The Representation of Culture : A Comparative Analysis of Cultural Representation in Swedish EFL Coursebooks

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COURSE:English for Subject Teachers 91-120, 15 credits WRITER: Linus Calais

EXAMINER: Jenny Malmqvist SUPERVISOR: Anette Svensson TERM: Spring 2021

SEMESTER:HT/VT YY

The Representation

of Culture:

A Comparative Analysis of Cultural Representation

in Swedish EFL Coursebooks

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Abstract

The overall aim of this study is to analyse the cultural representation in fictional texts in three English as a Foreign Language (EFL) coursebooks written for the English 5 course in Swedish upper secondary school. The three coursebooks are Blueprint A 3.0, Pick & Mix 1, and Solid

Gold 1. The study was conducted in order to compare and discuss the portrayal and

representation of cultures of the English-speaking world. The method used consists of a combination of the two-stage model constructed by McDonough et al. (2013) and a qualitative content analysis. The three coursebooks were analysed through the theoretical framework of postcolonial theory. The results show that American culture is represented to a higher extent than any other culture in the included fictional works. Because of the discrepancy in representation, American culture was portrayed through various societal issues, living conditions, and cultural features. However, many other cultures of the English-speaking world were barely represented at all. Furthermore, the results show that cultures such as Indian or Irish are not included in all the coursebooks. The lack of fictional texts representing cultures of Africa included in the

coursebooks further shows the discrepancy and specific focus on certain parts of the English-speaking world. Solid Gold 1 was the only one of the three coursebooks which included fictional texts discussing all cultures highlighted. Although there is a notable difference in the

representation of cultures, and the number of times certain cultures are mentioned, the analysis shows that the coursebooks create many opportunities, through fictional texts, for students to learn about societal issues, cultural features, and living conditions in parts of the world where English is used, meeting the requirements of the Swedish curriculum.

The Representation of Culture: A Comparative Analysis of Cultural Representation in Swedish EFL Coursebooks

Number of pages: 29

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1. Introduction

According to the Swedish National Agency for Education (SNAE, 2012), one of the aims of teaching the subject of English is to provide students the possibility to develop their

communicative skills (p. 1). Among these communicative skills, reception, or the understanding of spoken language and written texts, is largely connected to the teaching of literature. Literature is, according to Widdowson (1999), a problematic denomination which is highly dependent on context and interpreter (p. 2). Furthermore, he argues that there is no unitary definition of the concept of literature, and that the heterodox nature of literature points towards there existing many literatures rather than one ‘Literature’ with a capital ‘L’ (pp. 10-11). As the intricacy of the concept of literature may cause confusion, literature will in this study refer to written works, by which lyrics and filmscripts are included. Since literature is a multi-faceted word, the Council of Europe exemplifies different text-types considered relevant to education in the Common European Framework of References (CEFR, 2001, p. 95). The inclusion of many different text types in the list made by the CEFR highlights the complexity and diversity of teaching languages in general, including English as a Foreign Language (EFL). Consequently, one of the goals of teaching English in Swedish upper secondary school is to let students explore and analyse multiple types of fictional works. Becker et al. (2010) argue that adolescent students are

motivated in their reading by the intrinsic values of the texts they work with, raising the question of the necessity to include texts and topics students might relate to (pp. 774-775). To ease the burden of having to choose literature that follows the current syllabus as well as motivate students, Harmer (2015) argues that many teachers are heavily influenced by the coursebooks that they, or the institution they work for, have selected (p. 71). Subsequently, what students are taught could sometimes be completely dependent on the content of a coursebook.

The ability to evaluate and analyse coursebooks is an important part of being a professional teacher of EFL. Being able to choose which coursebooks are suitable for the EFL classroom, and coursebooks that align with the current syllabus, is a necessity in order to justify the combination of materials used in the classroom. The amount of different EFL materials and coursebooks

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2 available has increased significantly in recent years especially with the development of the Internet. The wide amount of new material enables a variety of ways which teachers may interact with their students. Therefore, the expectations of higher quality coursebooks, and the variety of their content, have heightened in recent years. However, McDonough et al. (2013) argue that the wider choice also raises the demand of teachers being able to analyse the coursebook prior to selecting it (p. 51). According to Nunan, when teachers are supposed to select materials “it is important to match the materials with the goals and objectives of the programme … as well as with one’s learners’ attitudes, beliefs and preferences” (1993, p. 209). Nunan continues by adding that the selection processes may be facilitated by the method of systematically evaluating materials (p. 209). Although the extent of how teachers choose to rely on coursebooks depends on the teacher, what the coursebooks have to offer regarding teaching fictional texts, as well as the inclusion of different parts of the English-speaking world, will be the subject of analysis in this study in order to showcase cultural depiction and representation.

Chambers and Gregory (2006) argue that in modern times denominating the teaching of

literature in the English subject as English Literature perhaps should be substituted to Literature

in English instead (p. 1). As the English language has adopted, and been adapted to, the role as a

designated lingua franca in the globalized and digitalized modern world, perhaps ‘English Literature’ is an outdated and confusing expression. Lundahl (2012) states that literature has a greater opportunity to reach a more wide-spread audience if the author chooses to write the literary work in English, which enforces a structure of language where certain languages are dominant compared to other languages (p. 82). English has thus become a usable tool which allows people from various cultures to communicate with one another, as well as making their perspectives known to a global readership (Andersson Hval et al., 2013, p. 10). Therefore, as new literature is produced, an increasing number of important literary works, either fictional or non-fictional, have been written in English by authors originating from countries without English as their predominant language. Although there might not be a demand to change how the

literature taught is described, the discussion and problematization of the perspective on literature continues to attract debate. Furthermore, the debate raises several applicable issues regarding the geographical area from where teachers select the literature studied in their EFL-classrooms.

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3 Undoubtedly, there are several differences in literature teaching and learning depending on whether it is in the context of EFL or a native language (L1). However, the issues that follow in choosing the optimal literature to be used in the classroom remain similar. Lukin (2008) argues that teachers’ responsibilities connected to teaching literary texts constitute the subjectivity in interpreting the content and context of the texts, and thus the selection of the literature used in the classroom (pp. 84-85). The question of what kind of literature is, and should be, taught in schools has seemingly intrigued many teachers, researchers, and enthusiasts as of recent decades. During the 1970-80’s, because of literature teaching and learning being established as its own research field in Sweden (Degerman, 2012, p. 22), the question of what sort of text to teach, rather than how the content should be taught, was infused within the pedagogical fields of literature (Wintersparv, 2021). Consequently, especially in the United States of America during the 1990’s, controversy regarding the literary canon sparked a debate fierce enough, according to Grandjeat (2006), to be referred to as the ‘canon wars’ (p. 24). The debate became widespread enough to impact other domains than the academic sphere, and as such the issue became cultural, educational, and political. The multicultural curriculum that would later be inducted in U.S. universities, along with the increased political demands of new perspectives on U.S. history and culture, affected the view on the literary canon. Furthermore, Grandjeat (2006) argues that the ‘canon wars’ have made clear, by its occurrence, that the question of the canon is not a strictly literary one, and thus proves the influence that literature and society have on each other (p. 24). Similar debates took place in Sweden, as well as several other parts of, what Wintersparv (2021) calls, “the Western realm” (p.23), which would later raise the question of what the definition of literary canon should be in the context of culture (p. 23). Wintersparv further argues that “the epistemological implication to the study of literature teaching and learning is how different phenomena within the field are regarded and discussed in terms of culture” (2021, p. 24). As culture has a major role in the current Swedish curriculum and the English syllabus (SNAE, 2013, 2012), authors of coursebooks align themselves to the contemporary views regarding the literary canon and texts in general. Thus, the impact which politics has on education and coursebooks should be considered while studying the contents of coursebooks.

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2. Background

2.1. The Emergence of English as a subject

As English has become the dominant language of the digital and globalized era, its emergence as a subject in Swedish education signifies societal development regarding national and cultural borders. The intercultural approach of the current English syllabus (SNAE, 2012) is therefore a result of changes made historically according to political and social advancement. Sweden has historically been exposed and influenced by several foreign languages of different language families, such as Germanic and Romance languages. Such influences, as well as changes and development within Swedish cultural, social, and political areas, have impacted the way foreign languages in the curricula has been perceived and worked with. According to Cabau-Lampa (2006), the need of knowing foreign languages in Sweden had gained its importance during the 16th century where the Germans, Dutch, and French had influenced different fields in which their respective languages were generally spoken, such as in trade, in the army, or in court (p. 399). Notably, the English language had yet to achieve its modern significant role within global communication and was not considered vital enough to be taught at universities.

In the beginning of the 18th century, Sweden experienced a more extensive approach towards opening the country to globality. English had, as a consequence of Great Britain challenging the Spanish and Portuguese Empires in overseas dominance during the 18th century, spread its influence around the globe and thus started gaining a hold of foreign language learning (McKay et al., 2018, p. 519). However, Cabau-Lampa (2006) argues that the church hindered the growth of foreign language learning by pressuring the state, minimizing its educational gain in influence. Therefore, it was not until early 19th_{century that French and German became official subjects in} upper secondary school (p. 400). Latin would continue to dominate throughout the 19th_century before a continuous debate and discontent would call for a reformation (Larsson, 2011, p. 41). According to Cabau-Lampa (2006), it was the businessmen and minor officials that would voice their opposition toward the educational content which had been endorsed by the clergy and elite (p. 400). As a result of the debates, German and English outbattled French and Latin as the

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5 official foreign languages taught in the institutional schools that had emerged during recent centuries.

English became more and more influential in the first half of the 20th century and was even suggested by the Swedish School Commission to be the primary foreign language to be taught in school. However, the German language remained in the first position until the 1940’s when another proposal of making English the mainly taught foreign language was put forward (p. 400). In 1962, the newly created 9-year comprehensive school (Lgr62), which was the first cohesive curriculum in Swedish schools (Wahlström, 2016, p. 77), made English a compulsory subject for all students. Since 1962, the English language has dominated as the primary foreign language taught in Swedish schools, and as such indicates that societal changes influence what foreign language is primarily focused on.

2.2. Culture

The definition of culture varies depending on the context of its use. Since there is no universal definition which applies to each situation, the interpreter needs to consider the complexity of the term, or concept of, culture when discussing it. Eagleton (2000) argues that the concept of culture is associated both with what surrounds us and what is cultivating inside of the individual (pp. 5-6). Furthermore, Eagleton states that the word culture is essentially too broad, yet too narrow, to have a specific function. Similarly, McCarthy et al. (2003) argue that the view on culture as the production and circulation of meaning “remains inadequate” (p. 452). According to Eagleton (2000), culture covers everything between typical hairstyles to how the husband’s second cousin should be addressed (p. 32). Therefore, culture transcends physical appearance and actions, and regards such aspects as speech and linguistic features. Mesthrie (2009) argues that language is a powerful tool which may be used to accentuate or highlight cultural

differences (p. 329). Nevertheless, as the present study aims to analyse the representation of culture in fictional texts, a suitable definition of culture must be chosen to be able to discuss the findings. Eagleton (2000) defines culture as the “complex of values, customs, beliefs and practices which constitute the way of life of a specific group” (p. 34). This definition signifies

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6 the basis of which the analysis will be formulated. However, as the analysis is based on cultural representation and portrayal in coursebooks, the definition of culture must be considered through educational perspectives. According to McCarthy et al. (2003), when regarding the teaching of culture in education, culture from a postcolonial perspective is often taught in terms of opposites. They argue that cultures are perceived based on the East or the West, First or Third world, as well as colonial master or slave. (pp. 461-462). Therefore, how the coursebook authors have chosen to depict the included cultures is relevant when analysing the portrayal of culture in educational material. How cultures are depicted should thus be viewed through a critical perspective while analysing coursebooks.

3. Previous research

When studying coursebooks written for English education in Sweden, several aspects should be taken into consideration. The majority of coursebooks aimed for Swedish students are based on the curriculum that was relevant at the time of constructing them. Therefore, it is important to be aware of the values prevalent in Swedish society at the time. Since the contemporary curriculum (SNAE, 2013) states that education in Sweden has the task to give students the opportunity to develop an international perspective (pp. 5-6), coursebooks are expected to follow the same guidelines. The international perspective constitutes students’ abilities to be prepared for a society that will have closer cross-cultural and cross-border contacts, as well as the

understanding of cultural diversity within Sweden (p. 6). Subsequently, teaching English in Swedish upper secondary school shares the demands of including a globalized and international perspective in the content of the subject. Fang and Schleppegrell (2008) state that engaging students in texts focusing on different subject areas and complexities helps develop knowledge of how contemporary societies transcend national and cultural borders (p. 9). Although teaching about living conditions, societal issues, and cultural features in parts of the world where English is spoken is one of the aims of teaching English in Swedish upper secondary school (SNAE, 2012, p. 1), there is a notable absence of studies made which analyses the coursebooks used in

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7 the Swedish EFL classrooms. However, several studies have been conducted in other countries where EFL is taught.

In a study conducted by Thumvichit (2018), Thai secondary English language teaching (ELT) coursebooks used in English teaching were analysed and discussed from an intercultural

perspective. According to Thumvichit, the fast-growing trend of globalization confirms that there is a need for cultural content in foreign language teaching (p. 99). Thumvichit’s statement is evident in the Swedish upper secondary school syllabus for English. According to SNAE (2012) teaching English should “aim at helping students to develop knowledge of language and the surrounding world” (p. 1). Consequently, there is a demand for teachers to provide their students with the information needed to fulfil the requirements of the syllabus. Furthermore, Thumvichit (2018) argues that coursebooks “play a key role in English language teaching … as they are often taken as the only reliable source of reference point for teachers and students” (p. 99). Therefore, if the coursebook is regarded as the main teaching tool in the classroom, the importance of choosing coursebooks which contain cultural content raises the request for multicultural texts to be included in them. Although Thumvichit’s study aims to highlight

whether the coursebooks prioritized native speaker contexts or non-native speaker contexts in the texts included (2018, p. 109), the study helps in showcasing how and which cultures are included by the coursebooks’ authors. Therefore, the study may be compared to the present study and how they differ in selection of cultures represented depending on where in the world English is

taught.

In a joint report written by the two foundations the Bertelsmann Stiftung and the Fondazione Cariplo (2008), several theses were presented to accentuate important features of the 21st century individuals regarding intercultural competence. The article states that the awareness of potential benefits and problems with cultural diversity has increased in recent years, evident and

experienced in private and professional settings, as well as in society as a whole (p. 3).

Consequently, according to the report, the ability to deal constructively with cultural diversion and a multitude of attitudes, values, and norms will “remain a key qualification required … of each individual as a key factor for contributing to social cohesion … so that cultural diversity can

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8 be experienced positively” (p. 4). In order for these abilities to grow, schools are expected to give the students the opportunities needed to develop them. Therefore, it is necessary to examine to which extent educational operations structure the curriculum accordingly, as well as integrate it as an educational goal. By applying some theses listed by Bertelsmann Stiftung and

Fondazione Cariplo (2008), Châu and Trương (2018) conducted a study of interculturality in Vietnamese EFL teaching. They argued that incorporating culture in language teaching in terms of objectivity and strategies “is still controversial” (p. 103), and must be taken into consideration when teachers implement it in the classroom. (pp. 103-104). Furthermore, teachers’ own

understanding of cultures and their portrayal should be extensive to prevent negative effects from the implementation, especially prior to selecting material to use in the classroom (p. 104). The use of material regarding culture, and knowledge of how to teach interculturality, are therefore essential parts of EFL teaching, which signifies the importance of being able to evaluate relevant coursebooks. Therefore, analysing the portrayal of cultures in Swedish EFL coursebooks may indicate measures needed to be taken to provide students with the prerequisites necessary to develop intercultural perspectives.

4. Aim and research questions

The aim of this study is to analyse the representation of cultures in the English-speaking world through fictional texts included in coursebooks to discuss and compare the ways that the authors choose to include, portray, and showcase the different cultures.

• In what ways are living conditions, social issues, and cultural features in different contexts and parts of the world where English is used represented in the fictional works included in the coursebooks?

• How are the different cultures portrayed in the fictional texts included in the coursebooks?

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5. Method

5.1. The two-stage model

Since the present study will be analysing and comparing different coursebooks made for, and used in, the EFL classroom, the flexible two-stage model for evaluating coursebooks which McDonough et al. (2013) provide will act as the method applied to this study. The two

complementary stages of the two-stage model are the external and internal stages of evaluation (p. 62). Although the external evaluation stage is made to focus on structural aspects of the coursebook, such as workbook areas or vocabulary lists, McDonough et al. (2013) state that the external stage also encompasses an analysis of the material included in the coursebooks (p. 58). For example, it analyses the portrayal and presentation of minority groups, as well as if the material is culturally biased or not. The internal evaluative stage regards the in-depth analysis of the coursebook, where the texts and exercises themselves are viewed in a context of productivity, purpose, and meaning (pp. 59-60). In this stage, the included texts are analysed based on their abilities to convey messages beyond the sentences of the text. McDonough et al. (2013) argue that the method is relevant and applicable in studies and evaluations regarding coursebooks and their role as a valid tool and material in the EFL classroom (pp. 61-62). As the model has been created in order to compare course materials, it will be helpful when categorising the different aspects of the coursebooks, as well as in the context of comparing the representation of cultures of the English-speaking world. Furthermore, since the study also aims to showcase and discuss the cultural representations in the literary texts included in the coursebooks, the two-stage model will be combined with a qualitative content analysis.

5.2. Content analysis

According to Krippendorff (2013), content analysis has been an established concept for around 60 years (p. 1). Merriam-Webster (n.d.) defines content analysis as the “analysis of the manifest and latent content of a body of communicated material … through a classification, tabulation, and evaluation of its key symbols and themes in order to ascertain its meaning and probable

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10 effect” (para.1). As the popularity of content analysis has increased, Krippendorff (2013) states that virtually all disciplines “within the whole spectrum of the humanities and the social sciences … are concerned with the functions and effects of symbols, meanings, and messages” (p. 1). Consequently, a qualitative content analysis, in the context of this study, may be defined as a way to analyse what information the literary texts used in the coursebooks convey, enable, prevent, and signify. Krippendorff (2013) argues that all reading of texts should be perceived as qualitative because of the analytical nature of the studies, even when put into numerical

categories (p. 22). Furthermore, the qualitative approach to content analysis in connection to the focus on texts is automatically considered as qualitative since the inferences extracted from texts are analysed based on their contexts. According to Krippendorff (2013), content analysis, as a research technique, provides insights and a greater understanding of a particular phenomenon which the researcher aims to analyse (p. 24). In order to end up with a meaningful conclusion, the content analyst is required to conduct a close reading of textual matters, no matter the

quantity of samples. Therefore, as this study aims to analyse the representation of certain cultures in fictional literary texts included in coursebooks, the combination of the two-stage model with a qualitative content analytical approach is a suitable method in order to answer the formulated research questions.

6. Material

The material used in the present study has been chosen based on certain criteria. First, they had to be designed and written for the course English 5. Second, they needed to follow the

contemporary curriculum for the English subject in Swedish upper secondary school. Lastly, the coursebooks had to represent different publishers. Furthermore, although not a criterion,

Blueprint A 3.0 and Solid Gold 1 were selected because of their popularity in English education. Pick & Mix 1, however, was selected based on the authors’ wide selection of authored

coursebooks in other fields and courses.

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Blueprint A 3.0 is the third and newest edition of the EFL coursebook aimed for English 5

written by Lundfall and Nyström (2017). The coursebook consists of seven chapters with different foci, amounting to 328 pages. However, between pages 247-302 there is a section called Blue pages where students are supposed develop their writing and speaking skills. This section does not contain fictional literary texts and will therefore not be relevant to analyse in this particular study. The coursebook features texts and exercises which have been included to follow the current curriculum and English syllabus. Blueprint A 3.0 is published by Liber.

6.2. Pick & Mix 1

The second edition of Pick & Mix 1, written by Phillips and Phillips (2020), is a newly

constructed coursebook that claims to be user-friendly and innovative (p. 3). The coursebook is written based on the English 5 course in Swedish upper secondary school and includes ten

chapters with different topics. The coursebook consists of 224 pages, making it the briefest of the three analysed coursebooks. The book is structured to enable the possibility to follow either a thematical approach or a selective skills approach. Pick & Mix 1 is published by Gleerups. What separates Pick & Mix 1 from the other two coursebooks is that it does not include extracts of texts from famous literary works. The fictional works which this coursebook uses are made completely by the authors, which enables a different approach to the content of the fictional texts.

6.3. Solid Gold 1

Solid Gold 1 is a coursebook written based on the English 5 course in Swedish upper secondary

school. The coursebook consists of nine chapters with different focus areas. There are 352 pages in total, which means that it is the most extensive coursebook analysed in this study. It is written by Hedencrona et al. (2014) and is structured accordingly to the current curriculum as well as the syllabus for English 5. Furthermore, the coursebook was created with the intent of making students aware of how culture influences communication (p. 3). Solid Gold 1 is published by Studentlitteratur.

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7. Theoretical framework

While analysing the representation of cultures in parts of the world where English is used, the borders of the previous British Empire must be taken into consideration. Since Great Britain was one of the most influential and powerful empires during the colonial era, the application of postcolonial theory to the analysis is relevant in order to discuss how the cultures are represented and discussed. Through postcolonial criticism the literary works may be contextualized and understood in connection to the cultures which they depict. Bhabha (1994) proposes that the prefix ‘post’ should not be considered as after colonialism, but rather be understood as beyond it. Bhabha argues that beyond signifies something that neither constitutes a new horizon, nor does it mean leaving the past behind (pp. 2-3). Furthermore, Bhabha advocates that in order to gain knowledge and understanding connected to the aftermath of colonialism, as well as

understanding how contemporary societies are defined, singularities of identity must be questioned and made aware of (p. 2). Barry (2017) argues that postcolonial criticism questions the timelessness which had previously been assigned to great literature, completely disregarding cultural, social, regional, and national differences in outlook and experience, creating a universal standard to literature without contextualizing them (p.194). Instead of viewing the classics as the norm for all fictional texts, postcolonial criticism aims to remove that universal standard.

According to Mikander and Zilliacus (2016), postcolonialism engages in trying to make an understanding of political, economic, as well as educational structures in current global societies (p. 97). This indicates that contemporary researchers, politicians, and even teachers should be aware of the role that postcolonialism still has, and thus further educate themselves in how to apply such postcolonial criticism in their respective fields of expertise. It is therefore equally as relevant to apply postcolonial theory to an analysis of cultural representation in coursebooks in order to understand societal structures. Andersson Hval et al. (2013) further adds that through postcolonial studies of narratives a tendency of powerful cultures threatening smaller ones is highlighted and thus requires attention and recognition in order to be a part of the discourse (p. 10). Following the possible challenges of taking the cultural and language power-structures into account, applying postcolonial theory to a study on coursebooks may indicate a subconscious or explicit difference in the depiction and representation of cultures of the English-speaking world.

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13 Apple (2004) claims that the social movements of modern society have prompted a change in the way that the curriculum, and the coursebooks that are based on it, are structured (pp. 178-179). The curriculum and the subject of English reflect the changes in society and politics, which may imply that the coursebooks based on the curriculum carry a political agenda. Similarly, Mikander and Zilliacus (2016) argue that studying school coursebooks may be viewed as studying the society at large (p. 97). By applying postcolonial theory to the present study, the representation of cultures in the English-speaking world could be further analysed with an additional

perspective on living conditions, societal issues, and cultural features in the countries portrayed in the fictional texts included in the coursebooks.

8. Results and analysis

In order to showcase the differences in representation of cultures in the fictional literary texts included in the coursebooks, this part of the study will be categorized based on geographical area. This will enable the analysis to be structurally formulated based on postcolonial area, as well as through the symbols and themes of which the cultures are depicted. Furthermore, as both results and the analysis are presented simultaneously, the coursebooks will not be divided under different subheadings. The categorization is also decided based on the actual representation of geographical area included in the fictional texts used in the coursebooks. Therefore, although there are certainly other parts of the English-speaking world, the areas focused on are: African cultures, Indian culture, American culture, and British and Irish cultures.

8.1. Representation of African cultures

Although as many as 21 countries on the African continent either share English as a native language amongst other languages, or they have English as an official language, there is a

significant lack of inclusion of fictional literary works used in the three analysed coursebooks. In fact, out of the three coursebooks, only Solid Gold 1 portrays and discusses any African country

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14 or culture. Therefore, the decision to categorize them under one subheading was made. However, it should be mentioned that each of the coursebooks includes some texts about certain African cultures, such as Malawi culture in Blueprint A 3.0, however they are not fictional texts.

Therefore, the results of this study may indicate that these three coursebooks are severely limited in their content appropriate for English 5, or that they do not follow the Swedish curriculum in representation of cultures in the English-speaking world. However, the present study is limited to fictional texts, thus it only presents the representation of cultures in the English-speaking world connected to fictional texts, not the non-fictional.

Solid Gold 1 is the only one of the coursebooks analysed the in present study which includes at

least one fictional text that explores and discusses any African cultures. The book includes an extract from a short story called “The Maid from Lalapanzi” written by the Zimbabwean author Petina Gappah (2009), and it contains several, of what Hedencrona et al. (2014) have chosen to call, superstitions which the narrator is taught in the story (p. 186). The choice of defining the cultural beliefs depicted in the short story with a word which carries slight negative connotations indicates that the cultural beliefs are diminished by how they are conveyed. Nevertheless,

reading that it is believed that boys and girls could get a sty in their eye by spying “on each other’s nakedness” (p. 31), might be perceived as like the norms Swedes share in how it is regarded as taboo within Swedish culture as well. Essentially, while these Zimbabwean

‘superstitions’ may be interpreted differently by Swedish readers and looked on with a different perspective by the readers of the text, the inclusion of this fictional text conveys the message to the students that certain cultures may or may not share common superstitions or norms. By introducing a new perspective on other cultures, the students are provided with a gateway towards reflecting on their own cultural superstitions. In one way, the authors of Solid Gold 1 contribute to the way of seeing parts of the Zimbabwean culture as something completely different from Swedish culture, exoticizing it. However, they also present a foundation of understanding another culture and give the students the potential to connect the represented culture to their own in terms of similarities and differences.

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15 Another fictional text where students are given the opportunity to learn more about cultures in Africa where English is spoken, is the Nigerian author Chimamanda Ngozi Adichie’s fictional text Who Can You Trust? included in Solid Gold 1. While this fictional text focuses more on the American culture, it is written from the perspective of a Nigerian woman who moves to the US in order to study. In the text, Ngozi Adichie mentions another language besides English which some Nigerian people speak, namely Igbo, as well as different meals common in Nigeria. Although neither Igbo nor the different meals are thoroughly explained or defined in the text, it invites students to deepen their knowledge of Nigerian culture by introducing several aspects of it. The protagonist in the story experiences an unfamiliarity to African immigrants in the

American peers which she encounters. These peers ask about the availability of cars in Nigeria, whether Nigerians live in houses or not, as well as how the protagonist has learned English (p. 98). Even though such questions might carry prejudice and show signs of a mixture between ignorance and arrogance, by including a fictional text containing a discussion of prejudiced thoughts, Hedencrona et al. (2014) problematise the perceived ideas of African and Nigerian culture which upper secondary school students in Sweden might have. Furthermore, the syllabus for the subject of English in Swedish upper secondary school states that the students shall be given opportunities to develop interest and curiosity in language and culture through teaching English (SNAE, 2012, p. 1). Therefore, by challenging students’ potential preconceived ideas of what Nigerian culture consists of, they are provided with the opportunity to develop the

curiosity, as well as receive information about societal issues and cultural features in an English-speaking country.

8.2. Representation of Indian culture

Similar to the lack of presence of African cultures in the fictional works included in both

Blueprint A 3.0 and Pick & Mix 1, the representation of cultures from the Indian subcontinent in

the three coursebooks is limited. Although Pakistan, Bangladesh, India, and Sri Lanka all share English as an official language, Indian culture is the only one to be represented in any of the coursebooks. Compared to African cultures, however, Solid Gold 1 is not the only coursebook including Indian culture in literary texts, as Pick & Mix 1 briefly mentions stereotypical

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16 behaviour of the Indian people. However, yet again, Blueprint A 3.0 does not include any

fictional text discussing Indian culture.

Hedencrona et al. (2014) have opted to include an extract from the famous novel Q&A written by Indian writer Vikas Swarup (2005) in Solid Gold 1. The novel has perhaps become even more well-known through the film adaptation named Slumdog Millionaire from 2008. Although the extract from the novel does not necessarily contain many references to Indian culture for the students to explore, if the information is put in a context of postcolonialism there are several things to discuss and reflect on. For example, the main protagonist’s name is Ram Mohammad Thomas, which constitutes a heritage of many historical influences. As Bhabha (1994) argues, in order to understand contemporary societies, as well as the aftermath of colonialism, both

individual and societal identities must be analysed and problematised (p. 2). Therefore, by analysing the protagonist’s name, a deeper understanding of the contemporary Indian society may be developed. Arguably, the students working with the fictional text might not be able to put the name of the character in a postcolonial context, however with the support of the teacher, this text could provide the students with insight in Indian culture and identity. Since this exact extract from the fictional text is included, it serves as a function by inviting the students towards a deeper understanding of said culture. Furthermore, the character which the protagonist

introduces himself to comments on the name, stating that the name “expresses the richness and diversity of India” (p. 56). This indicates that the character has embraced the British colonial past, as well as the aftermaths of the Muslim Mughal Empire, and acknowledges the impact these previous empires have had on the Indian people and their identities. According to Lukin (2008), language arts teachers have many responsibilities while working with literary texts. Lukin argues that a literary text “can be studied in different ways, but no matter how teachers approach it, at some point they will be involved in helping students … to an interpretation of the work” (p. 84). The potential to further analyse this extract from Q&A is therefore highly

dependent on the teacher, and to which extent they may work with it. The representation and portrayal of Indian culture in this context carries further possibilities to provide the students with the opportunity to gain an in-depth understanding of Indian culture and society.

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17 Indian culture is briefly mentioned and discussed in the chapter “Culture Shock” (pp. 27-46). In comparison to the fictional text discussed above, there is not much space for interpretation and inference in the short comments regarding India and Indian culture in the text. However, the information given throughout the text provides the students with a deeper understanding of the potential cultural differences in the context of experiencing Indian culture. The fictional character David West states that the way to greet an Indian is by pressing your hands together, bowing, and saying namaste (p. 30). The coursebook showcases cultural features which might differ from typical Swedish behaviour and culture, which strengthens the students’ abilities to adapt to and understand common practices in parts of the English-speaking world. The character Aisha Chandra further explains the typical view on casual clothing, even in formal settings where Swedish and Indian people are different in their approach. Chandra writes that in Europe people have worn shorts in the office and workspace, and states that it would be unthinkable in India (p. 31). Furthermore, the text also mentions the lack of beef hamburgers in India, and the reason behind it (p. 32). Evidently, compared to the extract used in Solid Gold 1, the information included in the text used in Pick & Mix 1 is significantly more direct in the conveyance of Indian culture and behaviour. The authors have included many parts of Indian culture which are not similar to Swedish culture. However, it is important for the teacher to explain that while there are several differences, Swedes also share cultural features with the Indian people. Otherwise, there is a risk that the students will adopt an ostracizing view of Indian culture when the purpose of the text is supposedly to educate and promote the multicultural classroom rather than enforce

segregation.

8.3. Representation of American culture

Compared to the other geographical areas of the English-speaking world, American culture is included, represented, discussed, and portrayed the most in all the three coursebooks analysed in this study. For example, Blueprint A 3.0 has dedicated an entire chapter on American societal issues and cultural features called “Black Lives Matter”. Furthermore, although the present study aims to solely analyse the representation of culture in fictional works included in the

coursebooks, American culture tends to be present in the majority of non-fictional texts as well. The dominance of American culture throughout the three coursebooks provides additional

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18 insight to a potential shift in what parts of the English-speaking world that is most relevant to teach about in the English 5 course in Swedish upper secondary school.

Through the fictional character Bonnie Martinez, Phillips and Phillips (2020) authored a written letter in Pick & Mix 1 explaining how American schools are structured (pp. 12-13). Martinez acts as an expositional character and explains such things as at what age students starts going to high school, what sort of subjects are taught, as well as some rules connected to cell phones and dress code. Furthermore, Martinez also explains potential tuition and the cost of attending high schools in general in the US. The fictional text provides thorough information to the readers about the structure of American schools, while at the same time showcasing differences compared to Swedish schools. By including this text, students are able to gather information about societal conditions in the US and reflect on them. According to Fang and Schleppegrell (2008) engaging students as readers across different subject areas within English teaching is a matter of social justice, arguing that in order to develop students into effective democratic participants in modern society, it is necessary to provide them the possibility to evaluate and reflect on the contents of texts (pp. 9-10). Education and its differences in structure in other parts of the world are

fundamental in order for students to develop a deep understanding of another society, as well as engaging in democratic values that transcend national and cultural borders.

When showcasing typical behaviours and associations to American culture, Solid Gold 1 and

Pick & Mix 1 both include fictional texts which explain the typical social and outgoing nature

that they proclaim most Americans share. However, there is a distinct separation between the coursebooks in what characteristics of the American culture are portrayed. In Pick & Mix 1, the reader is taught the forwardness of Americans via comments on a fictional forum for travelling (pp. 30-32). In those comments, a character named Heidi Brown explains that Americans are typically expected to vocalize whatever they think and avoid any potential confusion by being silent (p.31). Although the comparison is between Japanese people and American people, the authors have chosen to include another commentator continuing Brown’s comment. Jean Montague, presumably also of American origins, mentions Swedish people as being even more reserved than the Japanese. Montague argues that Swedes, compared to Americans, are severely

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19 asocial and boring (p.31). The text follows the perspective of American people problematizing the characteristics of other cultures around the world. Through the fictional characters comments, the discrepancy in American and Swedish cultures are shown, providing cultural information in parts of the English-speaking world.

Compared to the previous example of showing the American perspective on cultural differences,

Solid Gold 1 includes a fictional text written by Iva R. Skoch (2010) called So Where You From?, where the European perspective is focalized. The reader follows the perspective of an

immigrant to the US from the Czech Republic dealing with outgoing Americans. The narrator yearns for the anonymity available in Europe as she constantly ends up in conversations and small talk instigated by the Americans she encounters (pp. 28-29). Similar to the text in Pick &

Mix 1, this example showcases the overtly social tendencies of Americans compared to the

asocial characteristics of Europeans. Again, students are provided with an example highlighting cultural differences and offer them the possibility to reflect on American culture, as well as Swedish culture. Although from which perspective the message is conveyed has changed

compared to the example in Pick & Mix 1, both fictional texts enable the students to get a deeper understanding of differences in cultures. However, since the discrepancy of portrayal is notable through a comparison between the two coursebooks, it is important to mention that the literary texts generalise the behaviour of Americans and Europeans. Therefore, there is a possibility of enforcing a view on culture through binarism instead of the interculturality, and transcending of national and cultural borders, which the curriculum aims to institutionalise.

On page 205 in Blueprint A 3.0, Lundfall and Nyström introduce a chapter called “Black Lives Matter” by shortly describing the problem of racism in America and mentioning that racial conflicts and racial inequalities “have continued to be vital parts of American history” (p. 205). This chapter is the only one in all three coursebooks where racism is explicitly discussed and a topic of all fictional works within. The inclusion of a whole chapter about the emancipation of African-Americans enables the students to form a deeper understanding of the history and culture of a country like the US, a country which is a part of the English-speaking world, and therein one of the most influential countries in the whole world. Regarding the inclusion of

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20 working with countries where English is used, the syllabus for the subject of English in Swedish upper secondary school mentions that the students should be given the opportunity to develop “[t]he ability to discuss and reflect on living conditions, social issues and cultural features in different contexts and parts of the world where English is used” (SNAE, 2012, p. 2).

Undoubtedly, by integrating a chapter discussing societal issues in one of the major English-speaking countries, the coursebook fulfils some of the demands of the syllabus for English 5. In order to let the students learn about the different perspectives regarding the emancipation, as well as its causes and aftermath, the authors incorporate fictional works which educate and enable reflection of the topic and issues surrounding it. The fictional works included in the chapter range from poetry called “Strange Fruit” made by Lewis Allan (1937) talking about the lynching of African-Americans in the southern parts of the US, to the script of the film American History

X by David McKenna (1998) where the students follow the perspective of the character Derek

Vineyard who is portrayed as a white supremacist. The dedication of a whole chapter to a specific societal issue signifies the importance of the subject and the discussion of it. Although the issue may be significantly relevant to American culture, and the historical context of the country, the problem is not limited to one culture or one geographical area. This raises the question as to the decision of not including a discussion in the coursebook regarded to racism in other parts of the English-speaking world. Nevertheless, the chapter gives extensive information regarding the topic, and enables a nuanced overview of a large part of American culture.

Another American societal issue that is present in most debates, nonetheless the presidential debate, is the question of consumerism and pollution. Via a fictional persuasive essay written by the main character in a novel called Destroy All Cars by Blake Nelson (2011), Solid Gold 1 provides students the opportunity to engage in a discussion regarding extreme pollution from motorized vehicles and superfluous consumption. Through the extract from the fictional text, the perspective of social issues, living conditions, and cultural features in the US are debated,

explained, and criticized. The main character writes that he understands that the American economy is “based on the production and consumption of USELESS CRAP” (p.88). Although the text is highly critical of American culture, and since exposing students with a denouncement

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21 of said culture might enforce a critical view on it, it is important to be aware of the drawbacks of, for example, the modern motorized society which the US is a representative country of.

Furthermore, by including this text in the coursebook, the authors both confirm the stereotypes of Americans owning non-environmental cars, and the obsessive purchases of new products, while also problematizing the tendencies of globally persuading the American lifestyle. Though the character is fictional, the issues of pollution are conveyed to the readers, creating the possibility to conduct a comparison between Sweden and the US and their respective cultural and societal features in the classroom.

The representation of American culture in fictional texts varies significantly between the three coursebooks in several different ways. The societal issues mentioned in Pick & Mix 1 generally refer to the behaviour of the American people, while Blueprint A 3.0 references major parts of contemporary, as well as historical, issues of the American society. Furthermore, as Blueprint A

3.0 designated an entire chapter on the African-American emancipation, the effects on cultural

representation changes drastically, especially of American cultural representation. Comparatively to the other two coursebooks, Solid Gold 1 varied in ways of expressing and discussing

American culture. However, since it included many more different fictional texts, more material was available for analysis. Nevertheless, it has become evident that American culture is

extensively worked with through each coursebook, and the depth of which the texts included in them portray American culture, is significantly more widespread than any other part of the English-speaking world.

In the digital world where the majority of Swedish adolescents are able to connect to the Internet every day, the influences of the US through social media and other platforms may persuade the decisions in which fictional text to include in the coursebooks. Furthermore, as noticeable by the inclusion of American History X (David McKenna, 1998), Hollywood and the American film market have the possibility to affect what sort of fictional literature to include. This would coincide with the argument that the motivation to learn and study is enhanced by the content of what students may relate to (Becker et al., 2010, pp. 774-775). Nevertheless, there is a limitation

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22 to the amount of fictional works to include in a coursebook, and as such a conscious choice of which text to use must be made.

8.4. Representation of British and Irish cultures

Since both Ireland and the United Kingdom of Great Britain and Northern Ireland (UK) are situated on the British Isles, and the fact that Ireland among many other parts of the world has previously been under British rule, both Irish culture and British culture are categorized under the same subheading. Like the lack of African and Indian cultures featured in the fictional literary works of the three coursebooks analysed, the representation of Irish culture is barely present at all. Neither Blueprint A 3.0 nor Pick & Mix 1 showcases any parts of the Irish culture in their books. British culture is the only culture, apart from American culture, to be represented in each of the three coursebooks in fictional texts. However, it has become apparent that

American culture has taken a predominant role as the main subject of study when considering portrayal and representation of a specific culture in the English-speaking world. Subsequently, few fictional texts included in the three coursebooks highlight and focus on British culture.

Yet again, Solid Gold 1 is the only one to include it in fictional works, although the texts do not primarily focus on showcasing Irish culture. However, some linguistic features of Ireland and Irish culture are present in the texts. The short story “Grainne”, written by Gareth Eoin Storey (2008), features two Irish children experiencing love for the first time. While the story does not extensively showcase many parts of the Irish culture, the way that the language is written constitutes a cultural twist to the English language. For example, the way that the author writes dad, by simply writing ‘da’, portrays a dialectical change, and thus shows the students a typical variation in language which many other countries have. Much like the way teachers may enhance the work done with the extract of Q&A discussed regarding Indian cultural representation, the linguistic features of the text written by Eoin Storey have the possibility to create a greater understanding of English as a language in parts of the English-speaking world. According to Mesthrie (2009), dialects and changes in language may also imply a rejection to the previous or current oppressor (pp. 326-328). Furthermore, the distinction in language could represent a

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23 purposeful separation from the previous colonisers’ language which was imposed on Ireland. Although this fictional work does not include many signs towards a rejection of the English language, the text may act as a gateway to further linguistic discussions as aspects of a culture. Of course, this may be witnessed in other parts of the English-speaking world as well, which should be taken into consideration when analysing literary works based on a postcolonial

perspective. Therefore, linguistic features of fictional literary works could signify another way to interpret historical contexts and cultural representation.

In Blueprint A 3.0 an extract from the novel The Children Act by Ian McEwan (2014) is included where the reader follows a moral dilemma regarding life or death connected to religious beliefs. The novel contains several characters arguing for the dismissal of the religious belief in order to save the patient, who is a part of Jehovah’s Witnesses. In the extract, the students are presented with, on the topic of religion, words such as “Anglican” and “Church of England” (p. 132). Both through its historical context, and to analyse contemporary British culture, learning about what Anglican religion means and how it has defined the British people, either forcefully or willingly, is a gateway to gain more knowledge of British culture as a whole. Furthermore, in order to analyse different aspects of cultures, and for students to reflect on the content, it is necessary to provide them with the required information needed to fully explore, and understand, a culture and how it is represented in a fictional text. Therefore, similarly to “Grainne” and Q&A, the fictional text is only able to thoroughly portray British culture when the students are provided with the societal context of the information given in the text.

While the lyrics follow the discussion of religion from the previous example, Imagine by John Lennon, co-written by Yoko Ono in 1971, is one of the most iconic and praised songs of all time. The lyrics in themselves might not express British culture, however they represent societal issues relevant to all countries of the English-speaking world. The history of the British Empire, as well as the UK, has consisted of many years at war, the British people have witnessed religious turmoil, and the country has experienced times of wealth and poverty. It is, like with all cultures, challenging to understand British culture without considering historical events and processes. The wars, hunger, and killing which Lennon and Ono mention are perhaps not directly connected

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24 to Britain’s history, however these words should be contextualized by the history, to understand contemporary beliefs and values. Furthermore, the text provides the students with an opportunity and possibility of reflecting on social issues and living conditions in multiple parts of the world. These lyrics are not necessarily bound to a specific country, making them transnational and relevant for discussion in the English-speaking classroom.

In Pick & Mix 1, in the same reading exercise as the written letter from an American high school student, a fictional written letter from a British boy is included. Therefore, the structure of how information regarding the British school system is conveyed follows the same conventions, while also sharing the implications of exploring a part of the British culture which the students reading the text may relate to. Among other policies and school structures, the letter includes information about school uniforms and dress codes, a part of the British school culture. By its inclusion in this coursebook, it may give the opportunity for Swedish students to reflect on cultural

differences between British and Swedish culture. Nonetheless, students in Sweden may be enticed to discuss and reflect on the particular dress codes which is present in Swedish schools.

9. Discussion

The results of the study showed that several different cultures included in the coursebooks, and the fictional texts in which they are portrayed, could be thoroughly worked with to develop a deeper understanding of different cultural features, societal issues, as well as living conditions in parts of the English-speaking world. Although it might seem obvious that teachers are supposed to support and guide their students in a way that brings out the full potential of the texts, further implications of the expectations of a teacher’s knowledge within the field of historical contexts are highlighted. The fictional texts included in the three studied coursebooks rarely portray cultures in a way which the students are able to analyse the historical implications, contemporary societies, or identities, without relying on prior knowledge or further studies. However, as

Thumvichit (2018) concluded in his study of Thai coursebooks, the coursebook is usually the main tool and reference point for both students and teachers in the EFL classroom. Therefore, it

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25 is of vital importance that the coursebook chosen constitutes both what is expected of the

students, and the content supposed to be included in the syllabus. As Nunan (1993) argues, when teachers select materials, “it is important to match the materials with the goals and objectives of the programme … as well as with one’s learners’ attitudes, beliefs and preferences” (p. 209). Therefore, if the coursebook is thoroughly analysed and selected based on the objectives of the course, it has the possibility to adopt the role of main tool and reference point for both the students and the teacher. If the teacher wishes to educate their students about cultures of the English-speaking world, the coursebook and material should be analysed prior to using it, and the teacher should be aware of how to work with the coursebook properly, to fully utilize its content. Therefore, teachers should also raise their own knowledge of the culture in question, as well as the historical contexts needed to understand the societal issues, cultural features, and living conditions connected to a country or culture.

As the results showed, the coursebooks differed in the way that cultures were represented and portrayed. Solid Gold 1 included more fictional texts portraying different cultures than the other two coursebooks. However, it should be mentioned that Solid Gold 1 is the most extensive coursebooks out of the three regarding length of the book. Nevertheless, the fictional texts that were included showcased a difference in how cultures may be depicted and what aspects of culture relevant to convey to the intended readers. In the case of American culture and its portrayal, there was a notable difference in how some characteristics of the culture were depicted, and how they were conveyed. In Pick & Mix 1, the American commentators on the fictional website were portrayed as both prejudiced and considerate through different characters. However, one character explained that there are expectations of vocalising your thoughts if you identify with American culture, which was also mentioned in Solid Gold 1. What changes is the perspective of who is defining the cultural behaviours and features. This may signify the

difficulties of teaching fiction dealing with aspects of culture. As Châu and Trương (2018) argue, the implementation of culture in language teaching is controversial in terms of strategies and objectivity (p. 103). Therefore, teachers have the ultimate responsibility of acknowledging that different perspectives may imply different outlooks. Fang and Schleppegrell’s (2008) discussion regarding teaching using literary texts, and the intercultural knowledge gained from it, should

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26 therefore be viewed through several perspectives to challenge the subjectivity of teaching about culture. Furthermore, cultural representation and portrayal in fictional texts rarely remain objective in its description. Such discussion is important to lead in the EFL classroom when working with parts of the English-speaking world. Therefore, as Bhabha (1994) argues, how contemporary societies perceive and discuss cultural features and societal issues in parts of the previous colonial areas should be made aware of and problematized accordingly. Through such discussion, students may develop a critical perspective of the contents of literary texts and reflect on the purposes of portraying cultures differently.

10. Conclusion

The results of the present study have further attested to the consensus of previous research that the contents of an EFL coursebook signify and accentuate aspects of the modern multicultural society. Through the fictional literary texts included in the coursebooks, students are able to analyse and reflect on the differences and similarities of cultures around the world where English is used. Thus, they are given the opportunity to develop their intercultural knowledge, which meets some of the requirements of the Swedish curriculum regarding the globalized world (2013). Furthermore, the study has emphasised the complexity and diversity of teaching and learning EFL. It has become evident that being able to analyse a coursebook is an important part of being a teacher. By analysing the coursebook, a critical perspective on its use and significance may help teachers reflect on its potential. In the case of further studies on the subject, the

analysis of the complete series of Blueprint 3.0, Pick & Mix, and Solid Gold may indicate that there is a difference in geographical focus areas depending on which instalment. For example,

Blueprint B 3.0 may include several fictional texts where Indian culture is represented and makes

up for its lack of appearance in Blueprint A 3.0. Therefore, a complete study of all parts of the series would further showcase and discuss cultural representation in Swedish EFL coursebooks. Furthermore, a study of all typographical texts, instead of focusing solely on fiction, would add to the diversity of cultures represented and discussed in the coursebooks, and would perhaps show different outcomes to the dispersity of texts included.

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