S In the context of the common, but potentially rich situation of classroom storybook readalouds, this study describes what constituted literary understanding for one classroom interpretive community of first and second graders by analyzing their oral responses as picture storybooks were read aloud to them. Over seven months, field notes and transcripted audiotapes of 83 read‐alouds were collected; 45 representative readalouds were selected for intensive analysis. The findings indicated five types of literary understanding: (a) textual analysis, (b) intertextual connections, (c) personal connections, (d) becoming engaged in the story to such an extent that the world of the story and the children's world were transparent to each other, and (e) using the text as a platform or pretext for creative expression. A grounded theory of literary understanding was developed, differentiating and relating the five aspects of literary understanding by (a) the stances assumed by the children, (b) the actions performed by the children and (c) the various functions of the text. The five aspects were further conceptualized as the enactments of three basic literary impulses that interact synergistically. The hermeneutic impulse is the drive to understand the story and interpret it. The aesthetic impulse consists of either receptively responding to the story as a lived‐through experience or using the story as the platform for one's own creative expression. The personalizing impulse is the impulse to link the story to the self and personal experience. The study suggests that the impressive literary critical abilities of children as young as first and second grade are appropriately understood through a wide variety of theoretical perspectives. The resulting grounded theory unifies and integrates these perspectives as well as focuses specifically on the literary understanding of young children. En el contexto de la común, pero potencialmente rica situación de lectura de cuentos en voz alta en el aula, este estudio describe lo que constituyó la comprensión literaria para la comunidad de un aula de niños de primero y segundo grado, analizando las respuestas orales a libros de cuentos ilustrados que les fueron leídos en voz alta. Durante siete meses, se recolectaron notas de campo y transcripciones de 83 lecturas en voz alta audiograbadas. Se seleccionaron 45 lecturas en voz alta representativas para ser analizadas en profundidad. Los hallazgos indicaron cinco tipos de comprensión literaria: (a) análisis textual, (b) conexiones intertextuales, (c) conexiones personales, (d) involucrarse en la historia a tal punto que el mundo de la historia y el mundo del niño se volvieron transparentes y (e) usar el texto como plataforma o pretexto para la expresión creativa. Se desarrolló una teoría fundamentada de la comprensión literaria, diferenciando y relacionando los cinco aspectos de la comprensión literaria por medio de (a) las posiciones asumidas por los niños, (b) las acciones llevadas a cabo por los niños y (c) las varias funciones de...
No abstract
This article reflects on a classroom study of children's literary responses to unpack the process of building conceptual categories in ethnographic research, thus challenging accounts that obscure the role of the researcher and present findings as fixed and infallible. [conceptual categories, positioning, interpreting qualitative data, coding, literary response] The development of conceptual categories is an important methodological procedure in interpretive research that employs ethnographic methods (Erickson 1986a). Although most texts on qualitative research describe this process and provide suggestions on how to go about coding data and building conceptual categories (Glesne and Peshkin 1992; Patton 1990; Strauss and Corbin 1990), few ethnographers have written about their own experiences in grappling with this crucial stage of analysis. Moreover, most formal presentations of ethnographic research-in journal articles or scholarly papers at conferences-tend to be "victory narratives" (Lather 1997) that idealize the process, ignoring the difficulties and tensions inherent in collecting and analyzing data and in writing accounts of the research.This article considers several problems the senior author encountered while developing the conceptual categories for a study of young children's literary response in the classroom and how these difficulties were addressed. To contextualize this discussion, we first provide an overview of the study itself, followed by three broader observations about the formulation of conceptual categories in ethnographic research. Finally, we focus on four specific problems and how the senior authorresearcher tried to solve them. In the narrative that follows, "I" and
In this article, we explore one of the important peritextual features of picturebooks -the endpapers. In order to represent the rich diversity of form and function displayed by endpapers, we group examples along two dimensions: whether the endpapers are illustrated or unillustrated, and whether the front and back end papers are identical or dissimilar. Within the four categories delineated by these two dimensions, we further articulate the various roles that endpapers can play in the construction of meaning from picturebooks. We present quotations from young children that show how they use endpapers as resources for literary and aesthetic interpretation, and provide suggestions for the integration of talk about endpapers within classroom literature discussions. University of Pennsylvania Graduate School of EducationIn addition to illustrations for every page of text, contemporary picturebooks have other features and conventions that have evolved to add to the richness of the form. In the field of children's publishing, illustrators, authors, editors, and book designers have paid special attention to the ways in which the front and back covers, dust jacket, endpapers, half-title and title pages, and dedication page all work together with the text and accompanying illustrations to produce a unified effect. These features are often referred to as the "peritext" of the picturebook, a term first used by Gerard Genette (1987) to describe all the physical features within a book aside from the author's words. 1 Although all books obviously have some of these features, such as covers and a title page, in picturebooks all peritextual features are especially planned and designed so that there is an aesthetic coherence to the entire book (Higonnet, 1990).In this article, we explore one of the important peritextual features of picturebooks-the endpapers. Endpapers (sometimes called endpages) are pages glued inside the front and back covers of a book, and are thus the first parts of the interior of the book to be seen when the book is opened, as well as the last to be seen after the story has been read and the book is about to be closed. After describing the nature and history of endpapers, we discuss the various types of endpapers and their different purposes and semiotic significance. In presenting this typology, we use examples from many contemporary picturebooks. We also draw on Sipe's (1998Sipe's ( , 2000Sipe & Bauer, 2001) research for numerous vignettes of kindergarten, first, and second grade children's Picturebook Endpapers 2 responses to the endpapers as they hear picture storybooks read aloud and talk about the peritextual features of these books with their teachers.The nature of the bookbinding process requires that all hardcover books have endpapers. In the history of European bookbinding, the first decorated endpapers seem to have been produced by the technique of marbling, with marbled endpapers becoming a standard feature of high-quality bindings by the middle of the seventeenth century (Wolfe, 19...
scite is a Brooklyn-based organization that helps researchers better discover and understand research articles through Smart Citations–citations that display the context of the citation and describe whether the article provides supporting or contrasting evidence. scite is used by students and researchers from around the world and is funded in part by the National Science Foundation and the National Institute on Drug Abuse of the National Institutes of Health.
customersupport@researchsolutions.com
10624 S. Eastern Ave., Ste. A-614
Henderson, NV 89052, USA
Copyright © 2024 scite LLC. All rights reserved.
Made with 💙 for researchers
Part of the Research Solutions Family.