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Changing Landscapes,[object Object],Literature ,[object Object],and ,[object Object],Literacy,[object Object]
Dr. Teri S. Lesesne,[object Object],Sam Houston State University,[object Object],Department of Library Science,[object Object]
Where is the material?,[object Object],www.slideshare.net/ProfessorNana,[object Object],And at my blog at LiveJournal,[object Object],ProfessorNana,[object Object],3,[object Object]
 Sparknotes for Goodnight Moon,[object Object],4,[object Object],  ,[object Object],Context,[object Object], ,[object Object],America after the Great War was full of economic prosperity and social upheaval. Margaret Wise Brown, renowned children's book author, made it her life's goal to both comfort the youth of the era and expose the flaws of human advancement through her didactic work. In Goodnight Moon, Brown explores the relationship between a young bunny and his material possessions set against the backdrop of the Cold War. The book was met with critical and commercial success. Margaret Wise Brown's work, which has been translated into countless languages and has sold over 40 million copies, still resonates with children's librarians and counter-culture revolutionaries for its duality as good-natured poetry and allegory of human alienation. ,[object Object]
Goodnight Moon,[object Object],5,[object Object],Plot Overview,[object Object], ,[object Object],A bunny says goodnight to the moon and other things. ,[object Object]
Goodnight Moon,[object Object],6,[object Object],Summary/Analysis,[object Object], ,[object Object],The book opens as a young bunny prepares for sleep in his bedroom. The first half of Brown's magnum opus is entirely devoted to the contents of "the great green room." As symbolic items such as a "balloon" and a "telephone" are described, our protagonist bunny, oppressively tucked into bed, resists the confines of sleep. Brown gives particular attention to a large number of animals that populate the room: "two kittens with mittens" and a "little mouse." The room also contains a picture of a "cow jumping over a moon" and "bears on chairs." Here, Brown twists our preconceptions of settings—where the internal now is wild, but the external ("the moon" and "the stars") serene. The room full of raging wildlife mirrors the little bunny's desire to throw off his sheets and play.,[object Object]
Goodnight Moon,[object Object],7,[object Object],At the midpoint of her Homeric epic, an antagonist is revealed: "a quiet old lady whispering hush." The bunny, first enthralled by the items, now must face an authority figure desiring quiet in the wild. Succumbing to his Oedipal desire to please his maternal figure, the bunny starts to settle and go to bed. Then, in a process of self-actualization, the young bunny says goodnight to everything both in and out of the room. The climax is realized when the bunny says goodnight to the "old woman who says hush," thereby making his amends and completing his quixotic journey to rid himself of his surroundings. In the denouement, the bunny turns his attention to the outer world in ways not unlike Tom Joad in The Grapes of Wrath. At peace with the loss of his maternal authority figure, the young bunny says goodnight to the moon, whose presence loomed throughout the narrative. ,[object Object]
Goodnight Moon,[object Object],8,[object Object],Possible Essay Questions,[object Object], ,[object Object],1) Analyze the scene in which the bunny says goodnight to the lighthouse in relationship with the rest of the book. Cite textual evidence whenever possible.,[object Object], ,[object Object],2) Compare and contrast Goodnight Moon with The Sun Also Rises. Whose sentences are simpler: Brown's or Hemingway's?,[object Object], ,[object Object],3) What have you said goodnight to? Analyze what that says about you. Try not to cry.,[object Object], ,[object Object]
This is NOT the direction we want to see if literacy and literature are going to continue to evolve and  change.  ,[object Object]
What I want to talk about today is not RIGOR (mortis) but CHALLENGE. ,[object Object]
Where this all began…,[object Object]
Mashups,[object Object],Blur lines (genre crossing),[object Object],Re-envision classic  (themes),[object Object],Re-imagine approaches (assessment),[object Object]
The first dimensional shift has to do with literacy and how it is evolving. Literacy today involves not only text, but also image and screen literacy. The ability to "read" multimedia texts and to feel comfortable with new, multiple-media genres is decidedly nontrivial. ,[object Object],GROWING UP DIGITAL,[object Object],John Seeley Brown,[object Object]
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 ,[object Object],The developmental psychologist Jerome Bruner made a brilliant observation years ago when he said we can teach people about a subject matter like physics-its concepts, conceptual frameworks, its facts-and provide them with explicit knowledge of the field, but being a physicist involves a lot more than getting all the answers right at the end of each chapter. ,[object Object],John Seeley Brown,[object Object]
Decoding vs. Reading,[object Object]
Likewise, we can provide kids with all of the tools and skills of reading but not transform them into readers.  Becoming a reader takes more than skills. ,[object Object],Me ,[object Object]
"Above all, comprehension is the inner conversation that readers have with text." -- Steph Harvey,[object Object]
Why Be Concerned?,[object Object],Recent Research on Reading,[object Object],Common Core Texts,[object Object],Texas  Data,[object Object]
Recent Survey Study,[object Object],46% of kids responded that they would benefit from parents spending more time reading with and to them,[object Object],More than 50% of parents reported difficulty getting kids to read outside of school,[object Object],20% of the kids reported hardly ever reading a book; 30% read only occasionally,[object Object],http://tinyurl.com/48mt4g5,[object Object]
Common Core Exemplars,[object Object],Avg. publication dates of Common Core exemplar texts: ,[object Object],K-1		1963, ,[object Object],4-5 		1937, ,[object Object],6-8 NF 	1895, ,[object Object],9-10 		1801, ,[object Object],HS NF 	1897. ,[object Object],-- Daniels,[object Object]
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So, how do we change this?,[object Object],[object Object]
Learning to navigate it with our students,[object Object]
Or this one…,[object Object]
And these…,[object Object]
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Metafiction,[object Object],http://www.philnel.com/2010/09/04/more-metafiction/,[object Object]
Metafiction,[object Object],http://www.philnel.com/2010/09/04/more-metafiction/,[object Object]
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Video Trailer for It’s a Book,[object Object],http://www.amazon.com/gp/mpd/permalink/m358EIEJ2K6MC1/ref=ent_fb_link,[object Object]
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Interrupting Chicken Book Trailer,[object Object],http://www.youtube.com/watch?v=qQqd1DQUqNk&feature=youtu.be&a,[object Object]
Without losing the importance of “skills” and “college readiness” and all that jazz…,[object Object],Re-examining Texts,[object Object]
Interrogating Texts: ,[object Object],6 Reading Habits to Develop in Your First Year at Harvard,[object Object]
1. Previewing: Look “around” the text before you start reading. ,[object Object],[object Object]
Is the author known to you, and if so, how does his (or her) reputation or credentials influence your perception of what you are about to read? If unknown, has an editor helped to situate the writer (by supplying brief biographical information, an assessment of the author’s work, concerns, and importance)?
How does the disposition or layout of a text prepare you for reading? Is the material broken into parts--subtopics, sections, or the like? Are there long and unbroken blocks of text or smaller paragraphs or “chunks” and what does this suggest? How might the layout guide your reading?
Does the text seem to be arranged according to certain conventions of discourse? Newspaper articles, for instance, have characteristics that you will recognize; textbooks and scholarly essays are organized quite differently from them, and from one another. Texts demand different things of you as you read, so whenever you can, register the type of information you’re presented with. ,[object Object]
Applied to Changing Landscape,[object Object],layout,[object Object],conventions,[object Object]
2. Annotating: “Dialogue” with yourself, the author, and the issues and ideas at stake,[object Object],[object Object]
Develop your own symbol system: asterisk a key idea, for example, or use an exclamation point for the surprising, absurd, bizarre . . .. Like your marginalia, your hieroglyphs can help you reconstruct the important observations that you made at an earlier time. And they will be indispensable when you return to a text later in the term, in search of a passage, an idea for a topic, or while preparing for an exam or project.
Get in the habit of hearing yourself ask questions—“what does this mean?” “why is he or she drawing that conclusion?” “why is the class reading this text?” etc. Write the questions down (in your margins, at the beginning or end of the reading, in a notebook, or elsewhere. They are reminders of the unfinished business you still have with a text: something to ask during class discussion, or to come to terms with on your own, once you’ve had a chance to digest the material further, or have done further reading. ,[object Object]
Annotating texts,[object Object]
3. Outline, summarize, analyze: take the information apart, look at its parts, and then try to put it back together again in language that is meaningful to you. ,[object Object],[object Object]
Summarizing accomplishes something similar, but in sentence and paragraph form, and with the connections between ideas made explicit.
Analyzing adds an evaluative component to the summarizing process—it requires you not just to restate main ideas, but also to test the logic, credibility, and emotional impact of an argument. ,[object Object]
Applying it,[object Object],summarize,[object Object],summarize,[object Object]
Six Word Memoirs Become,[object Object],Six Word Teaser Book Reports,[object Object]
From Mr. See’s class @ Book’gosh,[object Object],Mystery,[object Object],Fantasy,[object Object],Werewolf,[object Object],Love,[object Object],School,[object Object],Fights,[object Object]
4. Look for repetitions and patterns:,[object Object],These are often indications of what an author considers crucial and what he expects you to glean from his argument. The way language is chosen or used can also alert you to ideological positions, hidden agendas or biases. Be watching for: ,[object Object],[object Object]
Repeated words, phrases, types of examples, or illustrations
Consistent ways of characterizing people, events, or issues,[object Object]
Application,[object Object],repetition,[object Object],repetition,[object Object]
5. Contextualize: After you’ve finished reading, put the reading in perspective. ,[object Object],When was it written or where was it published? Do these factors change or otherwise affect how you view a piece? ,[object Object],Also view it through the lens of your own experience. Your understanding of the words on the page and their significance is always shaped by what you have come to know and value from living in a particular time and place. ,[object Object]
Some Examples from New Books,[object Object],Milieu OF the text,[object Object],Transaction with Text,[object Object]
Putting it in context,[object Object]
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6. Compare and Contrast: Fit this text into an ongoing dialogue,[object Object],[object Object]
How does it contribute to the main concepts and themes of the course?
How does it compare (or contrast) to the ideas presented by texts that come before it? Does it continue a trend, shift direction, or expand the focus of previous readings?
How has your thinking been altered by this reading or how has it affected your response to the issues and themes of the course? ,[object Object]
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Picture books that challenge readers,[object Object],A Starting Place,[object Object]
Skills and concepts,[object Object],Teachable Moments,[object Object]
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Parody,[object Object],Must know what is being parodied,[object Object]
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Perspective,[object Object],More than one way to tell the story,[object Object]
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http://teacher.scholastic.com/products/tradebooks/videocenter/index.htm?bcpid=326025746001&bckey=AQ~~,AAAAAFv844g~,BASb5BU03X_snhKHxBqPjQh5fJeKd4Q2&bclid=326095584001&bctid=761250237001,[object Object]
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Different literature demands differentassessments, too.,[object Object],Come to the Clouds!,[object Object]
Stories from the Cloud,[object Object],http://storiesfromthecloud.blogspot.com/p/about.html,[object Object]
Study Stack:  Flash Cards,[object Object],http://www.studystack.com,[object Object]
What would flash cards be for…,[object Object]
Flash Cards,[object Object]
Other Alternatives,[object Object],Googlemaps—create maps and mark where events occur.  Great for HF but can be used with other genres.,[object Object],Timetoast–create timelines.  Good for bio and historical fiction,[object Object],Voicethread,[object Object],Animoto,[object Object],Prezi,[object Object],Wordle,[object Object]
Google Maps,[object Object]
Map it out!,[object Object]
Timetoast,[object Object]
WWI Timeline,[object Object],http://www.timetoast.com/timelines/15255,[object Object]
Voicethread Poe,[object Object]
Voicethread,[object Object],http://voicethread.com/community/library/7th_Grade_from_Amy_Cobb_2/,[object Object]
Voicethread,[object Object]
Animoto,[object Object],http://animoto.com/play/fb5sGbxNCazNwl8EKPUNLA,[object Object]
Book Trailers for All,[object Object],http://booktrailersforall.com/,[object Object]
Xtranormal,[object Object],http://www.xtranormal.com/makemovies/,[object Object],Have Katniss meet Viola or Todd meet Peeta.  How about Edward Cullen meets Vlad?,[object Object]
Prezi,[object Object],Here’s one for Canterbury Tales,[object Object],http://prezi.com/ays6pynvaqt3/,[object Object],canterbury-tales/,[object Object]
Wordle,[object Object]
Steal It, ,[object Object],Tweak It, ,[object Object],Make It your Own,[object Object],Borrow ideas,[object Object]
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One Bookfour hands,[object Object],Paul Hankins, ,[object Object],Indiana High School Teacher,[object Object]
Premise and Process,[object Object],Older students select picture book  to share with sibling, younger students,[object Object],After the shared reading the pair of readers create a project to reflect the book,[object Object],Consider what possible projects might arise from the following books.,[object Object]
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Ugly book contest,[object Object],Suzanne Metcalfe, ,[object Object],Alaskan Librarian,[object Object]
Premise and Process,[object Object],Students select books with ugly covers (see some of the following for examples).,[object Object],Students create new covers for the books. They can work individually or in groups.,[object Object],Covers are laminated and displayed next to the “ugly” ones.  Classes can vote on favorites.,[object Object]

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  • 11.
  • 12.
  • 13.
  • 15.
  • 16.
  • 17.
  • 18.
  • 19.
  • 20.
  • 21.
  • 23.
  • 24.
  • 25.
  • 26.
  • 42.
  • 43.
  • 45.
  • 56.
  • 57.
  • 58.
  • 59.
  • 60. Is the author known to you, and if so, how does his (or her) reputation or credentials influence your perception of what you are about to read? If unknown, has an editor helped to situate the writer (by supplying brief biographical information, an assessment of the author’s work, concerns, and importance)?
  • 61. How does the disposition or layout of a text prepare you for reading? Is the material broken into parts--subtopics, sections, or the like? Are there long and unbroken blocks of text or smaller paragraphs or “chunks” and what does this suggest? How might the layout guide your reading?
  • 62.
  • 63.
  • 64.
  • 65. Develop your own symbol system: asterisk a key idea, for example, or use an exclamation point for the surprising, absurd, bizarre . . .. Like your marginalia, your hieroglyphs can help you reconstruct the important observations that you made at an earlier time. And they will be indispensable when you return to a text later in the term, in search of a passage, an idea for a topic, or while preparing for an exam or project.
  • 66.
  • 67.
  • 68.
  • 69. Summarizing accomplishes something similar, but in sentence and paragraph form, and with the connections between ideas made explicit.
  • 70.
  • 71.
  • 72.
  • 73.
  • 74.
  • 75. Repeated words, phrases, types of examples, or illustrations
  • 76.
  • 77.
  • 78.
  • 79.
  • 80.
  • 82.
  • 83. How does it contribute to the main concepts and themes of the course?
  • 84. How does it compare (or contrast) to the ideas presented by texts that come before it? Does it continue a trend, shift direction, or expand the focus of previous readings?
  • 85.
  • 94.
  • 95.
  • 99.
  • 104.
  • 108.
  • 112.
  • 113.
  • 114.
  • 115.
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  • 126.
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  • 128.
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  • 141.
  • 142.
  • 147.
  • 148.
  • 151.