sábado, 19 de diciembre de 2015
jueves, 26 de noviembre de 2015
sábado, 7 de noviembre de 2015
a Master’s student, studying Children’s Literature, I was asked to write a
critical reading autobiography that considered the texts that had shaped my
early reading identity. Through this process I realized that, as a young
reader, the most influential texts in my experience were ones where the pages of the book could be made
meaningful on a personal level, usually through identification with a character’s sense of place, or by perceiving the place as
somewhere I had been, or as a reflection of the
rural world that I lived and breathed in.
For my doctoral project, I decided to work with sixteen— and seventeen-year old adolescent readers living in two geographically diverse regions of Canada: a rural town (renamed Lakeside) in Northern Ontario, and in a neighbourhood of Toronto (renamed Kirkville). I worked with the two cases separately; due to the geographical distance between the sites, the two groups never met. Prior to meeting as a group, I gave each participant two texts: Tim Wynne-Jones’ Blink and Caution (2011) and Clare Vanderpool’s Moon Over Manifest (2010).
Mackey, M., Nahachewsky, J., & Banser, J. (2008). Home page: translating scholarly discourses for young people. In M. Reimer (Ed.), Home words: discourses on children’s literature in Canada (pp. 195-225). Waterloo, Ontario: Wilfrid Laurier University Press.
Spring, E. (2015). “Where are you from?: locating the young adult self within and beyond the text”. Journal of Children’s Geographies, 1-16.
Wynne-Jones, T. (2011). Blink and caution. Boston, Massachusetts: Candlewick Press.
Vanderpool, C. (2010). Moon over manifest. New York City, New York: Random House.
lunes, 19 de octubre de 2015
jueves, 24 de septiembre de 2015
The need to tell life stories: A brief account of the reading responses of secondary school students to Migrar (Migrate) by José Manuel Mateo and Javier Martínez Pedro
In class, the students remain expectant when I enter and give each a set of photocopies with the mixed up images of Migrar. They had all expected a chronicle, since it was one of the topics to review that bimester. However, when they receive the images, the first thing I do is ask them what type of text they think could be produced from these visual elements. As their first ideas emerge, they answer that these “drawings”, because of their “design”, are similar to the Aztec or maybe Mayan images. Then, someone at the back, indicates that it’s a kind of codex and explains to us what that is, pointing out that it´s an ancient kind of text through which various events were narrated.
At that moment, I confirm the information about the codices and lead the students to focus their attention on the fact that this is a narrative, reminding them that this type of discourse is composed of sequences which, as we had identified while sharing some chronicles, possess a chronological order. Thus I ask the students to try to order the series of images they have received. The exercise of assembling the codex demands, on one hand, the observation of the readers and, on the other, a preliminary analysis of the images, because in order to find the correct order, they have to define a beginning, a first clue that will be modified in the subsequent images; a clue which, for most of them, was defined as the sun on the upper part of one of the squares.
Soon, having assembled the codex, the students ask me to check their work. They ask me if they’re right and I ask them about their choices: “What lead you to order it in that way?” The students explain and, almost naturally, begin to narrate facts, describe things, situate character and talk about the different scenarios that allowed them to work out the chronological evolution and several possible stories. I ask them to share their work and we paste the sheets on the board or the walls and compare them; we compare the different readings of the images, the different narratives that have emerged. Most match. Some go back to the board and change their previous order, asking their classmates why some image goes before or after another.
Just before finishing the day’s session, I ask the students to give a name to the story told by the codex, in order to justify their answer. Some of the following titles are offered: “Migrating”, “Emigration”, “The Migration”, “Migrants”, “The Road to the American Dream”. Once again the students explain their choice, which corresponds with the process of assembling the codex. I ask them, finally, to write down the story they’ve imagined, following the models of the chronicle we have covered in class, to share it the next day, in which I have promised to show them the original order and read them the story that goes with the images with which they’ve worked.
viernes, 4 de septiembre de 2015
sábado, 25 de julio de 2015