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Crossover picturebooks and intergenerational communication

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by Sofia Gravriilidis

by Sofia Gravriilidis

Published in: Education, Business

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  • 1. Transforming the educational relationship: Intergenerational and family learning for the lifelong learning society 24-25 October, Bucharest, Romania Crossover picturebooks and intergenerational communication Sofia Gavriilidis Aristotle University of Thessaloniki sgavr@nured.auth.gr
  • 2. Wilfrid Gordon McDonald Patridge Mem Fox, Julie Vivas, 1984
  • 3. Children’s literature, child, adult  Children’s literature is created for children  The whole process of creation, promotion and distribution belongs to adults  Many adults enjoy reading children’s books  Many children’s books address children and adults alike.
  • 4. By L. Shanklin on October 3, 2001 Format: Paperback For anyone struggling to love and care for individuals suffering from Alzheimer's, this short book can facilitate the release of tears, as well as bring hope and comfort. review Aug 06, 2011 Melissa added it Shelves: picturebooks This may just be my favorite picture book ever. I discovered it during grad school when I worked at a children's bookstore, and it was love at first read. I don't think I have ever once read it without tearing up. When I read it to the littles yesterday, Scott had to step in near the end when I was too choked up to speak. It's a beautiful book, and true in the way that sometimes only fiction is.
  • 5. Children’s literature, child, adult A book is not addressed to children only if: - it speaks about social depravity, homosexuality or the Holocaust - it reminds us that You are Only Old Once - it has a philosophical content and deals with the profundities of life: How to live forever - it draws his material from popular stories and infuse them with different meanings.
  • 6. Child, adult and Crossover Children’s Literature Many books for children  cross over to adult reader and this is done on a very conscious level  can communicate with both age readerships despite the fact that each age group communicates with books in a different way (Beckett, 2009; 2012)
  • 7. What is Crossover Picturebook?  in picturebook words and images are interdependent  the meaning can only be made by combining the two levels of narration: visual and verbal  it employs innovative techniques  it uses parody and irony  it defies conventional norms and codes that have traditionally prevailed in illustrated books for children  it creates multiple levels of interpretation
  • 8. Why Crossover Picturebook?  “picturebooks offer a unique opportunity for collaborative reading between children and adults, they empower the two audiences more equally than any other narrative form” (Beckett, 2012; Scott, 1999)
  • 9. Why Crossover Picturebook? It is a suitable educational material for all ages:  It stimulates higher order thinking because of its social, political, cultural and historical references  It covers a large number of relevant themes: discrimination, aging, demographics, competition, game theory, migration etc  It can be used for college level economics  It can be used for the teaching of foreign languages to adults  It is a perfect tool for illuminating science topics: it triggers a deeper understanding of a single concept in short time
  • 10. The Stinky Cheese Man and other Fairly Stupid Tales Jon Scieszka, Lane Smith,1992  It is a collection of a retelling of twisted parodies of classic fairy tales  It defies literary convention and stereotypes in narrative structure using a series of humorous twists and turns  It is a picturebook that subverts the conventional
  • 11. Jack, of the Jack and the Beanstalk:  is the narrator  tells his own version of some very familiar stories  undertakes the set up of the book and makes sure that the thread binding all retellings remains unbroken  can speak with the characters of the book
  • 12.  The hasty Little Red Hen begins her story before the reader even reaches the title page.  She asks questions about ISBN of the book: “Who is this ISBN guy”?
  • 13.  The Table of Contents is found somewhere inside the pages of the book, making Jack’s work more difficult  But it is also Jack who moves the endpaper to the interior of the book: I moved the endpaper up here so the Giant would think the book is over
  • 14. Everything in this book: Content Rapport with the characters Peritextual elements Printing elements Ending carry humorous new, different and/or surrealistic meanings.  Everything brings the opportunity to rethink the same stories with new dimensions and re-evaluate the world we live.  When conventional practices or set perceptions are questioned, old ideas are infused with new ones.
  • 15. After reading the book we can discuss with the children and ask them about:  What obstacles the characters had to face?  If they were able to overcome them and  What choices did they make?
  • 16. Crossover Picturebook  Can be used as medium for intergenerational communication  Can offer an equally interesting reading experience to adults  Can be used as educational material  Can be used as a medium that can enjoy them.
  • 17. “Infantilization” of adults or “adultization of children and young adults”?
  • 18. Thank you for attention
  • 19. Bibliography           Beckett, S. L. (2012). Crossover Picturebooks: A Genre for All Ages. New York: Routledge. Beckett, S. L. (2010). Crossover Fiction: Creating Readers with Stories that Address the Big Questions. In M. Sim & D. Sim (Eds). Formar Leitores para Ler o Mundo (pp. 65-76). Lisboa: Fundacão Calouste Gulbenkian. Beckett, S. L. (2009). Crossover Fiction: Global and Historical Perspectives. New York & London: Routledge. Bloem, P. (2012). Research to Practice: Bringing Children’s Books to Adult Literacy Classrooms. Retrieved 2 May from the Ohio Literacy Resource Center website: http://literacy.kent.edu/Oasis/Pubs/0200-12.htm Carr, K.S., Buchanan, D.L., Wentz, J.B., Weiss, M. L., & Brant, K. J. (2001). Not just for the primary grades: A bibliography of picture books for secondary content teachers. Journal of Adolescent & Adult Literacy, 45, 146-153. Falconer, R. (2009). The Crossover Novel: Contemporary Children’s Fiction and Its Adult Readership. New York & London: Routledge. Kanatsouli, M. (2000): Ideological Dimensions in Children’s Literature [in Greek]. Athens: Typothito. Lewis, D. (2001). Reading contemporary picturebooks: picturing text. London & New York: Routledge. Miller, B., & Watts, M. (2011). Oh, the Economics You’ll Find in Dr. Seuss!, The Journal of Economic Education, 42(2), 147-167. Martinez, M., Roser, N., & Harmon, J. M. (2009). Using Picture Books with Older Learners. In Karen, D., Wood, & W. E. Blanton (Eds.), Literacy Instruction for Adolescents: Research-Based Practice (pp. 287 – 306). New York: Guilford Press
  • 20. Bibliography         Nikolajeva, M., & Scott, C. (2006). How Picturebooks Work. London & New York: Routledge. Sharp, P. A. (1991). Picture books in the adult literacy curriculum. Journal of Reading, 35(3), 216-219. Shavit, Z. (1999). The Double Attribution of Texts for Children and How It Affects Writing for Children. In S. L. Beckett (Ed.), Transcending Boundaries. Writing for a Dual Audience of Children and Adults (pp. 83-97). New York: Garland Publishing. Sipe, L. R. (2010). Peritext and Page Breaks: Opportunities fro Meaning-Making in Picturbooks. In In M. Sim & D. Sim (Eds). Formar Leitores para Ler o Mundo (pp. 3356). Lisboa: Fundacão Calouste Gulbenkian. Sipe, L. R. & McGuire, C. (2006). Picturebook Endpapers: Resources for Literary and Aesthetic Interpretation. Children’s Literature in Education, 37(4), 291-304. Scott, C. (1999). Dual Audience in Picturebooks. In S. L. Beckett (Ed.), Transcending Boundaries. Writing for a Dual Audience of Children and Adults (pp. 99-110). New York: Garland Publishing. Wolfenbarger, C. D., & Sipe, L. R. (2007). A Unique Visual and Literary Art Form: Recent Research on Picturebooks. Language Arts, 83, 273-280. Yannikopoulou, A. (2010): Ideological Aspects in Illustrated Children’s Books. In G. Papantonakis, & D. Anagnostopoulou (Eds.), Authority and Power in Children’s and Young Adult’s Literature [in Greek] (pp. 165-173). Athens: Patakis.