Wednesday, October 27, 2010

Kate (C7-8-9)

and Jon (C4-5-6)

5 Categories of Children's Responses

AnalyticalIntertextualPersonalTransparentPerformative

Construct narrative meaningStructure and meaning of verbal textIllustrations and sequenceRelationship between text and illustrationVisual codesTraditional narrative elements

Setting, characters, plot, theme“Made object” and/or cultural productSpecific language useIllustration design and semiotic usageRelationship between fiction and reality

Making Narrative MeaningMaking Narrative MeaningTraditional narrative elements

Setting, characters, plot, themePredictionsProvide alternative endings or changes for textQuestion text/author…why?

Peritextual AnalysisPeritextual AnalysisPortions of the book OTHER than the viewed double-

page spreadsImportance of time and opportunity

Peritextual AnalysisPeritextual Analysis

Peritextual AnalysisPeritextual Analysis

Peritextual AnalysisPeritextual Analysis

Peritextual AnalysisPeritextual Analysis

Peritextual AnalysisPeritextual Analysis

Structural AnalysisStructural Analysis

Common elementsCause-effect relationshipsPredictionAlternate suggestions for the plot

Structural AnalysisStructural Analysis

Chains of Speculative HypothesesChains of Speculative Hypotheses

Predicting what might happen

Trying to account for something that has already happened

Comments often build upon one another

Gaps upon which children build

Analysis of Storybook CharactersAnalysis of Storybook Characters

ActionsEmotionsFeelingsThoughtsIntentionsExternal appearance

Analysis of Storybook CharactersAnalysis of Storybook Characters

Summarizing, Thematic, and Quasi-Summarizing, Thematic, and Quasi-Thematic StatementsThematic StatementsThe author’s “message”

“Why do you think the author…”“What do you think the author wanted to tell…”

ReflectionSummarizing statements

“…to gather many threads of the story together…” p 107

Perception of Flashback & Other Perception of Flashback & Other Narrative Manipulations of TimeNarrative Manipulations of Time“Once upon a time…”Historical fictionFantasies – futureMemoir – present/past

Perception of Flashback & Other Perception of Flashback & Other Narrative Manipulations of TimeNarrative Manipulations of Time

Literary Critical Resistance to StoriesLiterary Critical Resistance to Stories

Self-constructed criteria

Literary Critical Resistance to StoriesLiterary Critical Resistance to Stories

Literary Critical Resistance to StoriesLiterary Critical Resistance to Stories

Discuss author and illustratorEvaluate the work

“I wonder why…”Discuss awards and medals

Interest and/or awareness of features of printAttempts to read textRepeating language of the storyQuestioning meaning of a word/phraseSuggestions for alternate wordingDescribing language/wordingProve a point by referring to the language used

Outside Over There…Mama was in the arbor

Scepter (Where the Wild Things Are)

“The rain has made us new”

Various meanings for the word “riding” when thinking of Little Red Riding Hood

In addition to evaluations made through the transmediation of both text and image

Heavy reliance on illustrations aloneArtistic mediumArrangement of words and imagesComparisons of illustrations within the same text as

well as across versions

Successive posesHorizontal sequenceThe Tunnel by Browne,

1989Alignment of images

Amazing Grace by Hoffman, 1991

Blurred images quick movement

Scaffold a child’s vocabulary provides tools for thought

Point of viewOwl Moon by

Jane Yolen, 1987Pg 122Use of

terminology – foreground

Which is more important – the illustration or text (room for the text)?

Red Riding Hood – Coady and the Perrault

Visual metaphors in illustrations

Lack of participation during read alouds – children drawn into the picture

Pg 125 – comparison to “The Twilight Zone”Speed of reading matches illustrations?Illustrations to interpret textText to interpret illustrations“For the children, then, an important part of the

literary understanding of picture books was an appreciative comprehension of the form and content of the illustrations, and in learning the language of visual analysis, which both enabled and expressed this understanding” (Sipe, 2008, p 126)

Real-life eating to that which happens in a story

Origins and speculations about folk talesResistance to stories where there’s a

perceived conflict between reader’s world and the world of the story G1-2, but not K!

Children are forming a sense of their own world

Rules are forming between fiction and reality “The sky can’t really fall!”

Simultaneous acceptance/rejection of the story world/real word

Shift focus from within text to relationships with other textsLanguage/visual arts – TV, song, billboard, video,

movie, painting, work of peers, clothing“Stories do not stand alone; that stories (as Jane Yolen

puts it) ‘lean on other stories’” (Yolen, 1981; Sipe, 2008).

Unelaborative statement of likeness“That is like ___.”“That reminds me of ___.”

Intertextual associationsDescribing similarities or differences in the texts“It’s just like The Three Little Pigs, except he doesn’t

build his house out of straw” (Sipe, 2008, 132)

“It’s on TV; it’s a place to see singing and dancing” (Sipe, 2008, 132)

Racial analysis with illustrations (Sipe, 2008, 134)

Make generalizations and draw conclusions about sets of storiesFront/back covers (good/bad)Red Riding Hood (Marshall, 1987)Red Riding Hood (Coady, 1991)3 Billy Goats Gruff (Dewan, 1994)

Associative linksAnalytical linksSynthesizing links

Built on each otherNot a clear path or linear experience

1. Interpreted imagines or real personal experiences

“I was in a show at the Apollo…”

Uptown by Bryan Collier

1. Interpreted imagines or real personal experiences

“You, you’re white just like an ice cream cone”

Shades of Black by Pinkney, 2000

1. Interpreted imagines or real personal experiences

Five Little Monkeys

2. Make symbolic interpretations of visual elements of text

“The bird could be watching over the boy, maybe it’s his mother, turned into a bird.”

Fly Away Home by Bunting

3. Assist children to predict what might happen in the narrative

The Hatseller and the Monkeys by Diakite, 1999

Caps for Sale by Slbodkina, 1947

4. Children’s creation and modification of schemata for stories

Criss-crossing or building up our knowledge across cases

FluidContinually changing as new information modifies oldAssimilationAccommodationOpposition of good/evilFrequent changes (metamorphosis) of charactersImportance of conceptualizing genres

5. Connections between illustrations in different texts allowed them to construct and refine their ideas of illustration style

Distinctive styles of various illustrators Eric Carle – collageBrian Pinkney – scratchboard

6. Interpret story characters’ feelings, motivations, or actions

If it’s seen in a book it may be more believable that it could really happen

Amazing Grace by Hoffman, 1991

7. To position themselves above the dynamics of the narrative – to take on new perspectives in relation to the story

Gender roles and reversals Prince Cinders by Cole, 1987 Cinderella by Gladone, 1978 Princess Smartypants by Cole, 1986

8. Other intertextual connectionsHigher levels of interpretive understanding

Literary competence = “the more stories we know, the greater number of critical tools we can bring to bear on any particular story” (Culler, 1975; Sipe, 2008, p147)

Increases level of cognitive abstraction Active engagement – even after hearing 1 variant Quality of intertextual connections increased over

study Not only text (story line) but illustrations

“They all…” Schema-building Alternatives

Objection if story is different than one they’ve already heard

Divergence from familiar language Children learn to modify their schema (after more

exposure) “Text became intertext” (Sipe, 2008, p151).

Layered set of multiple texts Development of authorship and ownership

Ability to relate text to other texts and products

Connection to personal lifeLife TextText Life

Text acts as stimulus for a personal connection

Child (reader) has entered the world of the story and become “one” with it“Oh, yeah, yeah”Speaking under ones’ breath

Entering world of the text to manipulate it toward a personal purposeCreativity or imagination“carnivalesque romp”Sound effects - singingSwaying