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Sipe - Part II - Presentation Notes

Originally a PowerPoint Presentation, but hopefully you can still use the text even though some slides have multiple images on top of one another (as they appeared) in our original presentation.

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Sipe - Part II - Presentation Notes

  1. 1. Wednesday, October 27, 2010 Kate (C7-8-9) and Jon (C4-5-6)
  2. 2. 5 Categories of Children's Responses Analytical Intertextual Personal Transparent Performative
  3. 3. Construct narrative meaning Structure and meaning of verbal text Illustrations and sequence Relationship between text and illustration Visual codes Traditional narrative elements  Setting, characters, plot, theme “Made object” and/or cultural product Specific language use Illustration design and semiotic usage Relationship between fiction and reality
  4. 4. Making Narrative MeaningMaking Narrative Meaning Traditional narrative elements Setting, characters, plot, theme Predictions Provide alternative endings or changes for text Question text/author…why?
  5. 5. Peritextual AnalysisPeritextual Analysis Portions of the book OTHER than the viewed double- page spreads Importance of time and opportunity
  6. 6. Peritextual AnalysisPeritextual Analysis
  7. 7. Peritextual AnalysisPeritextual Analysis
  8. 8. Peritextual AnalysisPeritextual Analysis
  9. 9. Peritextual AnalysisPeritextual Analysis
  10. 10. Peritextual AnalysisPeritextual Analysis
  11. 11. Structural AnalysisStructural Analysis Common elements Cause-effect relationships Prediction Alternate suggestions for the plot
  12. 12. Structural AnalysisStructural Analysis
  13. 13. 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
  14. 14. Analysis of Storybook CharactersAnalysis of Storybook Characters Actions Emotions Feelings Thoughts Intentions External appearance
  15. 15. Analysis of Storybook CharactersAnalysis of Storybook Characters
  16. 16. Summarizing, Thematic, and Quasi-Summarizing, Thematic, and Quasi- Thematic StatementsThematic Statements The author’s “message” “Why do you think the author…” “What do you think the author wanted to tell…” Reflection Summarizing statements “…to gather many threads of the story together…” p 107
  17. 17. Perception of Flashback & OtherPerception of Flashback & Other Narrative Manipulations of TimeNarrative Manipulations of Time “Once upon a time…” Historical fiction Fantasies – future Memoir – present/past
  18. 18. Perception of Flashback & OtherPerception of Flashback & Other Narrative Manipulations of TimeNarrative Manipulations of Time
  19. 19. Literary Critical Resistance to StoriesLiterary Critical Resistance to Stories Self-constructed criteria
  20. 20. Literary Critical Resistance to StoriesLiterary Critical Resistance to Stories
  21. 21. Literary Critical Resistance to StoriesLiterary Critical Resistance to Stories
  22. 22. Discuss author and illustrator Evaluate the work “I wonder why…” Discuss awards and medals
  23. 23. Interest and/or awareness of features of print Attempts to read text Repeating language of the story Questioning meaning of a word/phrase Suggestions for alternate wording Describing language/wording Prove a point by referring to the language used
  24. 24. 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
  25. 25. In addition to evaluations made through the transmediation of both text and image Heavy reliance on illustrations alone Artistic medium Arrangement of words and images Comparisons of illustrations within the same text as well as across versions
  26. 26. Successive poses Horizontal sequence The Tunnel by Browne, 1989 Alignment of images
  27. 27. Amazing Grace by Hoffman, 1991 Blurred images quick movement Scaffold a child’s vocabulary  provides tools for thought
  28. 28. Point of view Owl Moon by Jane Yolen, 1987 Pg 122 Use of terminology – foreground Which is more important – the illustration or text (room for the text)?
  29. 29. Red Riding Hood – Coady and the Perrault Visual metaphors in illustrations Lack of participation during read alouds – children drawn into the picture
  30. 30. Pg 125 – comparison to “The Twilight Zone” Speed of reading matches illustrations? Illustrations to interpret text Text 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)
  31. 31. Real-life eating to that which happens in a story Origins and speculations about folk tales Resistance 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
  32. 32. Shift focus from within text to relationships with other texts Language/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).
  33. 33. Unelaborative statement of likeness “That is like ___.” “That reminds me of ___.”
  34. 34. Intertextual associations Describing 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)
  35. 35. Make generalizations and draw conclusions about sets of stories Front/back covers (good/bad) Red Riding Hood (Marshall, 1987) Red Riding Hood (Coady, 1991) 3 Billy Goats Gruff (Dewan, 1994)
  36. 36. Associative links Analytical links Synthesizing links Built on each other Not a clear path or linear experience
  37. 37. 1. Interpreted imagines or real personal experiences “I was in a show at the Apollo…” Uptown by Bryan Collier
  38. 38. 1. Interpreted imagines or real personal experiences “You, you’re white just like an ice cream cone” Shades of Black by Pinkney, 2000
  39. 39. 1. Interpreted imagines or real personal experiences Five Little Monkeys
  40. 40. 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
  41. 41. 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
  42. 42. 4. Children’s creation and modification of schemata for stories Criss-crossing or building up our knowledge across cases Fluid Continually changing as new information modifies old Assimilation Accommodation Opposition of good/evil Frequent changes (metamorphosis) of characters Importance of conceptualizing genres
  43. 43. 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 – collage Brian Pinkney – scratchboard
  44. 44. 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
  45. 45. 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
  46. 46. 8. Other intertextual connections Higher levels of interpretive understanding
  47. 47.  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
  48. 48.  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
  49. 49. Ability to relate text to other texts and products
  50. 50. Connection to personal life Life Text Text Life Text acts as stimulus for a personal connection
  51. 51. Child (reader) has entered the world of the story and become “one” with it “Oh, yeah, yeah” Speaking under ones’ breath
  52. 52. Entering world of the text to manipulate it toward a personal purpose Creativity or imagination “carnivalesque romp” Sound effects - singing Swaying

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