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1.
Bookaboo is a television programme aiming to promote literacy and reading among young children. In each episode, a celebrity reads a book to Bookaboo, a dog who plays the drums in a rock band, in order to help him overcome stage fright. Using the episode featuring the picture book (Cowell and Layton in That Rabbit Belongs to Emily Brown, 2006) as a case study, this article explores how this type of adaptation of picture books transforms the original narrative, with implications for children’s developing narrative literacy. Taking a multimodal social semiotic perspective, this study investigates the changes in meaning which result from the employment of semiotic resources such as animation, sound, and camera movement in the representation of the book on the television show. We argue that the deployment of such resources can subtly reshape the meanings expressed through the modes of language and images in the original picture book, potentially affecting the child viewer’s engagement with the narrative. Examining the use of these resources in the picture book’s televisual representation is thus an important first step towards developing frameworks for evaluating the ability of television programmes that incorporate picture book reading to support children’s literacy. 相似文献
2.
Christophe Meunier 《Children‘s Literature in Education》2017,48(1):21-38
This article examines the place occupied by maps in children’s picturebooks. After a brief overview of the different roles that are assigned to maps in children’s books, the article considers five French picturebooks—Warja Lavater’s Le petit chaperon rouge (1965), Olivier Douzou and Isabelle Simon’s L’autobus numéro 33 (1996), Véronique Vernette’s Cocorico poulet Piga (1999), Rebecca Dautremer and Arthur Leboeuf’s Le loup de la 135 ème (2008) and Kochka and Fabienne Cinquin’s Dans ma ville, il y a… (2011)—in order to focus on how the narrative, whether enclosed, superimposed or linked to the text in some other way, is evoked by the geographic shape of the maps. It is argued that the particular use and function of a map depends on its shape or placement in a book, distinguishing between the incorporation of maps only as a significant picture (its use) from the subject within the whole narrative (its function). Thus the article articulates what uses a map can have within a narrative. It also explores the mechanics of the iconotext, showing that a cartographic picture fulfils a precise, rather than a general, function of spatialisation. Hence three main functions of spatialisation in maps and mapping are distinguished, whereby an author could use maps to help a character discover, conquer, or organise a space. 相似文献
3.
Elizabeth Yohlin 《Children‘s Literature in Education》2012,43(3):260-272
Children’s picture books that recreate, parody, or fictionalize famous artworks and introduce the art museum experience, a genre to which I will refer as “children’s art books,” have become increasingly popular over the past decade. This essay explores the pedagogical implications of this trend through the family program “Picture Books and Picture Looks” conducted at the Art Institute of Chicago. Program sessions were observed to learn the extent to which picture books featuring the painting A Sunday on La Grande Jatte—1884 (Seurat) informed and impacted children’s experiences with the original artwork. The books Katie’s Sunday Afternoon (Mayhew, 2005), Babar’s Museum of Art (De Brunhoff, 2003), and Willy’s Pictures (Browne, 2000) provided the foundation for the program. In addition to these three books, The Dot (Reynolds, 2003), which does not include a reference to La Grande Jatte (Seurat, 1884–1886), acted as a “control” variable. This research demonstrates that while most picture books can be used to establish a level of comfort in an environment that is new to children, those that directly referenced the painting provided a base level of knowledge from which children could confidently draw upon encountering the original work. The research further indicated that, when used in conjunction with original artworks, children’s art books provide unique and distinct entry points for talking about art. The inclusion of artwork in children’s picture books elicits an enthusiasm and recognition that enhances the museum experience, and such books can be effective tools for enabling reflective, imaginative experiences with art. 相似文献
4.
Ted Kesler 《Children‘s Literature in Education》2012,43(4):338-354
An increasingly prevalent and accessible form of hybrid nonfiction picture books blends factual information with poetry or poetic devices to create literary nonfiction. This important form of hybrid text has been sparsely examined. This article addresses three questions about poetic nonfiction picture books: first, how might we categorize picture books that represent this hybrid text?; second, by what criteria might we evaluate the quality of these books?; third, based in Rosenblatt’s concept of reader’s stance, how might we read these books? The author develops a typology of six categories along a continuum from poetry to narrative or expository prose. He examines well-established criteria in the fields of picture books, children’s nonfiction, and poetry that can apply to poetic nonfiction picture books. He argues that in the best of these books, the poetry or poetic devices are synergistic with the content and raise the overall reading experience. The author also argues that, depending where along the continuum each of these books is located, a reader’s stance moves along the continuum of efferent to aesthetic experience. All these books demand a dynamic and recursive reading process. He suggests ways to work with teachers to teach deep readings of these books. 相似文献
5.
Sandra Chang-Kredl 《Children‘s Literature in Education》2013,44(2):174-190
In this article, I present a narrative conversation that combines six teachers’ responses to Maurice Sendak’s picture book, Outside Over There (1981) with my own responses to their discussions and to the book. The purpose of this research is three-fold: first, to examine how children’s literature can be used to evoke reflections in early years teachers on how they make sense of their work with children; second, to conduct a close and shared reading of Sendak’s elusive story; and third, to experiment with a dialogic, narrative form of representation. Using a qualitative form of reader response and text analysis, I assembled content from a focus group discussion held with six early years teachers, in which they discussed Sendak’s book, Outside Over There, and combined data from their responses with my own readings. Sendak’s goblins, the lead protagonist of Outside Over There, Ida, Ida’s family, and the phrasing of “outside over there” provided symbols around which the teachers discussed their professional vulnerabilities, including their subjective experiences of being undervalued in society. The picture book’s defamiliarizing effect helped the teachers question their own difficult emotions in realizing themselves within the broader field of education, and offered tools with which they could articulate the value of their “demanding internal adventures” (Cech, Angels and Wild Things: The Archetypal Poetics of Maurice Sendak, 1995, p. 237). 相似文献
6.
Lisa Sainsbury 《Children‘s Literature in Education》2017,48(2):152-168
In this article thought experiments are uncovered as key stimuli of philosophical potential in children’s literature and their presentation and function is examined in a selection of focal texts, including: Lewis Carroll’s Alice’s Adventures in Wonderland (1865) and Through the Looking-Glass (1871); Even the Parrot by Dorothy Sayers (1944); Nina Bawden’s Carrie’s War (1974); and A Game of Soldiers (1985) by Jan Needle. The thought experiment is a device common to science and philosophy and has been recognised as an heuristic tool in literature generally, but here children’s literature is drawn into the conversation, revealing that—as a dynamic mechanism of children’s narrative—thought experiments have a long-standing and particular role to play in books for young people. This paper connects with a recent turn in children’s literature discourse toward the conditions of power in books for young readers; it moves on the debate by demonstrating that the apparatus of thought experimentation places the implied child reader in a position of philosophical responsibility and forward thinking. Presenting thought experiments in different ways, formal properties of the thought experiment—such as conversational mode, double engagement and modal positioning—are identified and shown to open up a philosophical space of subsequence in children’s texts. 相似文献
7.
Individual differences in children’s number knowledge arise early and are associated with variation in parents’ number talk. However, there exists little experimental evidence of a causal link between parent number talk and children’s number knowledge. Parent number talk was manipulated by creating picture books which parents were asked to read with their children every day for 4 weeks. N = 100 two- to four-year olds and their parents were randomly assigned to read either Small Number (1 – 3), Large Number (4 – 6), or Control (non-numerical) books. Small Number books were particularly effective in promoting number knowledge relative to the Control books. However, children who began the study further along in their number development also benefited from reading the Large Number Books with their parents. 相似文献
8.
Adela Baird Janet Laugharne Eva Maagerø Elise Seip Tønnessen 《Children‘s Literature in Education》2016,47(1):1-17
Children as readers of picture books and the ways they respond to, and make meaning from, such texts are the focus of this article, which reports on a small-scale study undertaken in Norway and Wales, UK. The theoretical framing of the research draws on concepts of the multimodal ensemble in picture books and of the reading event as part of a social practice. The research design was developed from the team’s analysis of two texts, Pappa by Svein Nyhus (1998) and What does Daddy Do? by Rachel Bright (2009). Twenty-four children, who were 7 and 8 years old, took part in the study. This was built around two reading events for each book, staged as an immediate response and as a guided response. The data subsequently collected were analysed according to three overarching organisational principles, as book world, real world and play world. For both Daddy and Pappa, the first reading event showed the children’s responses were mainly directed towards exploring the book world. On the second reading event, references to the real world predominated for Daddy, while for Pappa the book world was again dominant. Across both reading events and for both books, the playworld revealed those occasions when the children expanded the meaning of the story, demonstrating an inventive ability to play with the text. Overall, the children’s responses moved fluidly across the three worlds, showing them to be energetically making connections between the reading, their experience of books and their own lives. 相似文献
9.
Uta Papen 《Literacy》2020,54(1):3-10
This paper presents findings from a collaborative project on critical visual literacy in primary schools. In the project, we (a researcher and a teacher) implemented a series of picture book discussions with children in years 5 and 6. Our first aim was to develop the children's ability to analyse the visual images in picture books and how authors/illustrators use these, together with writing, to communicate specific ideas. The second aim was to promote a dialogic lesson in which the children would lead the talk. In the paper, I discuss the challenges we faced in reaching our aims. My data include observation notes and audio recordings of the sessions and of discussions with the children. In the analysis, I examine the roles we took on, for example, as extenders and clarifiers of the children's talk. However, unbeknown to us at the start, our two project aims turned out to be in conflict with each other. While the children enjoyed looking closely at the pictures and discussing the books' possible meanings, without repeated questions and prompts, they focused on the book as story not on how it was constructed by the author and illustrator. This required a more teacher‐focused approach than what we had planned. 相似文献
10.
Aidan Chambers’ Breaktime (1978) is famous for its unique narrative style and sexual content. This focus has obscured another significant aspect of the novel: the role of social class in Breaktime and Chambers’ working-class background have rarely been explored. Chambers was an example of what Richard Hoggart calls “the scholarship boy,” a working-class boy educated in a grammar school in mid-twentieth-century Britain. In this article, Haru Takiuchi argues that Chambers’ scholarship-boy experiences are crucial for understanding Breaktime. For his analysis of the cultural and psychological aspects of class that concern representations of scholarship boys in British children’s literature of the 1960s and 1970s, he draws on Pierre Bourdieu’s theory of class habitus, more focused studies of class in Britain and research into the experiences of scholarship boys. Using material from the author’s archive supplemented with interviews, Haru Takiuchi highlights Chambers’ unique representation of the scholarship boy and social class in the book. 相似文献
11.
This paper discusses the narrative role of images in three prize–winning children’s books: ‘The Rabbits’ by John Marsden and Shaun Tan; ‘Joseph had a Little Overcoat’ by Simms Taback; and ‘The House that Jack Built’ by Gavin Bishop. It is argued that the contribution of images to interpretive possibilities of the narrative are typically not sufficiently addressed in reviewing picture books. In dealing with this aspect of images in picture books, an approach to ‘reading images’ as described in the book of that title by Gunther Kress and Thao van Leeuwen is suggested as a productive resource for reviewers and teachers. 相似文献
12.
The National Quality Standards (NQS) as part of the Australian National Quality Framework were developed in 2011 and included several references to the organisation of small and large groups within early childhood settings (ACECQA 2013). The NQS act in tandem with the Early Years Learning Framework (EYLF) (DEEWR 2009) and are the basis by which early childhood centres are assessed for accreditation in Australia. This paper draws upon current research with early childhood educators as they struggle to understand the new concept of ‘intentional teachers’ within this new regime. There also appears to have been a dramatic shift in the understanding about how large and small groups operate within centres. As the accreditation process unfolds, some early childhood centres have been advised to abandon large or whole group work. At the core of the EYLF are the notions of ‘being, belonging, becoming’, locating young children as part of a community of learners within a democratic society. It therefore appears that tensions and contradictions are emerging between the fundamental principles of the EYLF as they are juxtaposed against the requirement of the NQS. Critical Pedagogy of Place provides a theoretical framework in which to interrogate the ways some early childhood educators interpret intentional teaching both in terms of the organisation of spaces in early childhood centres and the organisation of the children as they inhabit those spaces (Gruenewald 2008). This paper argues that the possible abandonment of large group experiences runs the risk of disconnecting children from their communities and the relationships they form as social participants. Furthermore, it is argued that whole group experiences are crucial elements that facilitate a child’s identity and active citizenry. 相似文献
13.
Alya Hameed 《Children‘s Literature in Education》2017,48(1):73-88
Though many children’s texts include maps that visually demarcate their journeys, modern texts rarely involve active mapping by child characters themselves, suggesting that children cannot (or should not) conceptualise the world for themselves, but require an adult’s guidance to traverse it. Reif Larsen’s The Selected Works of T. S. Spivet (2009), however, views the child as active cartographer and expands the conversation on the relationship between children and space to uncover new (or more nuanced) understandings of children’s place in society, and their constant tension in finding selfhood. This article examines how the act of mapping in literature often leads a character away from home to a place where the child can reconstruct “home” within his or her memory—a memory that instils resistance against the status quo of the child’s position in life. Cartography’s direct relationship with children experiments with and subverts the binaries of child/adult, fantasy/reality, civilised/primitive and home/memory of home, completely dismantling them in the specific example of Larsen’s novel and demonstrating that the child protagonist’s space is neither solely real nor fantastic. Mapping induces the young protagonist to move into alternative spaces, and to resist social pressures in order to assert fuller agency over his or her identity formation. 相似文献
14.
Roberta Price Gardner 《Children‘s Literature in Education》2017,48(2):119-133
Perceptions of black representations in literature and other visual mediums as positive or negative continuously cause consternation and debate (Fleetwood, 2011). Because African American children are literacy participants and consumers, they are not immune from experiencing this tension. This essay considers the effects and affective threads of racism and racialization connected to visuality (Foster, 1988), and how educators might support and nurture children’s roles as aesthetic critics and critical readers of books featuring racial imagery and representations. The young African American readers in this study resist a picturebook using colorist logic and macro-level social indexing of phenotypic traits. The author argues that negative social messages about blackness within the larger ethos of society, as well as the absence of diverse representations in children’s literature, contribute to such interpretations. She suggests explicitly teaching African American children about counter-visuality and the ways in which “art works” to shape and transform understandings about complex experiences like racism. 相似文献
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16.
David E. Low 《Children‘s Literature in Education》2012,43(4):368-385
In recent years, reading scholars have increasingly attended to children’s responses to picturebook page breaks, reasoning that the inferences young readers make during the turning of the page are central to understanding how children construct continuous narratives in semiotically rich texts. In this paper I argue that comics (including comic books and graphic novels) offer similar gap-filling affordances as picturebooks, but for older children and adolescent readers. A major site of meaning-making in comics is the “gutter” between panels. This is where much of the magic occurs for readers while transacting with the medium. Since the comics medium is popular with many students and has received increased attention from teachers, researchers, and curriculum developers during the multimodal and multiliterate turns of the past decades, I argue that it is vital for educators not only to use comics in their classrooms, but to focus explicitly on gutters in order to exercise the medium’s full potential. Pulling from numerous sources, I provide several pedagogical activities that emphasize gutters as rich sites of constructing meaning. 相似文献
17.
This study reports on an analysis of the relation between kindergarten children's developing theory of mind and their understanding of characters' actions and consciousness in story narrative, based on Bruner's (1986) notion of the dual landscapes of action and consciousness. Wordless picture books were used to model these two aspects of narrative through the direct portrayal of action and thought by way of thought bubbles and adults' explicit metacognitive talk. Children were asked to retell stories following both an experimenter's and the teacher's initial storytelling. Children's ability to coordinate story characters' thoughts, beliefs and intentions (consciousness) was measured by the frequency of reference to both the character's action or presence and the content of his/her thought bubbles in the stories. Results of the analyses revealed relations among children's age, language ability, non-verbal intelligence, theory of mind development, and their ability to coordinate consciousness and action in the stories. Younger children who have less developed theory of mind more often retold just the action in the real world without reference to thought, or else described the scene depicted within the thought bubble without reference to the character who held the thought. Implications for education, such as teaching children to talk about the mind, are discussed. 相似文献
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19.
Meghann Meeusen 《Children‘s Literature in Education》2018,49(4):485-498
As critical study of adapted texts moves away from a focus on fidelity to explore questions of adaptive practice, picturebook to film adaptation offers unique opportunities to redirect discourse related to the value of adaptive changes. Because feature-length films made from children’s picturebooks require filmmakers to add substantial content, they open discussion of how adaptive changes engage key ideas related to children’s literature more broadly, including dual audience, didacticism, and aetonormativity. This essay explores how these concepts transform in picturebook to movie adaptation, drawing on two family films made from iconic picturebook source texts—Dr. Seuss’s The Lorax (1971) and Chris Van Allsburg’s Jumanji (1981)—to posit that added content foregrounds adult presence within the story and participation in viewership far more than in the films’ picturebook counterparts, positioning adults as learners while at the same time reinforcing adult/child hierarchies. 相似文献
20.
Greta Griffin Freeman 《Early Childhood Education Journal》2014,42(5):305-316
Bullying behaviors among young children are taking place in preschool classrooms and child-development centers. The author makes a case, based on bullying themes in children’s literature and both qualitative and quantitative data collection with young children, for the use of children’s picture books to teach character as bullying prevention to 4–6 year old children. Through the reading of picture books and character education activities with a bullying theme preschool children develop a better understanding of bullying characteristics and strategies for dealing with bullying behaviors. Included are the results from questionnaires and interviews with preschool children and an annotated bibliography of children’s picture books and activities useful in the instruction and prevention of bullying behaviors. 相似文献