1. How
Peritextual
Features
of
Picturebooks
Increase
Meaning-‐
Making
by
Dr.
Bena
R.
Hartman
benahartmanbooks.com
Michigan
Reading
AssociaBon
March
2013
1
2. 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!
2
3. 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)
3
4. 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)
4
5. 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)
5
6. 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)
6
9. 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)
8
10. 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)
9
11. 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
and
how
to
scaffold
(Fillmore
&
Snow,
2000)
conversaBons
around
text.
(Murphy,
Wilkinson,
Soter,
Hennessey,
&
Alexander,
2009).
10
12. 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)
11
13. 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
12
14. 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)
13
15. 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)
14
16. 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.
15
17. 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
16
18. 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)
17
19. 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)
18
20. 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
19
21. 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
20
22. Research
on
Peritextual
Features
As
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.
21
23. 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.
22
24. 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)
23
26. 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.
25
25
28. 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?
27
29. Front
Flap
Jacket
–
The
fold
over
front
cover
• Contains
a
summary
of
story
28
30. Front
Cover
–
Does
the
typography
coordinate
with
the
meaning
of
the
text
&
look
of
the
book?
29
31. Back
Cover
Why
include
this
informaAon?
• Endorsement
Statements
• “Welcome
back
Rocket”
30
32. 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)
31
43. 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)
42
44. 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%)
43
45. 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)
44
46. 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.
45
47. • 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)
46
48. 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?
47
49. • 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!
48
52. 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.
50
53. • 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.
51
54. How
high
characters
appear
on
the
page
may
indicate
social
status
Which
one
is
Rocket?
52
55. 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.
53
60. Low
intensity,
subdued
tones,
&
hues
on
the
violet
end
suggest
dreamlike,
sad,
fearful
scenes
58
61. 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
59
62. 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
60
63. 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).
61
64. 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)
62
65. 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.
63
66. 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
64
67. 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)
65
68. 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.
66
70. 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)
68
71. 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)
69
72. 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)
70
73. 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).
71
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75
