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The role of picture books in teaching children literature
Children's literacy development
Children's literacy development
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1. Introduction
Literature connects with the imagination of the child in a deep and profound manner, challenging them to question the world around them, making connections to their own lives, allowing them to become independent and critical thinkers. The Irish Primary Language Curriculum views children as “communicators, readers, writers and thinkers” (Department of Education and Skills, 2016, p.26) and encourages us as teachers to foster and develop these skills during processes of exploration and discovery. (Department of Education and Skills, 2016, p.20) Exposing children to high quality literature, in both the traditional and modern sense of the word allows us to do this.
The role of the picture book in the Infant classroom is a pivotal
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This novel presents children with various questions about the nature of childhood, of the uniqueness of each child’s experience, and how factors such as class, gender and religious backgrounds can shape and guide these experiences. The story is based on four very different narrative perspectives, all which focus around one central, familiar place, the local park. Each characters experience of their trip to the park is unique which, when examined collectively challenges the reader to piece together the various stories and read between the lines, creating their own meaning based on their own experiences. Browne’s use of the zoomorphic character is an interesting starting point for the reader, as children innately love stories about animals, however in this sense it serves to distance the reader, making the “gap between the fantasy and reality” explicit. (Pantalio, 2004, p.219)Allowing the children to explore deep themes in the text in a safe, non-threatening manner. Giving them the freedom to take as much or as little from the text as they are developmentally ready to
Whatever the purpose of a story may be, whether the tale is a philosophical, moralizing or merely entertaining one, an assortment of characters with sufficient depth, notability and believability is vital to shoulder the burden of the author’s intent. George MacDonald, in one of his most famous novels, The Princess and the Goblin, displays an acute awareness of this fact, presenting us with some of the most colorful and unforgettable characters seen in children’s literature. When considering the exceptional imagination MacDonald infused into his story and characters, it is little wonder that The Princess and the Goblin is considered to be one of the pioneering novels that gave birth to the immense genre of modern fantasy.
When one thinks of a children's picture book, one usually thinks of bright colors and a story that involves a princess and a prince charming. One of the most classic children's books, Maurice Sendak's Where The Wild Things Are, however, neither uses bright colors nor a traditional love story. Instead the readers meet a young boy, Max, who, when sent to his room without dinner, imagines a far off land. We meet his friends, "the wild things", and learn that Max is the "most wild thing of all". Those aforementioned trends are not the only aspects that set Where The Wild Things Are apart from other children's picture books. Its structure, plot, and message all contribute to the individuality of this particular children's book.
My grandmother introduced me to reading before I’d even entered school. She babysat me while my parents were at work, and spent hours reading to me from picture books as my wide eyes drank in the colorful illustrations. As a result, I entered my first year of school with an early passion for reading. Throughout elementary and middle school, I was captivated by tales of fire-breathing dragons, mystical wizards, and spirited foreign gods. A book accompanied me nearly everywhere I went, smuggled into my backpack or tucked safely under my arm. I was often the child who sat alone at lunch, not because she didn’t have friends, but because she was more interested in a wizards’ duel than the petty dramas of middle school girls. I was the child who passed every history test because she was the only kid who didn’t mind reading the textbook in her spare time, and the child who the school librarian knew by name. Reading provided a
... (eds), Children’s Literature Classic Text and Contemporary Trends, Basingstoke, Palgrave Macmillan in association with Open University
Norton, D. E., & Norton. S. (2011). Through The Eyes Of a Child. An Introduction To Children’s Literature. Boston, MA, 02116: Eight-Edition Pearson Education
The Tale of Peter Rabbit and Voices in the Park were published at either end of the twentieth century, a period which witnessed the creation of the modern picturebook for children. They are both extremely prestigious examples of picturebooks of their type, the one very traditional, the other surrealist and postmodern. The definition of ‘picturebook’ used here is Bader’s: ‘an art form [which] hinges on the interdependence of pictures and words, on the simultaneous display of two facing pages, and on the drama of the turning of the page’ (Bader, quoted in Montgomery, 2009, p. 211). In contrast with a simple illustrated book, the picturebook can use all of the technology available to it to produce an indistinguishable whole, the meaning and value of which is dependent on the interplay between all or any of these aspects. Moebius’s claim that they can ‘portray the intangible and invisible[…], ideas that escape easy definition in pictures or words’ is particularly relevant to these two works. Potter’s book is, beneath its didactic Victorian narrative, remarkably subtle and subversive in its attitudes towards childhood, and its message to its child readers. Browne’s Voices in the Park, on the other hand, dispenses with any textual narrative; by his use of the devices of postmodernism, visual intertextuality and metaphor, he creates a work of infinite interpretation, in which the active involvement of the reader is key.
We The Animals by Justin Torres is a blistering yet exquisite novel. It is a story of three brothers who tear their way through childhood, smashing tomatoes onto each other, building kites from trash, dancing to their Paps’ booming voice over music, hiding out when their parents fight, tiptoeing around the house as their mother sleeps off her graveyard shift, fighting fake battles as they get ready for the world – and so much more. The book is written in magical language with unforgettable images and addresses ideas that explore how deeply we are formed by our earliest bonds, and how we are ultimately propelled towards our futures. In the same light, this paper will analyze the book on its style, tone of writing and the various themes it encapsulates, attempting to unravel the engrossing mystery of the novel.
“The Ocean at the End of the Lane” contrasts a child’s point of view against that of an adult’s. What the narrator sees and at times considers to be real is often in conflict with the world that adults see and perceive. The narrator’s parents serve as the adult point of view where everything is exactly as it seems, where no other worldly creatures exist. There is no mystery, no illusion, things are merely what they are, whether they are good or bad. Gaiman writes, “Adult stories never made sense, and they were so slow to start. They made me feel like there were secrets…Why didn’t adults want to read about Narnia, about secret islands and smugglers and dangerous fairies?” (Gaiman 71-72); Gaiman writes this to highlight the difference between a child’s and adult’s mind set, a child is interested in wild and mythical creatures, while adults are concerned about what is real, t...
Literature is a key component when speaking of literacy. Teachers need to provide students with endless amounts of practice experiences in reading to build their fluency rate. This should be done with different genres of texts and different levels. Reading a wide variety of literature help children develop rich vocabularies.
One of the common literary elements used in this book is characterization, which is a device to create a connection between the audience and stories in the material. The forest creatures that lived in the tidy holes in the ground are examples of the use of characterization to help the audience understand the setting of the story and how they can influence the occurrence of events in the stories (Jeffers, 2009). Dramatization is the second literary devices used by Jeffers to deliver the messages and concepts in the book without losing the interest of the audience. In this context, the tool is based on the need to make the narratives interesting and compelling through the use of conflicts and unique moments. The disappearance of the big branches on the forest trees and the decision of the responsible citizens to investigate the cause of the problem are examples of the use of this literary device. As a conclusion, these three books are useful for the cross-cultural learning experience of children because of their emphasis on the need for attitudinal changes for social practices that are detrimental to the environment. Finally, the lesson learned would help students understand the negative impact of their refusal to recycle because the culture
While I believe every child is a reader, I do not believe every child will be enthralled with reading all the time. All students have the capability to read and enjoy reading, but just like any other hobby, interest will vary from student to student. The students in my classroom will be encouraged in their reading, be provided with choice, taught how books can take you into another world but, my students will not be forced to read. This paper will illustrate my philosophy of reading through the theories I relate to, the way I want to implement reading and writing curriculum, and the methods I will use motivate my students to read and help them become literate.
Over the years that the genre of children’s literature has existed, there have been many novels celebrated for their fantasy and intrigue. These novels play an important role in expanding the body of the genre, but few can lay claim to belonging to the group that defines it; the children’s literary canon. Canonicity is a prestige awarded to novels that represent every aspect of what describes children’s literature, and are the criterion against which all other novels in the genre are judged. A key aspect of this canon is its representation of the archetypal hero’s journey, and the equal balance between behavior that the reader can relate to, and behavior that the reader aspires to exhibit. Another standard that a novel in the canon must meet is the ability to be treated as a didactic text as well as an entertaining one; novels written for children must educate as well as captivate.
Literature has many purposes, and opens doors to unique worlds. Through Literature, we discover ourselves and world time and again.
While addressing the reader-text relationship of children, Ende embraced the Romantic conception of creativity that emphasizes imaginative self amid the dehumanising modern world. The reading child is a common archetype in modern fantasy fiction in English-speaking countries, ranging from Roald Dahl’s Matilda to Lucy Maude Montgomery’s Anne of Green Gables. A particular subset of metafictive texts: children's self-conscious books about storytelling, is prevalent as well, as pointed out by Claudia Nelson (22); however, Ende’s The Neverending Story act as a celebration of a child’s imagination and storytelling that transcend diegetic boundaries. This is especially the case with two contemporary works of German fantasy fiction enjoying as much cult following as Ende’s novel: Inkheart (2003) and The City of Dreaming Books (2004). What distinguishes these novels from other fantastical stories of travelling between two worlds, such as the ones by Philip Pullman, J.K. Rowling, or Neil Gaiman, are the
Literature is an essential part of society in the present day and enables the communication between multiple parties in a written form. Texts can provide a vast knowledge on subjects dependent on content whereas novels are often seen as being purely for leisure and enjoyment. However it can often be seen that prose