L S S L 5830 Summer Power Point


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This is a power point that will give you some background and knowledge about metafiction and other changes in the landscape of literature for children, tweens, and teens.

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L S S L 5830 Summer Power Point

  1. 1. Changing Landscapes<br />Literature <br />and <br />Literacy<br />
  2. 2. Dr. Teri S. Lesesne<br />Sam Houston State University<br />Department of Library Science<br />
  3. 3. Where is the material?<br />www.slideshare.net/ProfessorNana<br />And at my blog at LiveJournal<br />ProfessorNana<br />3<br />
  4. 4.  Sparknotes for Goodnight Moon<br />4<br />  <br />Context<br /> <br />America after the Great War was full of economic prosperity and social upheaval. Margaret Wise Brown, renowned children's book author, made it her life's goal to both comfort the youth of the era and expose the flaws of human advancement through her didactic work. In Goodnight Moon, Brown explores the relationship between a young bunny and his material possessions set against the backdrop of the Cold War. The book was met with critical and commercial success. Margaret Wise Brown's work, which has been translated into countless languages and has sold over 40 million copies, still resonates with children's librarians and counter-culture revolutionaries for its duality as good-natured poetry and allegory of human alienation. <br />
  5. 5. Goodnight Moon<br />5<br />Plot Overview<br /> <br />A bunny says goodnight to the moon and other things. <br />
  6. 6. Goodnight Moon<br />6<br />Summary/Analysis<br /> <br />The book opens as a young bunny prepares for sleep in his bedroom. The first half of Brown's magnum opus is entirely devoted to the contents of "the great green room." As symbolic items such as a "balloon" and a "telephone" are described, our protagonist bunny, oppressively tucked into bed, resists the confines of sleep. Brown gives particular attention to a large number of animals that populate the room: "two kittens with mittens" and a "little mouse." The room also contains a picture of a "cow jumping over a moon" and "bears on chairs." Here, Brown twists our preconceptions of settings—where the internal now is wild, but the external ("the moon" and "the stars") serene. The room full of raging wildlife mirrors the little bunny's desire to throw off his sheets and play.<br />
  7. 7. Goodnight Moon<br />7<br />At the midpoint of her Homeric epic, an antagonist is revealed: "a quiet old lady whispering hush." The bunny, first enthralled by the items, now must face an authority figure desiring quiet in the wild. Succumbing to his Oedipal desire to please his maternal figure, the bunny starts to settle and go to bed. Then, in a process of self-actualization, the young bunny says goodnight to everything both in and out of the room. The climax is realized when the bunny says goodnight to the "old woman who says hush," thereby making his amends and completing his quixotic journey to rid himself of his surroundings. In the denouement, the bunny turns his attention to the outer world in ways not unlike Tom Joad in The Grapes of Wrath. At peace with the loss of his maternal authority figure, the young bunny says goodnight to the moon, whose presence loomed throughout the narrative. <br />
  8. 8. Goodnight Moon<br />8<br />Possible Essay Questions<br /> <br />1) Analyze the scene in which the bunny says goodnight to the lighthouse in relationship with the rest of the book. Cite textual evidence whenever possible.<br /> <br />2) Compare and contrast Goodnight Moon with The Sun Also Rises. Whose sentences are simpler: Brown's or Hemingway's?<br /> <br />3) What have you said goodnight to? Analyze what that says about you. Try not to cry.<br /> <br />
  9. 9. This is NOT the direction we want to see if literacy and literature are going to continue to evolve and change. <br />
  10. 10. What I want to talk about today is not RIGOR (mortis) but CHALLENGE. <br />
  11. 11. Where this all began…<br />
  12. 12. Mashups<br />Blur lines (genre crossing)<br />Re-envision classic (themes)<br />Re-imagine approaches (assessment)<br />
  13. 13. The first dimensional shift has to do with literacy and how it is evolving. Literacy today involves not only text, but also image and screen literacy. The ability to "read" multimedia texts and to feel comfortable with new, multiple-media genres is decidedly nontrivial. <br />GROWING UP DIGITAL<br />John Seeley Brown<br />
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  15. 15.  <br />The developmental psychologist Jerome Bruner made a brilliant observation years ago when he said we can teach people about a subject matter like physics-its concepts, conceptual frameworks, its facts-and provide them with explicit knowledge of the field, but being a physicist involves a lot more than getting all the answers right at the end of each chapter. <br />John Seeley Brown<br />
  16. 16. Decoding vs. Reading<br />
  17. 17. Likewise, we can provide kids with all of the tools and skills of reading but not transform them into readers. Becoming a reader takes more than skills. <br />Me <br />
  18. 18. "Above all, comprehension is the inner conversation that readers have with text." -- Steph Harvey<br />
  19. 19. Why Be Concerned?<br />Recent Research on Reading<br />Common Core Texts<br />Texas Data<br />
  20. 20. Recent Survey Study<br />46% of kids responded that they would benefit from parents spending more time reading with and to them<br />More than 50% of parents reported difficulty getting kids to read outside of school<br />20% of the kids reported hardly ever reading a book; 30% read only occasionally<br />http://tinyurl.com/48mt4g5<br />
  21. 21. Common Core Exemplars<br />Avg. publication dates of Common Core exemplar texts: <br />K-1 1963, <br />4-5 1937, <br />6-8 NF 1895, <br />9-10 1801, <br />HS NF 1897. <br />-- Daniels<br />
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  23. 23. So, how do we change this?<br /><ul><li>Becoming familiar with the landscape
  24. 24. Learning to navigate it with our students</li></li></ul><li>For Example<br />
  25. 25. Or this one…<br />
  26. 26. And these…<br />
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  42. 42. Metafiction<br />http://www.philnel.com/2010/09/04/more-metafiction/<br />
  43. 43. Metafiction<br />http://www.philnel.com/2010/09/04/more-metafiction/<br />
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  45. 45. Video Trailer for It’s a Book<br />http://www.amazon.com/gp/mpd/permalink/m358EIEJ2K6MC1/ref=ent_fb_link<br />
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  56. 56. Interrupting Chicken Book Trailer<br />http://www.youtube.com/watch?v=qQqd1DQUqNk&feature=youtu.be&a<br />
  57. 57. Without losing the importance of “skills” and “college readiness” and all that jazz…<br />Re-examining Texts<br />
  58. 58. Interrogating Texts: <br />6 Reading Habits to Develop in Your First Year at Harvard<br />
  59. 59. 1. Previewing: Look “around” the text before you start reading. <br /><ul><li>What does the presence of headnotes, an abstract, or other prefatory material tell you?
  60. 60. Is the author known to you, and if so, how does his (or her) reputation or credentials influence your perception of what you are about to read? If unknown, has an editor helped to situate the writer (by supplying brief biographical information, an assessment of the author’s work, concerns, and importance)?
  61. 61. How does the disposition or layout of a text prepare you for reading? Is the material broken into parts--subtopics, sections, or the like? Are there long and unbroken blocks of text or smaller paragraphs or “chunks” and what does this suggest? How might the layout guide your reading?
  62. 62. Does the text seem to be arranged according to certain conventions of discourse? Newspaper articles, for instance, have characteristics that you will recognize; textbooks and scholarly essays are organized quite differently from them, and from one another. Texts demand different things of you as you read, so whenever you can, register the type of information you’re presented with. </li></li></ul><li>Applied to Changing Landscape Fiction<br />Text arrangement <br />Knowledge of Author<br />
  63. 63. Applied to Changing Landscape<br />layout<br />conventions<br />
  64. 64. 2. Annotating: “Dialogue” with yourself, the author, and the issues and ideas at stake<br /><ul><li>Mark up the margins of your text with WORDS: ideas that occur to you, notes about things that seem important to you, reminders of how issues in a text may connect with class discussion or course themes. This kind of interaction keeps you conscious of the REASON you are reading and the PURPOSES your instructor has in mind. Later in the term, when you are reviewing for a test or project, your marginalia will be useful memory triggers.
  65. 65. Develop your own symbol system: asterisk a key idea, for example, or use an exclamation point for the surprising, absurd, bizarre . . .. Like your marginalia, your hieroglyphs can help you reconstruct the important observations that you made at an earlier time. And they will be indispensable when you return to a text later in the term, in search of a passage, an idea for a topic, or while preparing for an exam or project.
  66. 66. Get in the habit of hearing yourself ask questions—“what does this mean?” “why is he or she drawing that conclusion?” “why is the class reading this text?” etc. Write the questions down (in your margins, at the beginning or end of the reading, in a notebook, or elsewhere. They are reminders of the unfinished business you still have with a text: something to ask during class discussion, or to come to terms with on your own, once you’ve had a chance to digest the material further, or have done further reading. </li></li></ul><li>Applied to Changing Landscapes<br />
  67. 67. Annotating texts<br />
  68. 68. 3. Outline, summarize, analyze: take the information apart, look at its parts, and then try to put it back together again in language that is meaningful to you. <br /><ul><li>Outlining enables you to see the skeleton of an argument: the thesis, the first point and evidence (and so on), through the conclusion.
  69. 69. Summarizing accomplishes something similar, but in sentence and paragraph form, and with the connections between ideas made explicit.
  70. 70. Analyzing adds an evaluative component to the summarizing process—it requires you not just to restate main ideas, but also to test the logic, credibility, and emotional impact of an argument. </li></li></ul><li>Applied to Changing Landscapes<br />outline<br />analyze<br />
  71. 71. Applying it<br />summarize<br />summarize<br />
  72. 72. Six Word Memoirs Become<br />Six Word Teaser Book Reports<br />
  73. 73. From Mr. See’s class @ Book’gosh<br />Mystery<br />Fantasy<br />Werewolf<br />Love<br />School<br />Fights<br />
  74. 74. 4. Look for repetitions and patterns:<br />These are often indications of what an author considers crucial and what he expects you to glean from his argument. The way language is chosen or used can also alert you to ideological positions, hidden agendas or biases. Be watching for: <br /><ul><li>Recurring images
  75. 75. Repeated words, phrases, types of examples, or illustrations
  76. 76. Consistent ways of characterizing people, events, or issues</li></li></ul><li>Examples from Changing Landscapes<br />Recurring words, phrases<br />Recurring images<br />
  77. 77. Application<br />repetition<br />repetition<br />
  78. 78. 5. Contextualize: After you’ve finished reading, put the reading in perspective. <br />When was it written or where was it published? Do these factors change or otherwise affect how you view a piece? <br />Also view it through the lens of your own experience. Your understanding of the words on the page and their significance is always shaped by what you have come to know and value from living in a particular time and place. <br />
  79. 79. Some Examples from New Books<br />Milieu OF the text<br />Transaction with Text<br />
  80. 80. Putting it in context<br />
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  82. 82. 6. Compare and Contrast: Fit this text into an ongoing dialogue<br /><ul><li>At what point in the term does this reading come? Why that point, do you imagine?
  83. 83. How does it contribute to the main concepts and themes of the course?
  84. 84. How does it compare (or contrast) to the ideas presented by texts that come before it? Does it continue a trend, shift direction, or expand the focus of previous readings?
  85. 85. How has your thinking been altered by this reading or how has it affected your response to the issues and themes of the course? </li></li></ul><li>Reading Ladders<br />
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  94. 94. Picture books that challenge readers<br />A Starting Place<br />
  95. 95. Skills and concepts<br />Teachable Moments<br />
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  99. 99. Parody<br />Must know what is being parodied<br />
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  104. 104. Perspective<br />More than one way to tell the story<br />
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  108. 108. http://teacher.scholastic.com/products/tradebooks/videocenter/index.htm?bcpid=326025746001&bckey=AQ~~,AAAAAFv844g~,BASb5BU03X_snhKHxBqPjQh5fJeKd4Q2&bclid=326095584001&bctid=761250237001<br />
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  112. 112. Different literature demands differentassessments, too.<br />Come to the Clouds!<br />
  113. 113. Stories from the Cloud<br />http://storiesfromthecloud.blogspot.com/p/about.html<br />
  114. 114. Study Stack: Flash Cards<br />http://www.studystack.com<br />
  115. 115. What would flash cards be for…<br />
  116. 116. Flash Cards<br />
  117. 117. Other Alternatives<br />Googlemaps—create maps and mark where events occur. Great for HF but can be used with other genres.<br />Timetoast–create timelines. Good for bio and historical fiction<br />Voicethread<br />Animoto<br />Prezi<br />Wordle<br />
  118. 118. Google Maps<br />
  119. 119. Map it out!<br />
  120. 120. Timetoast<br />
  121. 121. WWI Timeline<br />http://www.timetoast.com/timelines/15255<br />
  122. 122. Voicethread Poe<br />
  123. 123. Voicethread<br />http://voicethread.com/community/library/7th_Grade_from_Amy_Cobb_2/<br />
  124. 124. Voicethread<br />
  125. 125. Animoto<br />http://animoto.com/play/fb5sGbxNCazNwl8EKPUNLA<br />
  126. 126. Book Trailers for All<br />http://booktrailersforall.com/<br />
  127. 127. Xtranormal<br />http://www.xtranormal.com/makemovies/<br />Have Katniss meet Viola or Todd meet Peeta. How about Edward Cullen meets Vlad?<br />
  128. 128. Prezi<br />Here’s one for Canterbury Tales<br />http://prezi.com/ays6pynvaqt3/<br />canterbury-tales/<br />
  129. 129. Wordle<br />
  130. 130. Steal It, <br />Tweak It, <br />Make It your Own<br />Borrow ideas<br />
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  141. 141. One Bookfour hands<br />Paul Hankins, <br />Indiana High School Teacher<br />
  142. 142. Premise and Process<br />Older students select picture book to share with sibling, younger students<br />After the shared reading the pair of readers create a project to reflect the book<br />Consider what possible projects might arise from the following books.<br />
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  147. 147. Ugly book contest<br />Suzanne Metcalfe, <br />Alaskan Librarian<br />
  148. 148. Premise and Process<br />Students select books with ugly covers (see some of the following for examples).<br />Students create new covers for the books. They can work individually or in groups.<br />Covers are laminated and displayed next to the “ugly” ones. Classes can vote on favorites.<br />
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  151. 151. Final Poem to Consider<br />
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