Songul Dogan Ger: Developing Students’ Cultural Diversity Awareness and Intercultural Communicative Competence in English Classes
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7 The Place of Culture in Teaching Materials Used in an International School in Budapest – Data Source 3: Teaching Materials Analysis
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7.3 Findings
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7.3.1 Types of Culture

7.3.1 Types of Culture

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The analysis of the selected fiction, nonfiction, and poetry teaching materials revealed a consistent emphasis on the target culture, with more limited engagement with international cultures. In the Year 5 materials, fiction units were primarily grounded in British literary works, such as Goth Girl and stories by Rudyard Kipling, with supplementary references to American media (e.g., Scooby-Doo, The Nightmare Before Christmas) to support the Gothic fiction theme. International elements appeared sporadically, through mentions of mythological figures (e.g., Zeus), geographical references (India, Africa), and non-Western names or words—though rarely with accompanying explanation or tasks. In contrast, the nonfiction materials offered a richer depiction of international perspectives, particularly through a narrative on immigration from Trinidad, contextualised with historical references to the Windrush generation and the Cornish diaspora. Maya Angelou’s poem and the inclusion of Black history within the poetry units also provided glimpses into diverse cultural experiences, albeit still framed within a UK-US axis.

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In Year 6, a similar pattern emerged: fiction materials heavily featured canonical British literature, notably Shakespeare and Morpurgo, with international cultures introduced more substantively through nonfiction. Tasks such as researching WWII across different countries invited comparative cultural engagement, and materials included statistical data on France, Egypt, and Bangladesh. Poetry units echoed the target-culture bias but included topical issues such as the Black Lives Matter movement. References to international cultures remained limited and were often anecdotal or symbolic (e.g., a boy building a mosque during Ramadan).

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Year 7 materials further entrenched the target culture, drawing on classic British authors such as Shakespeare, Shelley, and Swift. While international content was occasionally introduced—e.g., Greek mythology, Egyptian history, and Japanese culture—these appeared as isolated mentions. A more meaningful inclusion occurred in nonfiction units exploring language families and world languages, which allowed for broader cultural reflection. Yet again, cultural depth was reserved for the British context.

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By Year 8, sociopolitical issues gained more prominence. Fiction units such as Blood Brothers and extracts from African American literature brought attention to class disparities and racial injustice. Nonfiction topics included Brexit and environmental disasters in the UK, with India and Iraq introduced primarily through critical issues—child labour and war. These representations fostered surface-level exposure to international cultures but lacked a nuanced engagement with their literary or cultural heritage.

Jegyzet elhelyezéséhez, kérjük, lépj be.!

The Year 9 materials continued this trend. While texts such as Much Ado About Nothing and Of Mice and Men enabled students to explore historical periods and social norms, the broader cultural contexts remained narrowly framed around Britain and the US. A brief mention of Zimbabwe in relation to animal rights, for example, lacked any cultural anchoring or tasks to extend understanding. Similarly, nonfiction texts centred on British figures and achievements, reinforcing the dominant cultural narrative.

Jegyzet elhelyezéséhez, kérjük, lépj be.!

Year 10 fiction materials followed a comparable path. Shakespeare’s Macbeth was complemented by George Orwell’s Animal Farm, with strong contextualisation of British culture. However, international cultures featured more meaningfully here, especially through the exploration of totalitarianism, communism, and WWII history. The analysis of related political ideologies provided students with opportunities to connect literature with global sociopolitical realities. Even so, the nonfiction materials remained largely UK-focused. Topics such as hate speech and climate change were presented within a British framework, limiting intercultural comparisons.

Jegyzet elhelyezéséhez, kérjük, lépj be.!

Across all year levels, the materials were designed to develop reading, writing, listening, speaking, grammar, and vocabulary. However, they also played a key role in fostering students’ CDA and ICC—particularly through literature. By situating texts within their historical and social contexts, the materials encouraged learners to explore values, identities, and cultural differences. That said, the overrepresentation of the target culture constrained the intercultural scope of learning. Opportunities to deepen CDA and ICC through sustained engagement with international cultures—especially those beyond Anglophone contexts—were often missed.

Jegyzet elhelyezéséhez, kérjük, lépj be.!

Overall, while the materials supported language and cultural development, the dominance of British cultural content limited the intercultural balance. To fully cultivate CDA and ICC, teaching resources should more deliberately integrate international cultures and perspectives, enabling learners to move beyond familiarity and engage critically with global diversity.
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