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.

1. Wednesday, October 27, 2010
Kate (C7-8-9)
and Jon (C4-5-6)

2. 5 Categories of Children's Responses
Analytical
Intertextual
Personal
Transparent
Performative

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. 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. Peritextual AnalysisPeritextual Analysis
Portions of the book OTHER than the viewed double-
page spreads
Importance of time and opportunity

6. Peritextual AnalysisPeritextual Analysis

7. Peritextual AnalysisPeritextual Analysis

8. Peritextual AnalysisPeritextual Analysis

9. Peritextual AnalysisPeritextual Analysis

10. Peritextual AnalysisPeritextual Analysis

11. Structural AnalysisStructural Analysis
Common elements
Cause-effect relationships
Prediction
Alternate suggestions for the plot

12. Structural AnalysisStructural Analysis

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. Analysis of Storybook CharactersAnalysis of Storybook Characters
Actions
Emotions
Feelings
Thoughts
Intentions
External appearance

15. Analysis of Storybook CharactersAnalysis of Storybook Characters

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

19. Literary Critical Resistance to StoriesLiterary Critical Resistance to Stories
Self-constructed criteria

20. Literary Critical Resistance to StoriesLiterary Critical Resistance to Stories

21. Literary Critical Resistance to StoriesLiterary Critical Resistance to Stories

22. Discuss author and illustrator
Evaluate the work
“I wonder why…”
Discuss awards and medals

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. 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. 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. Successive poses
Horizontal sequence
The Tunnel by Browne,
1989
Alignment of images

27. Amazing Grace by
Hoffman, 1991
Blurred images quick
movement
Scaffold a child’s
vocabulary  provides
tools for thought

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. Red Riding
Hood – Coady
and the
Perrault
Visual
metaphors in
illustrations
Lack of
participation
during read
alouds –
children drawn
into the picture

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

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. 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. Associative links
Analytical links
Synthesizing links
Built on each other
Not a clear path or linear experience

37. 1. Interpreted
imagines or
real personal
experiences
“I was in a show
at the Apollo…”
Uptown by
Bryan Collier

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. 1. Interpreted
imagines or real
personal
experiences
Five Little
Monkeys

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. 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. 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. 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

46. 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

47. 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

48. 8. Other intertextual connections
Higher levels of interpretive understanding

49.  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

50.  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

51. Ability to relate text to other texts and products

52. Connection to personal life
Life Text
Text Life
Text acts as stimulus for a personal connection

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

54. Entering world of the text to manipulate it toward a
personal purpose
Creativity or imagination
“carnivalesque romp”
Sound effects - singing
Swaying