
• EMU – Classics for children
Homer
• Period – Classics for children
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It narrates the steps of the young Frenchman
D'Artagnan who sets out to seek his fortune
towards Paris with only a horse and a letter of
introduction addressed to the captain general
of the musketeers of King Louis XIII,
experiencing the worry of not finding the letter
after a brief stay at an inn, as well as concern
about the identity of a strange knight and a
beautiful woman named Milady.
Thus he stumbles upon The Three
Musketeers: Athos, Porthos and Aramis,
whom he comes to love as much as his best
friends.
Romeo and Juliet tells the story of two young
lovers who, despite the opposition of their rival
families, decide to marry clandestinely;
However, this rivalry between the Montagues
and the Capulets, as well as a series of
fatalities cause an unexpected tragedy for
everyone.
Dorian Gray, a young and beautiful
Englishman who is dazzled by the splendor
and candor of his own beauty, reflected in a
portrait made of him by his friend Basilio. The
beauty that is discovered in it is so great that
Dorian goes so far as to wish that it be the
portrait that ages in exchange for preserving
its youth and freshness.
It narrates the return home, after the Trojan War,
of the hero Odysseus. In addition to having
spent ten years fighting, Odysseus takes another
ten years to return to the island of Ithaca, where
he is king, during which time his son
Telemachus and his wife Penelope have to
tolerate in their palace the suitors who seek to
marry her ( they believed Odysseus dead), at the
same time that they consume the family's
assets.
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• Selector – Classics for children
THE ILIAD Homer • EMU – Classics for children
• Period – Classics for children
QUIXOTE OF LA • Selector – Classics for children
• EMU – Classics for children
MANCHA Miguel de
• EMU – School library
Cervantes • Period – Classics for children
• Selector – Classics for children
ROBINSON CRUSOE • EMU – Classics for children
Daniel Defoe • EMU – School library
• Period – Classics for children
• Selector – Classics for children
METAMORPHOSIS • EMU – Classics for children
Franz Kafka • EMU – School library
• Period – Classics for children
AEF i Mexico
The plot lies in the anger of Achilles. It narrates
the events that occurred during 51 days in the
tenth and last year of the Trojan War. The title of
the work derives from the Greek name of Troy,
Ilion.
The wonderful character that readers have
fallen in love with since he was created by
Miguel de Cervantes Saavedra is now in this
work, so that you can share with him his
adventures, his dreams and his delusions,
accompanied by the faithful Sancho Panza
and with Dulcinea del Toboso as muse
inspiring. Don Quixote will ride Rocinante and
travel with you the vast lands of La Mancha.
The story of an English citizen with an
insistent curiosity to discover what lies beyond
the horizon, and which leads him to sail
across the Atlantic until bordering the coasts
of Brazil. On the journey, you survive storms,
fall prisoner of pirates, escape and make your
own boat that finally capsizes and throws you
on an uninhabited island. In the midst of this
loneliness he learns to observe the changes of
the seasons, to plant and, above all, to take
from nature only what is necessary.
One morning. Gregorio wakes up transformed
into another being, very different from what he
was. Under this new identity, his voice sounds
shrill, he prefers rotten vegetables and rancid
cheese, he is repelled by fresh food, and he
feels very comfortable under furniture. He is
transformed into a cockroach-like insect.
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A story that begins with an enigmatic case

THE STRANGE CASE • Selector – Classics for children
OF THE DOCTOR. • EMU – Classics for children
JEKYLL AND MR. HYDE • EMU – School library
Robert Louis Stevenson • Period – Classics for children
that, at first, rather than unraveling the
mystery, immerses the protagonist in many
more uncertainties. As the story progresses,
we understand that each of the characters'
behaviors, strange as it may seem, has a
purpose. Jekyll, with his dual nature, lives hell
having separated it through his experiments
and is forced to decide between good or evil,
although in the end this decision will no longer
be in his hands.

Dante Alighieri takes a wonderful tour of Hell,

THE DIVINE COMEDY • Selector – Classics for children Purgatory and Paradise and shows us what
• EMU – School library
Dante Alighieri happens in each of these places. This epic
• Period – Classics for children
poem points out that love triumphs over a
person's weaknesses, as happens to Dante
with the love he has for Beatriz Portinari.

Five hostages travel by hot air balloon to

THE MYSTERIOUS escape, ending their trip on an island due to a
• EMU – School library
ISLAND hurricane. The skill and intelligence of one of
• Era – New talent
Julio Verne them, the engineer Ciro Smith, allows them to
survive and discover mystical secrets that the
Island keeps.

Once all the information has been presented, the group's opinion will be asked to select which of the options
seems best, most interesting, fun or good. Everyone's opinion is heard, taking turns to speak.

To make the decision, it is necessary to use consensus , that is, go beyond voting, getting the students to
argue why they prefer one reading over another and thus reach an agreement between everyone.

[Step 2 of the Gathering Methodology]

Once the work of literature has been chosen, the teacher will say how many pages will be read for the first
session of the Dialogical Literary Gathering, which will take place the following week. It is worth
remembering that in the following Literary Gathering sessions, students will be able to participate in
deciding how many pages to read.

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CLOSING
[Step 3 of the Gathering Methodology]
It should be remembered that reading should be done at home (alone or with help) and that they
should select a paragraph or sentence that caught their attention (liked or disliked) and think about
why. Optionally, the teacher can request that the selected paragraph and the idea be brought in
writing.
At the end of the session, only optionally and depending on the time remaining in the session, the teacher
may decide to distribute white sheets to the group so that the students can draw a drawing or write a text
about what they assume the reading is going to be about. and/or a portrait of how they imagine the author. To
do this, the title of the work is remembered and some information about the selected author is mentioned,
and the group is organized into work tables so that they can exchange ideas and support each other in the
production of their drawings or texts.

Feedback is done by listening to comments about how they felt during the activity, what they liked or what we
liked, and receiving comments about the drawings they have made.

Finally, agreements are made regarding the number of chapters or pages that will be read for the next
discussion session.

NOTE: Once the work has been chosen, it is essential to ensure that each student in the class has a copy
of the book to be able to carry out the activity. After use, these copies can become part of the school library's
collection, and can be used in future Literary Gatherings.

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Session B: DIALOGICAL LITERARY TERTUULIA

START
The group is welcomed and the activity is introduced, indicating that the dialogic literary gathering will be held
according to the previous reading and the selection of ideas they have made. The group is asked to sit in a
circle, either with their chairs or on the floor, so that they are as comfortable as possible and can see each
other. The teacher also sits in the circle as one more

DEVELOPMENT
[Step 4 of the Gathering Methodology]
Once the group is seated in a circle, they explain that the rules are simple: whoever decides to participate will
raise their hand to ask for a turn and so on to organize everyone's participation.

The moderator [review section: Relevant Aspects: *The role of the moderator] asks who wants to share the
paragraph/sentence they liked. On a sheet of paper, on the left side, you will write down the order of
partitions to share a paragraph.

[Step 5 of the Gathering Methodology]

The gathering begins! The moderator gives the floor to the first person who has asked.
word. It asks you to say the page number and paragraph
number you want to share. You are asked to read the
paragraph and sentence aloud to the rest of the group,
and then explain why you chose it.

When someone is reading the paragraph they selected

and explaining the reason for their selection, the rest of
the group listens with great attention and respect.

[Step 6 of the Gathering Methodology]

The
moderator opens the floor so that people can comment on
the paragraph they have just shared. On your sheet, on the
right side, you will write down the order of participation to
give your opinion on the paragraph. The following image
shows an example of how to keep the word order for
paragraphs and comments:

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[Step 7 of the Gathering Methodology]

At the end of the discussion of that paragraph, the moderator will give the floor to the next person who
has asked to speak to read a paragraph. Once read, it will once again open the floor for opinions on that
paragraph, and so on until all the participations to share paragraphs from that session are finished.

NOTE: It doesn't matter if someone shares a paragraph from the last page of the agreed-upon section, and
if the next person shares a paragraph from the middle or beginning of the agreed-upon section. The only
thing that matters is that they are pages that have been agreed to be read for that session, and not others
that have not yet been read.

CLOSING
[Step 8 of the Gathering Methodology]
At the end of all participations, the Literary Gathering session will end. At that moment, the moderator will ask
which pages are going to be read for the next section. Once the pages have been agreed upon, the session
ends.

NOTE: The Literary Gathering will be repeated as many times as necessary to finish the reading and
debate of the work. Upon completion of the work, the following week we will work with complementary
activities. Afterwards, the process will begin again with another work of literature. In this way, the Literary
Gatherings project can be extended to the entire school year.

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Complementary sessions: OTHER DIALOGICAL TERTULIAS

The results and enthusiasm of the people participating in dialogic literary gatherings have extended this
performance to other areas of the best creations of humanity in different fields, including art, music and
science.

MUSICAL DIALOGICAL TERTULIAS

The communicative and expressive capacity of music is different from that of words (we often comment: this
cannot be expressed with words). Delving into music is a great adventure. In dialogic musical gatherings,
classical music is heard and talked about. All people can enjoy, learn, discover and share through classical
music.

Listening to the best music of humanity benefits us in linguistic improvement and allows us to understand
universal history. Likewise, it helps us enter a sea of knowledge that helps us understand and reflect on the
world in which we live.

AUDITION PROPOSAL:
1. Romances without words. F. Mendelson.
2. 9th Symphony. L. Beethoven.
3. The firebird. YO. Stranvinsky.
4. The love wizard. M. Failure.
5. Piano pieces. F. Chopin.
6. Oratory of the Messiah. F. Häendel.
7. The Art of Fugue. J. Bach
8. Symphony No. 5. L. Beethoven.
9. The four Seasons. TO. Vivaldi
10. Waltzes. J. Strauss

DIALOGICAL ART TERTULIAS

The best artistic works of Humanity have marked a before and after in our societies. Observing and
discussing these magnificent works allows us to expand our artistic knowledge, in addition to understanding
and reflecting on crucial issues of humanity.

To recognize a dialogic artistic gathering you just have to know that:

• The artistic works that are contemplated are works of the best creations of humanity.
• In the Tertulia, the dialogic learning methodology is carried out (Flecha, 1997).

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Paint
• The Mona Lisa by Leonardo Da Vinci
• The Venus of the Nile by Sandro Botticelli
• Sandro Botticelli's Spring
• The Last Supper by Leonardo Da Vinci
• Gernica by Pablo Picasso
• The Starry Night by Vincent Van Gogh
• The Scream of Edvard Munch
• Virgin of the Spinning Wheel by Leonardo Da
Vinci
• Rubens' three graces
• The Creation of Adam by Michelangelo
• The naked Maja and the dressed one by
Francisco Goya
• The meninas of Diego Da Silva Velázquez
• Visions of Spain Collection by Joaquin Sorolla

PROPOSALS FOR ARTISTIC WORKS

Sculpture
• Myron's Discobolus
• Laocconte and his sons
• Eros and Psyche by Antonio Canova
• The Thinker by Auguste Rodin
• Michelangelo's David
• Apollo and Daphne by Gian Lorenzo Bernini
• Michelangelo's Pieta

Architecture
• Taj Mahal (1983)
• Memphis and its necropolis – Pyramid areas from Guizeh to Dahshur (1979)
• Alhambra, Generalife and Albaicín of Granada (1984, 1994)
• Statue of Liberty (1984)
• Historical Center of Rome, the assets of the Holy See beneficiaries of the right of extraterritoriality
located in the city and San Pablo Outside the Walls (1980, 1990)
• The Great Wall (1987)
• Notre-Dame Cathedral, former Saint-Remi Abbey and Tau Palace in Reims (1991)

performing arts
• Opera “La Traviata”. g. Verdi.
• Opera “Madame Butterfly”. g. Puccini
• Opera “The Magic Flute”. L. Mozart.
• Opera “Carmen”. g. Bizet
• Opera “The Barber of Seville”. g. Rossini
• Opera “La Bohème”. g. Puccini
• Opera “Norma”. v. Bellini
• “Tosca” Opera. g. Puccini
• Opera “Aida”. g. Verdi.
• Ballet “Swan Lake”. Q. Tchaikovsky
• Ballet “The Nutcracker Op. 71. Q. Tchaikovsky
• Ballet “Romeo and Juliet”. Q. Tchaikovsky
• Ballet “Sleeping Beauty”. Q. Tchaikovsky

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If you have any questions about the implementation of the mail, you can write to
socorro.ocampoc@sepdf.gob.mx

Or to its official website

Latin American Learning Communities:
http://www.comunidaddeaprendizaje.com.es/

Places of interest
Learning Communities: http://comunidadesdeaprendizaje.net/
Community of Reseachers on Excellence for All: http://crea.ub.edu/index/

Bibliography
• Aubert, A.; Arrow, A.; García, C.; Arrow, R.; Racionero, S. (2008). Dialogical learning in the Information
Society. Barcelona: Hypatia
• Elboj, C., Puigdellívol, I., Soler Gallart, M., & Valls Carol, R. (2006). Learning communities: Transforming
education. Graó
• Gil, N., Grañeras Pastrana, M., & Díaz-Caneja, P. (2011). Successful actions in European schools (No.
9). Ministry of Education.
• Racionero, S. (2012). Learning with you. Hypatia.
• Arrow, R. (2015) Successful Educational Actions for Inclusion and Social Cohesion in Europe. Springer
Briefs in Education.

Academic articles Literary gatherings

• R. Flecha García, S Molina Roldán. (2015) “Successful Educational Actions as the basis of an
Educational Policy based on evidence.” Magazine. Advances in Educational Supervision. No. 23
• Valls, R., Soler Gallart, M., & Flecha, R. (2008). Dialogical reading: interactions that improve and
accelerate reading. Ibero-American Journal of Education (OEI), 2008, no. 46, p. 71-87.
• Gallart, M. S. (2003). Dialogical reading. The community as a literacy environment. In Initial Literacy
Contexts (pp. 47-63). University of Barcelona.
• Pulido, C., & Zepa, B. (2010). The interactive interpretation of texts through dialogic literary gatherings.
Signs Magazine, 43, 295-309.
• Aubert, A., Garcia, C., & Racionero, S. (2009). Dialogical learning. Culture and Education, 21(2), 129-
139.
• Loza, M. (2004). Literary gatherings. Pedagogy Notebooks, 341, 66-69.
• Palomar, J. D., & García, J. R. F. (2010). Learning Communities: a project of social and educational
transformation. Interuniversity journal of teacher training, (67), 19-30.

Videos
• Dialogical Literary Gatherings: a song to literature, equality and freedom. Ramón Flecha:
https://www.youtube.com/watch?v=6aOo79oeA24
• Interaction as the basis of Learning - Rocío García Carrión: https://www.youtube.com/ watch?
v=KH7AV5yVS3w
• Marta Soler, Dialogical Reading: https://www.youtube.com/watch?v=vyV6Cwf97AI

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• Learning Communities part 1 (María José García-Vao and Pilar Serrano): https://www .
youtube.com/watch?v=Ev2BumPkYL0
• Learning Communities part 2 (María José García-Vao and Pilar Serrano): https://www .
youtube.com/watch?v=juctmgtmLXA
• Webinar: Dialogical Interactions in Interactive Groups and Dialogical Literary Gatherings (Rocío García):
https://www.youtube.com/watch?v=_XKJ5dUU2oY
• Dialogical Learning Theory (Sandra Racionero): https://www.youtube.com/ watch?v=KlJH-mEHRWg
• Transformation (Sandra Racionero): https://www.youtube.com/watch?v=ACtIWqZi0uk
• Cultural intelligence (Sandra Racionero): https://www.youtube.com/
watch?v=H0E8lLnUWRk
• Instrumental dimension (Sandra Racionero): https://www.youtube.com/watch?v=9p3mH5CpBoM
• Learning communities and intercultural education. Ramón Flecha: https://www . youtube.com/watch?
v=AIA7jY68Bds

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