Lesson Plan Report

Submitted To: Dr. Nadia Majid

Submitted By:

Ayesha Riaz (2021-1302)

Fatima Noor (2021-1304)

Rabia Ashraf (2021-1337)

Areeba Ali (2021-1343)

Program: BS ELTL (7th Semester, IER)

Language Teaching Through Litertaaure

Introduction
This project is purposively designed to enhance students' language skills, focusing on the four primary domains:
listening, speaking, reading, and writing. This small scale project provides insights to langauge teachers by integerating
literature into language teaching, fostering creative and critical thinking skills among learners.
Our teaching philosophy emphasizes interactive learning through literary activities. We believe that language is
incomplete without literature and it serves as a bridge to understanding cultural values and literary history, enriching
both linguistic and analytical skills.
Learning Objectives
By executing this project, we aim to:
To teach English through an engaging activities based on English literature.
To create a positive learning environment that enhances langauge skills, specifically writing and speaking.
To integrate creativity and critical thinking into language learning.
To introduce different cultures and religions to langauge students.
To highlight the importance of literature in langauge learning.
Learning Outcomes
Students will demonstrate improved language skills in all four domains.
Learners will critically analyze and creatively respond to activities based on literature.
Students will gain confidence in using English for communication.
Students will get familiar with English literature and acknowledge its importance in language.
Description of the students
Sr Name Interest in Literature Language proficiency Attitude towards
No. level Learning
1 Riffat Shabir 4 Intermediate
2 Samia Qadeer 5 Intermediate
3 Laiba Bibi 8 Upper intermediate
4 Aeysha Arif 5 Lower intermediate
5 Shaima Mueen 6 Intermediate
6 Talha Kareem 5 Lower Intermediate
7 Ali Hassan 4 Beginner

Selection of Literary Text

Short Story Parvez couldn't sleep; he went more to the whisky bottle, even when he was at work. He realised
it was imperative to discuss the matter with someone sympathetic.

Parvez had been a taxi driver for twenty years. Half that time he'd worked for the same firm. Like
him, most of the other drivers were Punjabis. They preferred to work at night, the roads were
clearer and the money better. They slept during the day, avoiding their wives. Together they led
almost a boy's life in the cabbies' office, playing cards and practical jokes, exchanging lewd
stories, eating together and discussing politics and their problems.

But Parvez had been unable to bring this subject up with his friends. He was too ashamed. And
he was afraid, too, that they would blame him for the wrong turning his boy had taken, just as he
had blamed other fathers whose sons had taken to running around with bad girls, truanting from
school and joining gangs.

For years Parvez had boasted to the other men about how Ali excelled at cricket, swimming and
football, and how attentive a scholar he was, getting straight 'A's in most subjects. Was it asking
too much for Ali to get a good job now, marry the right girl and start a family? Once this
happened, Parvez would be happy. His dreams of doing well in England would have come true.
Where had he gone wrong?
Ali then reminded Parvez that he had ordered his own wife to cook pork sausages,
saying to her, 'You're not in the village now, this is England. We have to fit in!'
Parvez was so annoyed and perplexed by this attack that he called for more drink.
'The problem is this, the boy said. He leaned across the table. For the first time
that night his eyes were alive. 'You are too implicated in Western civilisation.'
Parvez burped; he thought he was going to choke.
'Implicated!' he said. 'But we live here!'
Papa, how 'The Western materialists hate us,' Ali said. 'Papa, how can you love
something which hates you?'
'What is the answer then?' Parvez said miserably. 'According to you.'
Ali addressed his father fluently, as if Parvez were a rowdy crowd that had to be
quelled and convinced. The Law of Islam would rule the world; the skin of the
infidel would burn off again and again; the Jews and Christers would be routed.
The West was a sink of hypocrites, adulterers, homosexuals, drug takers and
prostitutes.
As Ali talked, Parvez looked out of the window as if to check that they were still in
London.
'My people have taken enough. If the persecution doesn't stop there will be jihad. I,
and millions of others, will gladly give our lives for the cause.'
'But why, why?' Parvez said.
'For us the reward will be in paradise.'
'Paradise!'
Finally, as Parvez's eyes filled with tears, the boy urged him to mend his ways.
'How is that possible?' Parvez asked.
'Pray,' Ali said. 'Pray beside me.'
Parvez called for the bill and ushered his boy out of the restaurant as soon as he
was able. He couldn't take any more. Ali sounded as if he'd swallowed someone
else's voice.
Play The Domestic Crusaders by Wajahat Ali
Act 1 scene 1
khulsoom: (Taking off her hijab so that it hangs like a scarf around her
neck, she sings the lyrics in accented English while rhythmically bobbing
her head to the music. She’s rushing around, straightening the family room.)
Hmnnn… mmm… mmmmmm… to be loved by anyone… Ta-da
da da… It’s not unusual to be… hmmmn… mmmm… mmm…
happens every day… la la la la…
fatima: (In hijab, speaking American English with something like a Valley
Girl accent) Ugh, I hear old people music. Ami, puhlease, please—
anything but Tom Jones.
khulsoom: (Annoyed ) Oy, chup!
I have to listen to all this gangster-rap
music all you kids listen to—all killing! (Makes a pistol with her
fist and fingers) Bang. Bang. Dishoom. Shoot this, shoot him, shoot
that… Doggy dogg, Puffy bakwas, nonsense. At least this music—
the words I can understand—
(FATIMA tries to change the radio. Her mom has her back turned.)
khulsoom: Khabardar,
Fatima. Don’t even think of changing Tom.
fatima: Great, you’re on a first-name basis with him now.
khulsoom: Your daadi, Allah bless her soul, couldn’t get enough of
him. Remember—
fatima: Yes, yes, yes—you’ve told us a thousand times. When you
and grandmother first came here, Abu took you all to the Tom
Jones concert. You and grandmother, in your shalwar khameez and
dupatta, the only desi FOBs there—
1 “Hey, be quiet!”
“Beware”
4 khulsoom: That’s right—we wore our clothes. And why not? Your ami is
an FOB and proud of it. Fresh… Fresh on the… what is it?
fatima: Fresh Off the Boat!
khulsoom: Hanh,
well, at least us FOBs were wearing something.
All those nangay, naked hippie women throwing their panties,
astaghfirullah.
(Shakes her head disapprovingly, lightly taps both cheeks twice)
fatima: (Disgusted ) Okay, ami. Please. Never use the word panties again.
(Shudders) It’s just not right to hear that coming from your mouth.
k h u l s o o m: Oh, sorry—I forgot your Ami is some backward,
uneducated, ghown, village woman, hay na?5
(Imitates a stereotypical
South Asian woman, placing a bowl on her head, walking with hand on
her hips—FATIMA laughs.) Us FOBs aren’t as slow as you think,
Missy. We can teach you Amreekans a thing or two about—
Act 1… Scene 2
fatima: Close enough. All you guys look alike.
hakim: But, mashallah, their food is excellent! Chapali kebob and
boolani—subhanallah! Brilliant!
khulsoom: Well, today we will have lamb biryani for your brother’s
birthday. Inshallah, God willing, when Ghafur becomes the rich and
famous surgeon doctor he can hire a maasi maid to cook biryani for me
for a change.
hakim: And a maalish to massage my back.
fatima: When he actually gets into a medical school, Dr. Ghafur
can find himself a stunning light skin tone, white but not white
Kashmiri girl who makes biryani like it was manna from heaven.
khulsoom: Inshallah! But don’t give the evil eye to your brother. I don’t
want him jinxed.
hakim: Well, let me give an evil eye to this biryani. I don’t think it
will mind. (Closes eyes and inhales)
(HAKIM walks over to smell the biryani, putting his arm around
KHULSOOM. He begins walking back to the family room. SAL enters and
sits in his father’s family-room chair, adjacent to the couch. He sifts through the
paper, picking up the business section.)
sal: About time, been sitting on that stock for weeks.
hakim: (Stares at SAL for a moment—then coughs, then coughs again) Oy,
bandar!
19 What kind of badtameez disrespectful man doesn’t say
salaams to his own grandfather!
sal: Uh, oh, sorry, Daada. You know, just, uh, lost in thoughts is all.
Salaams. (Hesitates, goes to him, tries to bow like FATIMA, doesn’t really
succeed ) Just that—um—had a call from work. I’ll probably have
to leave early today—arrange the initial seeds of a possible merger.
You know the life. Always moving. (Snaps fingers) Sorry, Ami.
khulsoom: (Snaps her fingers in response) What is this leaving early?
You should be ashamed! Your brother is here after a long time, the
family is together, but now we have more important commitments
than our family? Khalaas—cancel it.
Act 2 … scene 2
salman: (Flustered with disgust, SALMAN eyes the clothes on the bed.
He rummages through the clothes, picking up a shirt or two that isn’t folded )
Look—this shirt, ruined! This is supposed to be dry-cleaned. I’ve told
you more than a thousand times—
khulsoom: These are all cotton! I’ve told you a thousand times that it
doesn’t matter if you dry-clean them or not. You always take care
of it yourself, and whenever I do it, you yell at me because it isn’t
perfectly the way you like it—
“Ruined.” “Crazy lady!” salman: That’s right! The way I like it! Me! The showhar,
the man
of this house, the husband whose right it is to demand some small
things that bring him some peace! But my badkhismatee46 is that I’m
surrounded by—by villains, who—
khulsoom: (Shocked and outraged, but not an angry outburst) Villains?!?
Acha?47 Theek. So this is now a Bollywood movie, and you are the
hero, and I, being the wife, the ghulam, the one who is the cause of
all of life’s problems, will have everyone’s nazla and zookam48 thrown
on me?! (KHULSOOM puts her fingers to her nose and mimics throwing
snot from her nostrils.) I’m the villain?!
 salman: Hanh, ghulami? Servitude? You don’t even know the meaning
of the word. To you, doing some simple house chores, performing
some requests for your husband, has become slavery. Why don’t you
go write a book now? I’m sure it’ll be a best seller. Put it in Barnes
and Noble or on Amazon.com—Ghulami: The Suffering of the Muslim
Wife. Or maybe this one—My Husband, the Pakistani Slave Driver.
khulsoom: I’m your wife, but I’m nobody’s ghulam. I’m not the deaf,
mute village girl who hops on one foot waiting to serve her master—
salman: I’m your master? You don’t even give me half the respect a person does the chokidaar,
or the janitor or the bathroom attendant! A
woman who doesn’t even bother to cook biryani with chicken for her
husband, just one damn plate of chicken biryani! Can’t even bother
to dry-clean two shirts! No wonder your kids turned out this way—

Poem The love song of J. Alfred Prufrock" ( By T.S . Eliot)

Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherised upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question. . .
Oh, do not ask, "What is it?"
Let us go and make our visit.
In the room the women come and go
Talking of Michelangelo.
​ There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate;
Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.
And indeed there will be time
To wonder, "Do I dare?" and, "Do I dare?"
​
With a bald spot in the middle of my hair—
(They will say: "How his hair is growing thin!")
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin—
(They will say: "But how his arms and legs are thin!")
Do I dare
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute will reverse.

I have measured out my life with coffee spoons;

I know the voices dying with a dying fall

And I have known the eyes already, known them all—

The eyes that fix you in a formulated phrase,
And when I am formulated, sprawling on a pin,
When I am pinned and wriggling on the wall,
And I have known the arms already, known them all—
Arms that are braceleted and white and bare
(But in the lamplight, downed with light brown hair!)
Is it perfume from a dress
That makes me so digress?
Arms that lie along a table, or wrap about a shawl.
And should I then presume?
And how should I begin?
Should I, after tea and cakes and ices,
Have the strength to force the moment to its crisis?
And in short, I was afraid.
 After the cups, the marmalade, the tea,
Among the porcelain, among some talk of you and me,
Would it have been worth while,
To have bitten off the matter with a smile,
To have squeezed the universe into a ball
To roll it toward some overwhelming question,
To say: "I am Lazarus, come from the dead,
Come back to tell you all, I shall-tell you all"—
If one, settling a pillow by her head,
Should say: "That is not what I meant at all;
I grow old . . . I grow old . . .
I shall wear the bottoms of my trousers rolled.
Shall I part my hair behind? Do I dare to eat a peach?
I shall wear white flannel trousers, and walk upon the beach
I have heard the mermaids singing, each to each.
I do not think that they will sing to me.

Title The Domestic Crusaders My Son the Fanatic The love song of J. Alfred
Prufrock

Author Wajahat Ali Hanif Qureshi T.S Eliot

Level Undergraduate Undergraduate Undergraduate with an interest

in poetry and literary analysis.

Overall Aims To introduce students to To explore themes of cultural To expose students to

modern South Asian diasporic identity, generational conflict, modernist poetry and its
literature. and religious transformation. stylistic innovations.
To analyze family dynamics, To develop critical thinking To develop students’
identity struggles, and post- and cultural awareness among interpretive skills through the
9/11 immigrant experiences. students. analysis of complex imagery
To build students’ analytical and themes.
To enhance students' ability to
and interpretative skills. analyze literary texts in the
context of multiculturalism.

Types of text Play (dramatic dialogue and Short story, narrative with Poetry (modernist, free verse
used stage directions). realistic dialogue with rich imagery).
Skil/Language Speaking (role-plays and Improves reading Reading for deeper
Area performances), writing comprehension, cultural comprehension, creative
(analyzing dialogues and awareness, vocabulary, critical writing, and critical thinking.
conflicts), and cultural thinking, and discussion skills
Focus on literary devices.
comprehension.

Themes Family dynamics in immigrant Cultural assimilation vs. Alienation and isolation in
households. heritage preservation. the modern world.
Clash of generational and Generational conflicts and Fear of failure and
cultural values. familial relationships. existential anxiety.
The impact of societal The rise of religious extremism The passage of time and the
prejudices and stereotypes on and its impact on identity. loss of opportunities.
identity.

Strength of Engages students with Relevant themes, engaging Rich in literary devices,
Material dialogues that are natural plot, realistic portrayal of offering ample material for
and relatable. cultural issues, strong character analysis and interpretation.
Suitable for interactive development. Challenges students to think
classroom activities, such Offers opportunities for rich critically and interpret layered
as role-plays and classroom discussions and meanings.
dramatizations. debates.

Weakness of Complex themes may Mature themes that may be Dense and abstract language
Material require additional guidance offensive for sensitive may be challenging for less
for full comprehension. students; some nuanced proficient students.
Limited appeal to students cultural references may require Themes of existential crisis
unfamiliar with South Asian additional explanation might not resonate with all
culture or immigrant learners.
experiences.

Suitable for Yes, Because it provides Yes, because it engages Yes, because it develops
my students? valuable literary analysis students in critical cultural higher-order thinking and
Reason opportunities, fosters discussions while being analytical skills and inspires
emotional understanding linguistically accessible. appreciation for complex
through relatable themes. literary works and encourages
creative expression.
 Type of course
Level of students Undergraduate
Student reason for learning english Enhanced Communication skills and academic
development
Kind of english required Academic and Functional
Length/intensity of course 4 sessions
Type of students
Age Early 20s
Intellectual maturity Mature enough to understand the themes that
aligns with their developmental stage
Emotional understanding Understands familial conflicts, empathy and
deep societal emotions
Interest/Hobbies Diverse interests such as reading, travelling etc
Cultural background Varied pakistani cultures, such as Siraiki,
Punjabi etc
Linguistic proficiency Varies from lower intermediate to upper
intermediate
Literary background Rich literary background in terms of academics
Other text related factors
Availability of text Easily available in prints and online
Length of text Consise stories to medium length poems
Exploitability Easily exploitable for different engaging
classroom activities
Fit with syllabus Align with syllabus, emphasizing cultural
awareness, critical thinking, and language skill
development.
 Lesson Plans

Lesson Plan # 1

Date: 06/01/25 Aim: Learning Language through Short

Stories

Level: Undergraduate Topic:

Duration: 60 mins Materials: Handouts, Whiteboard, Laptop,

Board marker

No. of Students: 4-5 No. of Activities: 5

Pre-Reading: 1
While-Reading: 3
Post-Reading: 1

Reading Resource

Ali then reminded Parvez that he had ordered his own wife to cook pork sausages, saying
to her, 'You're not in the village now, this is England. We have to fit in!'

Parvez was so annoyed and perplexed by this attack that he called for more drink.

'The problem is this, the boy said. He leaned across the table. For the first time that night
his eyes were alive. 'You are too implicated in Western civilisation.'
Parvez burped; he thought he was going to choke.

'Implicated!' he said. 'But we live here!'

Papa, how 'The Western materialists hate us,' Ali said. 'Papa, how can you love something
which hates you?'

'What is the answer then?' Parvez said miserably. 'According to you.'

Ali addressed his father fluently, as if Parvez were a rowdy crowd that had to be quelled
and convinced. The Law of Islam would rule the world; the skin of the infidel would burn
off again and again; the Jews and Christers would be routed. The West was a sink of
hypocrites, adulterers, homosexuals, drug takers and prostitutes.

As Ali talked, Parvez looked out of the window as if to check that they were still in London.

'My people have taken enough. If the persecution doesn't stop there will be jihad. I, and
millions of others, will gladly give our lives for the cause.'

'But why, why?' Parvez said.

'For us the reward will be in paradise.'

'Paradise!'

Finally, as Parvez's eyes filled with tears, the boy urged him to mend his ways.

'How is that possible?' Parvez asked.

'Pray,' Ali said. 'Pray beside me.'

Parvez called for the bill and ushered his boy out of the restaurant as soon as he was able.
He couldn't take any more. Ali sounded as if he'd swallowed someone else's voice.

Stage # 1: Pre-Reading (10 mins)

Materials: A quiet classroom with comfortable sitting arrangement

Skills: Speaking (Expressing opinions)

Listening (Watching and understanding the video)

Objective: Engage students by activating prior knowledge and sparking curiosity about the
moral dilemma in society and let them speak.

Activity Steps:

Introduction Greet the students and explain that the class will begin with a
short relaxation exercise to help them focus and get ready for the
lesson.

Briefly introduce the topic and start discussion to connect with

the reading material.

Prompt for students Imagine your friend criticizes your life choices. How would you
react?

● Would you defend your behavior?

● Would you change your actions or attitude?
Media Support Show a 30-second video clip related to moral dilemmas to set the
stage and capture students’ attention.

Closing and Sharing Encourage a few students to share how they felt about the
discussion.

Briefly discuss how the beliefs and ideas within ourselves conflict
with social norms. After that, set the stage for the upcoming
activities.

Stage # 2: While - Reading (30 mins)

Materials: Whiteboard and markers, handouts

Skills: Reading, writing, speaking, listening

Objectives: Guide students to comprehend the text through engaging and interactive
activities and develop reading, speaking, listening, and writing skills.

Activity Stages:

Collaborative Reading
and Prediction Ask students to read the first paragraph or section aloud in
groups.

Pause at key moments and ask:

● What do you think will happen next?

● How do you think the character will respond?

Have students share their predictions with the class.

Role-Play
Assign roles from the story to different students.

Ask them to read their parts aloud with appropriate emotion,

tone, and body language.

Encourage the rest of the class to provide feedback on

intonation and expression.

Stage # 3: Post - Reading (20 mins)

Materials: Handouts, pencils, Notes

Skills: Writing, speaking, listening

Objective: Reinforce comprehension and enhance writing skills.

Activity Stages

Option 1: Paraphrasing Ask students to rephrase selected key ideas from the text in
their own words.

Option 2: Summarizing Guide students to write a brief summary focusing on:

● The main idea

● Key supporting details

Production Stage Pose a debate-style question:

Which character do you think is right—Ali or his father?

Pair students or form small groups to discuss their opinions.

Have students present their viewpoints, defend them with

 textual evidence, and use personal reasoning.

Follow-Up (Optional) After the debate (production stage), engage students in a

whole-class reflection:

● What did you learn from the discussion?

● Have your opinions about moral dilemmas changed
after reading and discussing the story? Why or why
not?

Home Task

Read another short story or article that presents a moral choice.

Be prepared to share a brief summary and your thoughts on those themes in the next
class.

Activities and Feedback

Fill in the Blanks activity

Choose the correct dialogue from the options provided. Make sure your choice fits the situation
and characters.

khulsoom: Of course, what else would I do? Chai, chai, chai________

hakim: (Raises his hand and makes an annoyed face) Give in to an old
man’s request
khulsoom: Addiction!
hakim: Chalo, you’ll get duaa and good blessings from me.
khulsoom: (Teasingly) And if I decided to give you mango lassi instead?
hakim: Then make sure you use Equal, otherwise you’ll put me in a
coma. (Laughs) And make two cups for me.
(KHULSOOM has already started to take out the chai pot, and is putting in water).
khulsoom: I know
hakim: ____
khulsoom: I know.
hakim: And I want the malai on top.
khulsoom: Chi!
You and your son—putting malai on your chai! Milk
fat?! And you tell me of your diabetes and weight control.
hakim: ___________
khulsoom: (Smiling) See—I knew it. This is where he gets it from. Like
father, like son.
hakim: Did he cool down?
khulsoom: You know him and his ange. he is a good man. He just lost his temper,
that’s all. Just lots of stress. You know how much he works.
hakim: _______
khulsoom: Well, he deserves more respect. And especially today.
Look what Ghafur did. And, Baba, you didn’t say anything? He is
throwing everything.
hakim:_______
khulsoom: Yes, but later he will become old. Like us. I just want to see
the three of them married off—(beat) to Muslims. I don’t even care
if they’re Pakistani, anymore.

Options
 Beti, he is young.

 All day, every day. You and your son—and your grandson—even on a hot day like this,
won’t drink water, no, but have to have chai.

 Work never stops, Bahu. The world never stops chasing you. But we must stop and chase
Allah.

 Heh, drinking chai without malai is like marrying a woman without beauty. One can do it,
sure. But where’s the fun?

 And dhood ke saath banow. The milk has to be cooked with it.

Who are the main characters in this dialogue?

1.

2.

3.

What is the nature of the relationship between Khulsoom and Fatima?

How do Khulsoom and Fatima feel about each other?

How do Khulsoom and Salman communicate with each other?

What is the tone of the conversation between Khulsoom and Salman in the second
 part?

How do you think the characters move on stage based on their emotions?

What kind of justice or resolution do you think each character suggests in this
scene?

How do the characters’ personalities shape their interactions in this scene?

When the evening is spread out against the sky

Like a patient etherised upon a table;
Modern alienation
Emotional numbness
Paralysis and inaction
Disconnection from nature
Existential stagnation
Dehumanization

To lead you to an overwhelming question. . .

Oh, do not ask, "What is it?"
Fear of the unknown
Search for meaning
Avoidance and hesitation
Ambiguity in life’s purpose
Self-doubt and paralysis
Societal pressure to conform
Reluctance to confront truth
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
Procrastination and illusion of time
Social masks
Role-playing in society
Destruction as a path to creation
Conflict of life’s dualities
Violence in personal change
I have measured out my life with coffee spoons;
I know the voices dying with a dying fall
Fragmented life experiences
Fear of mediocrity
Existential measurement of time
Regret?
Melancholy of modern life
Fading cultural values
Exhaustion of emotional vitality

Shall I say, I have gone at dusk through narrow streets.

And watched the smoke that rises from the pipes
Isolation in urban life
Existential detachment
Dusk as a metaphor for endings
Darkness of human experience
Eliot’s critique of modernity
Would it have been worth while,
To have bitten off the matter with a smile,
Regret over missed chances
Irony of trivial efforts
Existential decision-making
Illusion of social harmony
Fear of consequence
Shall I part my hair behind? Do I dare to eat a peach?
I shall wear white flannel trousers, and walk upon the beach
Existential crisis in daily acts
Fear of vulnerability
Bad faith in action
Self-consciousness and appearance
Fear of rejection or judgment
Escape into solitude
Desire for simplicity/Modern weariness