michigan reading association 2013 - bena hartman
TRANSCRIPT
How Peritextual Features of Picturebooks Increase Meaning-‐
Making
byDr. Bena R. Hartman
benahartmanbooks.com
Michigan Reading AssociaBonMarch 2013
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A picturebook is/has…
• An art object. (Sipe, 2008)• An aestheBc whole; every part contributes to its total effect.
• PaSerns (i.e., circle stories, cumulaBve tales) Finding paSerns is the making of meaning and when we make meaning we experience pleasure. (Chambers, 1985)
• A child who has a fuller understanding of a story enjoys it much more!
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Why use children’s literature?It’s a prevalent dimension of high-‐quality literacy instrucBon and has many beneficial outcomes. (Galda, 2010)
• Children learn about themselves & the world around them. (Hefflin & Barksdale-‐Ladd, 2001)
• Children develop the ability to read & write independently. (Sipe, 2008)
• Children build language & background knowledge. (BenneS-‐Armistead, Duke, & Moses, 2005; Edwards, 1992)
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More Outcomes of children’s literature…
-‐ Children are encouraged to want to read more. (Guthrie, 2011)
-‐ Children increase their vocabulary, comprehension, text structure knowledge & author & illustrator knowledge. (Beck & McKeown, 2001)
-‐ Children learn the love & appreciaBon for reading. (Galda, 2010)
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Why Engage in Read-‐alouds?
• It’s one of the most significant predictors of school achievement and the cornerstone of reading instrucBon in the early grades. (Edwards, 1992)
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Read-‐alouds
• “Read-‐alouds can become filler acBviBes.” (Teale, 2003, pp. 135-‐136).
• Teachers must be knowledgeable about literature and be able to foster the development of children’s higher-‐level literary interpreBve skills. (Sipe, 2008)
• The act of reading a story does not guarantee literacy development; what does is the quality of the interacBon among the parBcipants. (Meyer,
Wardrop, Stahl, & Linn, 1994)
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Common Core State Standards
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Framework
• As a result of the tremendous importance of infusing literature into literacy instrucBon, a significant porBon of the CCSS is dedicated to its use.
• The intenBon of the standards is to provide guidance on core content or a core set of expectaBons. (Pearson & Hiebert, 2013)
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CCSS(Pearson & Hiebert, 2013)
• The key features of the reading standards for literature are to support students’ ability to read and comprehend increasingly complex text with deep understanding.– Quan%ta%ve (i.e., syntacBc complexity)
– Qualita%ve (i.e., levels of meaning, structure, language convenBons, knowledge demands)
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Text Complexity
Increased text challenge will not lead to increased capacity for students to deal with complexity without increased teacher scaffolding and knowledge of the nature of text and language (Fillmore & Snow, 2000) and how to scaffold conversaBons around text. (Murphy, Wilkinson, Soter, Hennessey, & Alexander, 2009).
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4 Subareas of CCSS for Reading:
Key Ideas & Details (1-‐3) (Answer who, what, when, where, how; Retell)Cra? and Structure (4-‐6) (Knowledge of various genres, vocab., dialogue)IntegraAon of Knowledge & Ideas (7-‐9) (Discussions of text & illustraBons)Range of Reading and Level of Text Complexity (10) (wide & varied reading)
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Close Reading(Peasron & Hiebert, 2013)
Students who meet the Standards readily undertake the close, aFenAve reading that is at the heart of understanding and enjoying complex works of literature (p. 3 CCSS)
Close reading occurs both within and across texts
Students read closely to acquire knowledge, criBque and evaluate claims made by authors
Helping students watch their knowledge grow, change, and deepen is the ulBmate goal of close reading
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Picture books
• “Books intended for young children…tell stories through a series of…pictures combined with relaBvely slight text or no text at all.” (Nodelman, 1988, p.vii)
The principle format in which most children experience literature. (Sipe, 2008)
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ThemaAcally Related Texts
• ThemaBcally related texts help increase intertextual links by helping students make connecBons between/across learning. It’s authenBc, real-‐world reading. (Hartman, 1995)
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Also…
• The more stories children know, the greater number of criBcal tools they bring to the literature encounter. (Sipe, 2008)
• Children like to compare and contrast similar stories.
• Variants of the same story is called a text set.
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What are Peritextual Features?
• Anything in/around the book other than the printed text. (GeneSe, 1997)– Dust Jacket/CaldecoS medal– Front Dust Flap– Front Cover– Front endpapers (endpages)– Title page– DedicaBon/acknowledgement page– Publisher InformaBon– Back endpapers (endpages)– Back Dust Flap– Back Cover– Lights, sounds, pop-‐ups, tabs, pullouts
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Why Study Peritextual Features?
• They convey meaning:– Size of book– Choice of colors– Typography– PosiBoning– Layout– Shape of illustraBons– Publishing informaBon– The peritext is just as much a source of meaning as the verbal text of the story. (Sipe, 2008)
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Why Study Peritextual Features?
• They develop children’s criBcal and inferenBal thinking, and visual interpretaBon skills. (Sipe, 2008)• They contain background informaBon & prepare children for the verbal text begins. They guide children in developing predicBons so they know the tone of the story. (Sipe, 2002)
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Teach terms of books…
• Knowing terms draws children’s aSenBon to elements of picturebook design and producBon and helps them look closely at these features. (Sipe, 1998)– Bleed (no white space)– ConBnuous narraBon– Double-‐page spread– GuSer– Page break
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How Peritextual features prepare students for visual meaning-‐making
• Discussion about the peritext enables the understanding of structure/form in stories
• Help students make predicBons about main characters, sepng, etc.
• Help students confirm or disconfirm predicBons, descripBons, & interpretaBons
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Research on Peritextual FeaturesAs literature becomes more prominent in elementary classroom, it’s use has become more important. Pantaleo (2003) found that peritextual features in picture books significantly contributed to first-‐grade students aestheBc appreciaBon & cogniAve and literary understandings of books.
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Research on Peritextual Features
• Sipe & McGuire (2006) focused on picturebook endpapers in their study with K-‐2 grade students and found children highly engaged in using the front endpapers for predicBve purposes, and assumed the endpapers were the preparaBon for the story.
• Thought criBcally about the choices the designer & illustrator made
• Understood endpapers begin & end the story• Speculated why plain colors were chosen. Connected the book’s design, content, or general tone.
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So…
• Don’t skip to the first words of the story and begin reading. That’s like arriving at the opera arer the overture is finished. (Moebius, 1986)
• Do study the peritext. It has been carefully designed and orchestrated to prepare us to read the story. (Sipe, 2008)
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•Examples of peritextual features in books
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Glossy -‐vs-‐ MaFe Paper (Sipe, 2008)• Shiny/Smooth = Glossy -‐ Gives colors a glistening clarity & aSracts aSenBon to the surface of the picture making it harder to focus on specific objects.
• MaSe= rougher stock -‐ Invites our touch as in Chris Van Allsburg’s Jumanji.
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The Polar Express Chris Van Allsburg, 1985
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Dust Jacket – Wrapper around the book
• Remove dust jackets. Jan BreS’s books have a surprise. Why did the illustrator, designer, publisher make these choices?
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Front Flap Jacket – The fold over front cover
• Contains a summary of story
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Front Cover – Does the typography coordinate with the meaning of the text & look of the book?
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Back Cover Why include this informaAon?
• Endorsement Statements• “Welcome back Rocket”
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Front endpapers (set the tone)
• The first pages of a book are like stage curtains. Stories begin before the first line of text. Some books use the peritext to begin the narraBve. (Sipe, 2008)
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Front MaFer (alerts us to the story)
Fine print • Title page–Title of book–Author–Illustrator–Publishing informaBon, ©, ISBN #, cityHalf Title Page – Contains Btle of book
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Title Page
• Title of Book – Where author signs name
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Publishing InformaAon – lists genre
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Acknowledgements
• Polacco’s book reads, “Great ExpectaBons” by Dickens, a story about growth & personal development.
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Back Flap Jacket
• InformaBon about the author/illustrator
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Back endpapers
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Peritextual Parts of the Text
• Where is text box located on the page?• “Openings” or “double-‐page spreads” • Typography – the font
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What does the font suggest?
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Point of view (Your posiBon in relaBon to the scene)
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Page turns What’s happening between the pages?
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How Children Respond to Peritext Features (Sipe, 2008)
• Refer to picturebook construcBon, producBon
• DescripBon
• InterpretaBon/evaluaBon
• PredicBon
• ASenBon to wriSen language
• Intratextual (i.e., connecBons to other peritextual features within the book)
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How Children respond during Read-‐
• AnalyAcal – Comments about sepng, theme, plot, characters (73%)
• Intertextual – Relate text to other texts or cultural products (i.e., song, movie) (10%)
• Personal – Connect text to personal life (life to text or text to life) (10%)
• Transparent – Enter story world and become one with it (manipulated by text) (2%) “Lost in book”
• PerformaAve – Enter world of text to manipulate it for their own purpose (manipulate text) (5%)
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Examples
• Descrip4on – “Well, it’s like a curtain, like on the front cover, the curtain’s open, the curtain’s red, and um, then the endpages, they’re red too, and it’s like, like the curtain’s closed, and you’re gepng’ ready for the play to start.” (Response to The Three Li0le Pigs)
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Discussion about Endpapers in
Interpreta4ons: Teacher: Why do you think it’s red? (the endpages) I don’t know why it’s red, I’m just asking you what you think.
Tony: ‘Cause I like that color.Bob: Li0le Red Riding Hood! Because of LiSle Red Riding
Hood! Teacher: Oh, maybe LiSle Red Riding hood is going to be in
here; we’ve been reading a lot of LiSle Red Riding hoods.Faye: Because of the paint (the Btle on the front cover appears
painted in red).Teacher: Oh, because the Btle is red and you think it just goes
nicely with it? I was just thinking that to myself. Maybe that’s the reason. Let’s read.
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• The teacher reads the first line of text…”Three weeks and not a drop, she says, sagging over her parched plants.”
• Amanda: Um, I know why the endpages are red. Because it’s hot and then at the last endpages, they gonna be blue because it rains! (PredicAon)
• Teacher: Oh! They’re gonna be blue at the end, because it rains! Oops! Maybe! That was a real good thought…Let’s see. At the end, she shows the back endpages.
• Teacher: And here we see…• Children: “Blue endpages! Yeah! (applause)
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Discussion about Endpapers in
• Interpreta4on: Sally: That makes sense, because it’s dark when the story starts, so there’s a darker endpage, and it’s lighter when it ends. So the endpage is lighter, back there.
• Gordon: Yeah, that makes sense! Darker, then lighter. That’s different, like most books, the endpages are the same on the front and the back.
• Teacher: Yes, that’s very interesBng, it is one of the few books I’ve seen where the endpages are different at the beginning and the end, and it’s certainly a good choice the illustrator made.
• Brad?
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• Brad: The flea is the alarm clock in this story?• Tom: Yeah, it is!• Teacher: What an interesBng idea, Brad. Tell me more.
• Brad: Well, the flea wakes ‘em all up, they’re all sleeping, and the flea’s their alarm clock because he wakes ‘em up.
• Tom: Brrrrriiiiiing! (imitaBng an alarm clock) Time to wake up, all you guys!
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Reading the IllustraAons• IllustraBons that “bleed” suggest a life going on beyond the confines of the page.” (Sipe, 2008)
• In Where the Wild Things Are, the wild rumpus stretches over 3 double-‐page spreads.
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• Why do you think the author did not include an illustraBon to accompany the final text in the book Where the Wild Things Are?
• and it was sBll hot.
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How high characters appear on the page may indicate social status
Which one is Rocket?
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Border -‐vs-‐ Cut-‐out (no frame) Are illustraBons framed or cut-‐out? Framed may mean a limited perspecBve. MoBon & freedom are suggested by lack of a frame.
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ConBnuous NarraBon
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To color or not to color…
• Dark colors are associated with sadness and fear.
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Bright colors are associated with joy happiness, & confidence
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– Bring colors are high intensity colors
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Low intensity, subdued tones, & hues on the violet end suggest dreamlike, sad, fearful scenes
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Lines & Shape
• The thickness of a line conveys meaning.– Smooth lines may suggest serenity– Rough lines may suggest energy
• Shape conveys meaning.• Horizontal mean stability and calm (Bang, 2000)• VerBcal suggest energy• Diagonal evoke moBon and tension• Pointed create anxiety and fear• Round make us feel comfortable and safe
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Texture
• ArBsts use various techniques to provide surface: rough, smooth, delicate, sturdy. (Kiefer, 1995)
• The total effect of an arBsts work is considered their style. (Nodelman, 1988)
– Pictorial-‐a style characterisBc of a parBcular Bme or place (Renaissance, Impressionist)
– ArBsBc – Changes in emphasis or subject maSer, but not overall method
– Personal – Unique to themselves
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Size & Number of Shapes
• The larger an object, the stronger it feels to us• ArBsts lead our eyes around illustraBons, from shape to shape. Like viewing a landscape.
• An illustraBon with fewer shapes gives the impression of calm and quiet (Sipe, 2008).
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PosiAoning
• PosiBoning a shape on the ler side of the picture gives it more weight and force since we tend to “read” pictures from ler to right. (Arnheim, 1974)
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The RelaAonship of text & pictures
• “Words and pictures have to be good partners.” “The best books are a good marriage of pictures and story.” (Lunn, 2003, p. 189)
• Two equally important parts of a duet. (Cech, 1983)• Words describe relaBonships to details; pictures give a sense
of the whole (Nodelman, 1988).• Children transmediate between pictures & illustraBons
(Translate content from one sign system to another) (Siegel, 1995)
• Words provide a cogniBve map (Nodelman, 1988)• Think of the story, Where the Wild Things Are without the
illustraBons.
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5 Ways Text & Pictures Relate(Nikolajeva & ScoS, 2001)
• Symmetry – Equivalence of words/pictures• Complimentarity – words/pictures work independently
• Enhancement – Words/pictures extend each other’s meaning
• Counterpoint – Words/pictures tell different stories and are an ironic relaBonship (i.e., a character is menBoned in text, but not portrayed)
• Absolute – contradicBon of words/pictures
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Where are people placed? Placement in upper half of a picture implies happiness,
triumph.Words propel us forward, pictures invite us to linger. (Doonan, 1993)
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Counterpoint – Omifng informaAon
• In the story the mother is menBoned in the text, but not illustrated. By contrast some characters are in pictures, but not menBoned.
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Enhancement (extension of words)
• A few pages before, it says, “..let the wild rumpus start!”
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Do words limit illustraAons? The larger the object the stronger it feels to us.
Words tell us things that pictures omit, and pictures tell us things the author leaves out. In a well-‐made picture book, neither the words nor the pictures could tell the story alone.(Sipe, 2008)
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Types of QuesAons Teachers ask during Picturebook Readalouds: (Sipe, 2008)
• InvitaAons – “What’s happening here?”• Encouragements – “Anything else?”• Probes – “Why do you think that?”• PredicAng quesAons – “What do you think will happen?”
• Factual quesAons – “Who saved Red Riding Hood?”
• Teachers play an essenBal role in supporBng & developing story understanding (scaffolding)
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Literature-‐based Reading Series
• In literature-‐based basal reading series almost all the peritextual elements have been omiSed. (Sipe, 2008)
• As a result, children are deprived of the rich meaning-‐making experiences that the peritext affords. (Feathers & Bochenek, 2006)
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An art historian & aestheAc theorist posits:
• To marvel is the beginning of knowledge, and when we cease to marvel, we may be in danger of ceasing to know (Gombrich, 1969).
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Children’s Books Cited
BreS, J. (1989 ). The miSen. New York: G. P. Putnam’s Sons.
Hesse, K. (1999). Come on, rain! New York: ScholasBc.Hartman, B. (2011). Jasmine can: CreaBng self-‐confidence. Northville: Nelson Publishing & MarkeBng.Hills, T. (2010). How Rocket learned to read. New York: Random House, Inc.Hyman, T. (1983). LiSle Red Riding Hood. New York: Holiday House.Kellogg, S. (1997). The three liSle pigs. New York: Morrow Junior Books.Polacco, P. (1998). Thank you Mr. Falker. New York: Philomel Books. Sendak, M. (1963). Where the wild things are. New York: Harper Trpphy.Van Allsburg, C. (19 ). The Polar Express. Yolen , J. (1987). Owl Moon. New York: Philomel Books.Wood, A. (1984). The napping house. San Diego: Harcourt Brace & Co.
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