More than one set-text list, on purpose
WAEC, NECO and NERDC prescribe set texts that change from session to session, and schools do not all follow the same list in the same year. So this subject covers several — Harvest of Corruption, Faceless, To Kill a Mockingbird, So the Path Does Not Die, Once Upon an Elephant, An Inspector Calls, Redemption Road and The Marriage of Anansewa among the plays and novels, with the prescribed poems alongside them. Work to the list your school is teaching this session and ignore the rest: meeting a text here is not a sign that it is on your paper. Use the year filter and the topic chips to find yours, and check your school's current list if you are not sure.
302 prompts matching "Stating at least five functions of literature with an example for each"
Project task: Building an antithesis table listing every pairing of light
Give me a practical task on building an antithesis table listing every pairing of light fr
Real-life Nigeria: With a Nigerian tortoise folktale supplied by the teacher
Take with a Nigerian tortoise folktale supplied by the teacher out of the textbook. Descri
Real-life Nigeria: Five-step routine live on a visualiser
Take five-step routine live on a visualiser out of the textbook. Describe a real Nigerian
Practice set: Timed discursive essay of 45 minutes, written closed book
Give me a practice set on timed discursive essay of 45 minutes, written closed book for SS
Quiz: Rank the four poems by the strength of the evidence they offer on a shared theme
I am revising Poetry Consolidation: Selected Poems for SS2 Literature in English. Test me
Practice set: Timed poetry essay of 40 minutes on one poem selected by the student
Give me a practice set on timed poetry essay of 40 minutes on one poem selected by the stu
Quiz: The political and domestic pressures that divide Antony's loyalties
I am revising Antony and Cleopatra I for SS2 Literature in English. Test me on the politic
Let me explain: Shakespeare's use of blank verse, hyperbole
Let me talk you through shakespeare's use of blank verse, hyperbole from the Antony and Cl
Real-life Nigeria: Marking one page of Act III for shifts between verse
Show me how marking one page of Act III for shifts between verse works in real life in Nig
WAEC prep: In 20 minutes, explain how the writing in the Cydnus extract makes Cleopatra memorable
Act as my WAEC Literature in English examiner. I am in SS2. Set me an exam-standard questi
Practice set: On the proposition that Cleopatra, not Antony
Give me a practice set on the proposition that Cleopatra, not Antony for SS2 Literature in
Let me explain: The background and setting of Niyi Osundare's 'Not My Business'
I am going to explain the background and setting of Niyi Osundare's 'Not My Business' to y
Let me explain: The structure of each poem, including stanza shape
Act as my study partner. I will teach you the structure of each poem, including stanza sha
Real-life Nigeria: Producing a structure map of each poem on A3
Take producing a structure map of each poem on A3 out of the textbook. Describe a real Nig
Practice set: Style table with columns for diction, mood
Give me a practice set on style table with columns for diction, mood for SS2 Literature in
Practice set: Submit two completed structure maps showing stanza divisions and the point of turn in each poem
Set me five practice tasks on submit two completed structure maps showing stanza divisions
Let me explain: The themes of deception, false hope, grief
Let me talk you through the themes of deception, false hope, grief from the Adcock and Gib
WAEC prep: Submit a completed suspense timeline for both poems with four marked stages each
Act as my WAEC Literature in English examiner. I am in SS2. Set me an exam-standard questi
Practice set: How Gibson makes the ending of 'The Stone' moving, in 25 minutes
Set me five practice tasks on how Gibson makes the ending of 'The Stone' moving, in 25 min
Real-life Nigeria: Recording every stage direction and to ask what an audience sees rather than hears at that
Take recording every stage direction and to ask what an audience sees rather than hears at