In the Republic of Croatia, the importance of intercultural education and competence-oriented curricula has gained momentum in the last decade, with children’s literature being perceived as an invaluable source of intercultural learning... more
In the Republic of Croatia, the importance of intercultural education and competence-oriented curricula has gained momentum in the last decade, with children’s literature being perceived as an invaluable source of intercultural learning and a fruitful tool for an exploration of global cultural diversity. Given that empirical data indicate the importance of children’s age for selecting age-appropriate intervention methods that would help combat discriminatory and prejudicial views, especially during the period between early and late childhood, this paper explores the choice of authors and picturebook titles taught in children’s literary courses at six Croatian Faculties of Teacher Education (Rijeka, Pula, Zagreb, Osijek, Zadar, and Split) with the aim to determine how university instructors interpret multicultural children’s literature and to which extent their syllabi accentuate the potential of picturebooks in fostering future pre-school and elementary-school teachers’ intercultural competence.
The findings indicate a misalignment between the objectives of intercultural education and the racial and ethnic representation of authors and their characters, especially protagonists. Furthermore, intercultural competence is not a major learning objective in the analyzed university syllabi. The choice of authors and picturebooks indicates a clear preference for white North American and European authors and white characters and protagonists. These findings highlight the need for teacher-educators, i.e., university instructors, to rethink the nature of their learning objectives and study content and to expand their reading lists with more diverse voices that challenge the traditional models that have historically left many ethnic groups misrepresented, under-represented, or fully omitted from school and university curricula.
The findings indicate a misalignment between the objectives of intercultural education and the racial and ethnic representation of authors and their characters, especially protagonists. Furthermore, intercultural competence is not a major learning objective in the analyzed university syllabi. The choice of authors and picturebooks indicates a clear preference for white North American and European authors and white characters and protagonists. These findings highlight the need for teacher-educators, i.e., university instructors, to rethink the nature of their learning objectives and study content and to expand their reading lists with more diverse voices that challenge the traditional models that have historically left many ethnic groups misrepresented, under-represented, or fully omitted from school and university curricula.
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Research into in-service teachers’ knowledge of children’s literature indicates there is a powerfully symbiotic relationship between teachers’ perceptions and projections of themselves as readers and students’ engagement with reading as... more
Research into in-service teachers’ knowledge of children’s literature indicates there is a powerfully symbiotic relationship between teachers’ perceptions and projections of themselves as readers and students’ engagement with reading as a pleasurable activity (Commeyras et al., 2003; Cremin et al 2014). Less is known about pre-service teachers’ knowledge of children’s literature or their attitudes towards reading and the Scottish context is unexplored in this regard. Inspired by and aligned with the work of Cremin et al. (2008) with in-service primary teachers in England, this project investigated the personal reading habits of more than 150 student teachers over a two-year period by capturing snapshots of their knowledge of children’s literature and perceptions of themselves as not only readers, but as readers of children’s literature, at various stages of their initial teacher education. Framed by understandings of literacy practices as socially and locally constructed (Barton & Hamilton, 1998) and of literate identities as fluid, contingent and plural (Moje et al., 2009), this paper also outlines how project findings linked to knowledge of texts for children and reader identity have informed the teaching and learning of children’s literature at university level.
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Children's literature is an area of frequent scholarship, reflecting its influential position in telling stories, developing literacy, and sharing knowledge in many cultures. At its best, children's literature. At its best, children’s... more
Children's literature is an area of frequent scholarship, reflecting its influential position in telling stories, developing literacy, and sharing knowledge in many cultures. At its best, children's literature. At its best, children’s literature is transformative in the lives of children and their adult reading companions, and as such plays an important role in society.
Indeed, in the last several decades, children’s literature has become an
important focus of teaching and research in centres for literature and literary criticism, education, and library/information sciences in universities across the world
Indeed, in the last several decades, children’s literature has become an
important focus of teaching and research in centres for literature and literary criticism, education, and library/information sciences in universities across the world
Research Interests:
The purpose of this research is the construction and psychometric evaluation of seven categories of recall and recognition tasks for the measurement of young spectators’ theatrical memory, based on the respective theatre codes of a... more
The purpose of this research is the construction and psychometric evaluation of seven categories of recall and recognition tasks for the measurement of young spectators’ theatrical memory, based on the respective theatre codes of a specific performance for young audiences. The aim of those tasks is the evaluation of the young spectators’ mnemonic recordings on a level of a) the actors’ representation of the characters on stage (acting), b) the visual frame of the performance, c) the audio code, d) the lights, e) the dramatic text, f) the plot/action and g) the Shadow Theatre technique.
The recall and recognition tasks were constructed according to the Classical Test Theory of Question Analysis on a sample of 5th Grade Primary School pupils, who had seen this specific performance addressed to young spectators and were evaluated with the Factor Analysis method. For the evaluation of the quality of the questions, we took into consideration the difficulty coefficient of each question, the discriminant coefficient and the evaluation of the correlation level of expert construction via inquiry factor analysis and the internal validity coefficient.
The result of the above tasks was the creation of seven reliable and valid measurement tools, in which no gender effect is inferred.
The recall and recognition tasks were constructed according to the Classical Test Theory of Question Analysis on a sample of 5th Grade Primary School pupils, who had seen this specific performance addressed to young spectators and were evaluated with the Factor Analysis method. For the evaluation of the quality of the questions, we took into consideration the difficulty coefficient of each question, the discriminant coefficient and the evaluation of the correlation level of expert construction via inquiry factor analysis and the internal validity coefficient.
The result of the above tasks was the creation of seven reliable and valid measurement tools, in which no gender effect is inferred.
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The essay focuses on the examination of a selection of children's picture books exploring the relationship between childhood and clothing as an identity element, as a means of transformation and as a resource for the imagination. The... more
The essay focuses on the examination of a selection of children's picture books exploring the relationship between childhood and clothing as an identity element, as a means of transformation and as a resource for the imagination. The gender stereotype has always deprived children of the
freedom to imagine themselves different from the imposed social model. Modern quality literature aims to free childhood from these constraints through stories that encourage the free expression of one's personality. "Clothing and childhood" is one of the binomial in which these themes appear most evident. While developing different plots, each selected book tells a story enriched by several levels of reading, more or less evident, and this is also due to particularly accurate illustrations, capable of adding further nuances to the text. Furthermore, even if characterized by the symbolic presence of clothes, these picture books do not make them the narrative fulcrum. The case studies examined in this essay are a concrete example of the potential of the picture book as a vehicle to transmit complex concepts and stratifications of complementary or parallel meanings that emerge from the dynamic relationship of the text with the image. Each double page opens multiple, free interpretative paths
that can be taken at each reading as the eye catches new aspects and the thought opens up to new discoveries. The imaginary dress is one of the many parallel paths that it was possible to explore with these books to explore the possible interpretations of clothing in children's literature, highlighting above all how much garments are objects charged with metasignification or with projections of an identity in formation such as the one of children. In the traditional children's literature, directly or
indirectly, the theme of identity is strongly linked to clothes like in the Emperor's new clothes, where wearing or removing a dress symbolizes a social role, a personality, a state of mind, a defeat or a victory. It is an indispensable part of oneself. A self-projection. The modern children’s literary production tries to free the children from the yoke of the role and stereotypes, encouraging them to explore and interpret reality through the most familiar items around them: what they wear or what adults around them wear. The case studies in the essay prove how clothing becomes a symbol of a journey of self-discovery and affirmation of one's individuality in the world.
freedom to imagine themselves different from the imposed social model. Modern quality literature aims to free childhood from these constraints through stories that encourage the free expression of one's personality. "Clothing and childhood" is one of the binomial in which these themes appear most evident. While developing different plots, each selected book tells a story enriched by several levels of reading, more or less evident, and this is also due to particularly accurate illustrations, capable of adding further nuances to the text. Furthermore, even if characterized by the symbolic presence of clothes, these picture books do not make them the narrative fulcrum. The case studies examined in this essay are a concrete example of the potential of the picture book as a vehicle to transmit complex concepts and stratifications of complementary or parallel meanings that emerge from the dynamic relationship of the text with the image. Each double page opens multiple, free interpretative paths
that can be taken at each reading as the eye catches new aspects and the thought opens up to new discoveries. The imaginary dress is one of the many parallel paths that it was possible to explore with these books to explore the possible interpretations of clothing in children's literature, highlighting above all how much garments are objects charged with metasignification or with projections of an identity in formation such as the one of children. In the traditional children's literature, directly or
indirectly, the theme of identity is strongly linked to clothes like in the Emperor's new clothes, where wearing or removing a dress symbolizes a social role, a personality, a state of mind, a defeat or a victory. It is an indispensable part of oneself. A self-projection. The modern children’s literary production tries to free the children from the yoke of the role and stereotypes, encouraging them to explore and interpret reality through the most familiar items around them: what they wear or what adults around them wear. The case studies in the essay prove how clothing becomes a symbol of a journey of self-discovery and affirmation of one's individuality in the world.
Research Interests:
This study explores literal and metaphorical narrations of age by looking closely at two picturebooks published at the turn of the twenty-first century. The evolutionary Western understanding of the child, childhood and children’s... more
This study explores literal and metaphorical narrations of age by looking closely at two picturebooks published at the turn of the twenty-first century. The evolutionary Western understanding of the child, childhood and children’s literature is briefly periodized as a tension between pragmatic and philosophical concerns. Representations of age are taken to be embedded in socio-cultural positions that implicate historical periods, geographic locations, and economic structures. Ethnicity and gender are similarly discussed as immanent features. Age is presented as much a biological phenomenon as a performative social act of a given culture. The ideas, feelings and events depicted in each picturebook are approached from a structuralist and a postmodernist perspective with the aim of providing a complementary analysis of child representations in alignment with the adult presence, and not necessarily through the lens of aetonomativity. My analysis points to possible applications of the design
of age narrations to current and future literacies
of age narrations to current and future literacies
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This article aims to present a study on the presence of women and female characters in Palestinian-Jordanian tales from oral tradition and their didactic use from an intercultural and coeducational perspective. It is based on the... more
This article aims to present a study on the presence of women and female characters in Palestinian-Jordanian tales from oral tradition and their didactic use from an intercultural and coeducational perspective. It is based on the ethnographic research carried out by Asensio (2015) through which she compiled a corpus of oral stories through a publication process. These stories were originally told in Arabic and were transcribed into Latin characters and translated into Spanish. It is understood that, being oral tales, they are presented in dialectal Arabic; specifically, in Jordan we can highlight four dialect varieties that respond to ethno-national origin (Transjordan / Palestine) and lifestyle (sedentary [urban, rural] or Bedouin [nomadic, semi-nomadic]. However, my interest in these stories arose because oral narrative is the most spread literary subgenre within Children's and Young Literature. I consider oral tradition the most ingrained discursive essence of the human being from an early age and children can easily recognize it. Additionally, the story is understood as an ethological fact. Although it may present certain geographical peculiarities, it is still a cross-cultural manifestation: all human beings narrate, and especially stories; all human beings use oral tradition to present social warnings, transmit values, etc.; the folktales, in addition, share common structural and organizational basic elements, although with their own spatial-temporal and socio-cultural idiosyncrasies. On the other hand, analysing stories from an oral tradition other than the Spanish one answers the need to train future teachers to recognize cultural diversity (global and national) and the different contributions which can be found, around the world, to inform this diversity. In the case at hand, for instance, data reveal a type of active female character that also serves to dismantle stereotypes and prejudices
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The remarkable influence of gender studies in recent years on the Greek educational system has inevitably led to the integration of a multi-focal thematic section entitled “Gender in Literature” in the new Lyceum curriculum. This section... more
The remarkable influence of gender studies in recent years on the Greek educational system has
inevitably led to the integration of a multi-focal thematic section entitled “Gender in Literature” in
the new Lyceum curriculum. This section truly captures the interest of adolescents, as it stimulates
the approach of literary texts and promotes constructive discussions that often lead to further
enjoyment of reading. On this base a collaboration between University of Athens and Anavryta Model
Lyceum was carried out in Literature class in both institutions. This article aims to present the main
stages of this cooperation on the subject of “Literary Representations of Women’s roles from
traditional to modern society”, as the institutional framework for teaching literature clearly supports
the historicity of texts. Besides explaining the rationale behind this educational action, we are
proposing a selection of literary texts that were used in class and presenting the objectives and
didactic methods practiced, the type of tasks assigned to the pupils as well as the skills developed by them. The paper insists on certain texts that are particularly valuable for this approach and offers examples of taking advantage of contextual elements. Finally, we are showing how this collaboration became a real example of extroversion for both institutions and we are attempting a comprehensive evaluation of this project and its impact within the students’ and teachers’ community
inevitably led to the integration of a multi-focal thematic section entitled “Gender in Literature” in
the new Lyceum curriculum. This section truly captures the interest of adolescents, as it stimulates
the approach of literary texts and promotes constructive discussions that often lead to further
enjoyment of reading. On this base a collaboration between University of Athens and Anavryta Model
Lyceum was carried out in Literature class in both institutions. This article aims to present the main
stages of this cooperation on the subject of “Literary Representations of Women’s roles from
traditional to modern society”, as the institutional framework for teaching literature clearly supports
the historicity of texts. Besides explaining the rationale behind this educational action, we are
proposing a selection of literary texts that were used in class and presenting the objectives and
didactic methods practiced, the type of tasks assigned to the pupils as well as the skills developed by them. The paper insists on certain texts that are particularly valuable for this approach and offers examples of taking advantage of contextual elements. Finally, we are showing how this collaboration became a real example of extroversion for both institutions and we are attempting a comprehensive evaluation of this project and its impact within the students’ and teachers’ community
Research Interests:
To talk about children's and youth's literature in Latin America is to talk about the history of oppression, geography, fauna, multiple languages, and culture of the Latin American nations. Latin American cultural borders, with... more
To talk about children's and youth's literature in Latin America is to talk about the history of oppression, geography, fauna, multiple languages, and culture of the Latin American nations. Latin American cultural borders, with distinctive geographical spaces, have provided cultural conditions for the creation of a unique regional children's and youth's literature permeated by the linguistic and historical richness of the Latin American nations; which, even, has gone as far as the creation of sidereal spaces in which children can dream. Latin America cannot and should not be seen as a homogeneous conglomerate of nations, because the linguistic and cultural diversity of the countries that comprise it goes far beyond the generalized idea of political turmoil created and supported by imperialistic nations. These heterogeneous nations have created a universal children's literature that it is rooted in Latin American regional cultures. Therefore, it is not surprising that a series of themes stand out in Latin American children's literature, which not only adhere to different regional aspects, but are also composed by thematic elements which are part of world children's and youth's literature. All these themes are as well a fundamental part of the development of children's literature in the Americas.
Research Interests:
Bianca Pitzorno is one of Italy’s most famous children’s writers. Her works – more than forty books translated into different languages – often address topics linked to gender identity and femininity. Pitzorno’s novels for children... more
Bianca Pitzorno is one of Italy’s most famous children’s writers. Her works – more than forty books translated into different languages – often address topics linked to gender identity and femininity. Pitzorno’s novels for children usually depict non-canonical female characters: rebel, dynamic and intelligent young girls that fight against adult injustice in order to affirm their agency.
The paper aims to explore female portrayals in Pitzorno’s novels and their potential educational impact in reconsidering gender stereotypes and roles from an early age. Literature is one of the most influential tools in the construction of gender ideals and gender socialization. Consequently, positive female models – as Pitzorno’s characters – should be offered to young readers from an early age in order to foster an inclusive collective imagination about femininity.
For instance, Extraterrestre alla pari [Aliens on par] (1979) directly focuses on gender issues telling the story of a young alien coming from a planet where young boys and girls do not know their sex until they reach adulthood. For this reason, they are considered as gender-neutral beings. Likewise, L’incredibile storia di Lavinia [Lavinia and the magic ring] (1985) ironically retells Hans Christian Andersen’s The Little Match Girl working on humor and female agency. Finally, Principessa Laurentina [Princess Laurentina] (1990) deals with adolescence and family dynamics, offering different portrayals of female identity, from a young age to adulthood.
Because of the brilliant and nontraditional depiction of female figures and the deconstruction of gender canon in a simple but captivating way, Pitzorno’s novels should be internationally considered in primary school curriculums as a starting point to introduce gender diversity in reading programs and to discuss gender issues with the help of adult figures such as teachers, educators and parents.
The paper aims to explore female portrayals in Pitzorno’s novels and their potential educational impact in reconsidering gender stereotypes and roles from an early age. Literature is one of the most influential tools in the construction of gender ideals and gender socialization. Consequently, positive female models – as Pitzorno’s characters – should be offered to young readers from an early age in order to foster an inclusive collective imagination about femininity.
For instance, Extraterrestre alla pari [Aliens on par] (1979) directly focuses on gender issues telling the story of a young alien coming from a planet where young boys and girls do not know their sex until they reach adulthood. For this reason, they are considered as gender-neutral beings. Likewise, L’incredibile storia di Lavinia [Lavinia and the magic ring] (1985) ironically retells Hans Christian Andersen’s The Little Match Girl working on humor and female agency. Finally, Principessa Laurentina [Princess Laurentina] (1990) deals with adolescence and family dynamics, offering different portrayals of female identity, from a young age to adulthood.
Because of the brilliant and nontraditional depiction of female figures and the deconstruction of gender canon in a simple but captivating way, Pitzorno’s novels should be internationally considered in primary school curriculums as a starting point to introduce gender diversity in reading programs and to discuss gender issues with the help of adult figures such as teachers, educators and parents.
Research Interests:
This article explores the question of how to assess children’s literature as feminist. Drawing upon a revision of the concept of postfeminism as a gendered neoliberalism that cultivates the ‘right’ disposition for succeeding in a... more
This article explores the question of how to assess children’s literature as feminist. Drawing upon a revision of the concept of postfeminism as a gendered neoliberalism that cultivates the ‘right’ disposition for succeeding in a neoliberal society, I bring together two possible objects of study upon which I outline some problematic aspects. I begin by focusing on a publishing phenomenon of the last few years: the biography compilations, such as the crowdfunded Good Night Stories for Rebel Girls, that, in a more or less explicit manner, aim to provide younger generations with new repertoires of gendered agencies. Then I analyze two picturebooks that have been recommended by reading promotion agencies and praised for their anti-sexist values: Tirititesa and La bella Griselda. In both these picturebooks, we find two protagonists tran sgressing gender norms and heteronormative ideals of romantic love. Yet, I argue that they reproduce systems of exclusions that are quite problematic if read from feminist intersectionality. The texts analyzed are modeled by a postfeminist sensibility in which a celebratory “girl power” is put forward, while obscuring how (gendered) exclusions work.
Research Interests:
This paper presents research that revolves around queer pedagogical methodologies, especially regarding language and literature teaching. It addresses the engagement with queer teaching methods implemented by Education Faculties both in... more
This paper presents research that revolves around queer pedagogical methodologies, especially regarding language and literature teaching. It addresses the engagement with queer teaching methods implemented by Education Faculties both in the Anglo-Saxon world and in the Spanish context.
Following the premise that literature is able to transmit particular values, these analyses have experimented with proposals that include the use of LGBTQ literature, especially picture books. Using a qualitative design, the purpose of the study was to introduce children’s literature that portrays LGBTQ characters and families to explore the perceptions of future teachers in the elementary classroom regarding queer culture, and the possibility of reading these picture books as instruments to interrupt heteronormativity and to tackle homophobia. It should be noted that this kind of interruption at the elementary level is often avoided, as it addresses sexual identity and it could be considered by some to be inappropriate for the elementary curriculum. The reality, however, is that sexual identity is included in early classrooms as heterosexuality: a single story of family and sexuality. Given the absence of inclusive and diversity practices that should have accompanied social policies, schools have in fact perpetuated the hostile and homophobic territory experienced by people who do not meet gender or sexuality expectations. Subsequently, a new model of queer pedagogy has emerged, demanding new proposals from schools at all levels: from curricular organisation to the types of readings pupils have access to.
Following the premise that literature is able to transmit particular values, these analyses have experimented with proposals that include the use of LGBTQ literature, especially picture books. Using a qualitative design, the purpose of the study was to introduce children’s literature that portrays LGBTQ characters and families to explore the perceptions of future teachers in the elementary classroom regarding queer culture, and the possibility of reading these picture books as instruments to interrupt heteronormativity and to tackle homophobia. It should be noted that this kind of interruption at the elementary level is often avoided, as it addresses sexual identity and it could be considered by some to be inappropriate for the elementary curriculum. The reality, however, is that sexual identity is included in early classrooms as heterosexuality: a single story of family and sexuality. Given the absence of inclusive and diversity practices that should have accompanied social policies, schools have in fact perpetuated the hostile and homophobic territory experienced by people who do not meet gender or sexuality expectations. Subsequently, a new model of queer pedagogy has emerged, demanding new proposals from schools at all levels: from curricular organisation to the types of readings pupils have access to.
Research Interests:
The last twenty years have seen a proliferation of books for young people dealing with trans experience and issues. This paper charts the emergence of transgender fiction for children and young adults, and its development during that... more
The last twenty years have seen a proliferation of books for young people dealing with trans experience and issues. This paper charts the emergence of transgender fiction for children and young adults, and its development during that period. It will address several questions arising from this phenomenon. How does the representation of trans experience differ when presented for a child readership rather than adults, and for younger children rather than adolescents? How are the representations of gender identity, gender expression and sexuality affected by considerations of audience? What are the tropes (or clichés) of trans fiction, and how have they changed? Whose points of view do the stories represent? Does it matter whether their authors are themselves trans? Is it more possible today than twenty years ago to assume some knowledge in child readers, or must every story “start from scratch”?
There is no single answer to any of these questions, but the article will note some of the trends discernible over a range of texts published in English since the start of the century, and describe some of the challenges in writing texts about trans* experience in the future.
There is no single answer to any of these questions, but the article will note some of the trends discernible over a range of texts published in English since the start of the century, and describe some of the challenges in writing texts about trans* experience in the future.
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The starting point for the making of this current issue were some fundamental questions about the intersection of Feminist Criticism and Gender Theory with Education: What might it mean to read and teach literature through the prism of... more
The starting point for the making of this current issue were some fundamental questions about the intersection of Feminist Criticism and Gender Theory with Education: What might it mean to read and teach literature through the prism of feminist criticism and/or gender theory? In
which texts, ways and methods can we integrate a balanced gender approach in to literary didactics? How and in which teaching approaches can we produce some powerful feminist readings of the literary texts,
whether they are texts long established by tradition, or contempora
ry and multimodal ones, belonging to popular culture? And how can
these concerns about feminism and gender be adequately addressed and embedded into the literature classroom? Although we knew that all the
previous questions could not be effectively addressed in one single issue, we still envisaged a publication with insightful contributions to the overall
theme of Feminism and Gender in Literary Education.
which texts, ways and methods can we integrate a balanced gender approach in to literary didactics? How and in which teaching approaches can we produce some powerful feminist readings of the literary texts,
whether they are texts long established by tradition, or contempora
ry and multimodal ones, belonging to popular culture? And how can
these concerns about feminism and gender be adequately addressed and embedded into the literature classroom? Although we knew that all the
previous questions could not be effectively addressed in one single issue, we still envisaged a publication with insightful contributions to the overall
theme of Feminism and Gender in Literary Education.
Research Interests:
In UK schools, there remains a compartmentalisation of English into 'language' and 'literature', evident in the ways that the subject is taught and examined and in the degrees to which teachers perceive themselves as being either a... more
In UK schools, there remains a compartmentalisation of English into 'language' and 'literature', evident in the ways that the subject is taught and examined and in the degrees to which teachers perceive themselves as being either a 'language' or a 'literature' teacher. In this paper, we suggest that an approach informed by cognitive linguistics and cognitive stylistics offers a wealth of affordances to the teacher who wishes to integrate aspects of linguistic and literary studies into their teaching. In particular, we argue that the cognitive discourse grammar Text World Theory provides an accessible and useful set of pedagogical principles. In the two case studies we present, teachers drew upon Text World Theory as a model for thinking about grammar teaching, literature teaching, lesson design, classroom talk and their own identity as teachers of English. The data suggests that this approach may have positive benefits for students engaging in high-level linguistic analysis and in the developing of responses to literature, and for teachers who are responsible for designing lessons and student activities. Resumen
En las escuelas del Reino Unido, sigue existiendo una compartimentación de la asignatura de inglés en "lengua" y "literatura", evidente en las formas en que se enseña y evalúa la materia, así como en el grado en que el profesorado se percibe a sí mismo como docente de "lengua" o "literatura". En este artículo, sugerimos que un enfoque basado en la lingüística y la estilística cognitivas ofrece una gran cantidad de recursos a quienes desean integrar aspectos de los estudios lingüísticos y literarios en su enseñanza. Argumentamos que, en particular, la gramática cognitiva del discurso Text World Theory proporciona un conjunto accesible y útil de principios pedagógicos, y presentamos dos estudios de casos de investigación en colaboración con docentes que se basaron en la Text World Theory como modelo para pensar sobre la enseñanza de la gramática, la enseñanza de la literatura, el diseño de lecciones o charlas en el aula y su propia identidad como profesores de inglés. Los datos Ian Cushing & Marcello Giovanelli sugieren que este enfoque puede tener beneficios positivos para estudiantes que participan en el análisis lingüístico de alto nivel y en el desarrollo de respuestas a la literatura, y así como para docentes que piensan en el diseño de las lecciones y actividades.
A les escoles del Regne Unit, continua existint una compartimentació de l'assignatura d'anglés en "llengua" i "literatura", evident en les formes en què s'ensenya i s'avalua la matèria, així com en el grau en què el professorat es percep a si mateix com a docent de "llengua" o "literatura". En aquest article, suggerim que un enfocament basat en la lingüística i l'estilística cognitives ofereix una gran quantitat de recursos a aquelles persones que volen integrar aspectes dels estudis lingüístics i literaris en el seu ensenyament. Argumentem que, en particular, la gramàtica cognitiva del discurs Text World Theory proporciona un conjunt accessible i útil de principis pedagògics, i presentem dos estudis de casos d'investigació en col·laboració amb docents que es van basar en la Text World Theory com a model per pensar sobre l'ensenyament de la gramàtica, l'ensenyament de la literatura, el disseny de lliçons o xerrades a l'aula i la seua pròpia identitat com a professors d'anglès. Les dades suggereixen que aquest enfocament pot tenir beneficis positius per a estudiants que participen en l'anàlisi lingüística d'alt nivell i en el desenvolupament de respostes a la literatura, així com per a docents que pensen en el disseny de lliçons i activitats.
En las escuelas del Reino Unido, sigue existiendo una compartimentación de la asignatura de inglés en "lengua" y "literatura", evidente en las formas en que se enseña y evalúa la materia, así como en el grado en que el profesorado se percibe a sí mismo como docente de "lengua" o "literatura". En este artículo, sugerimos que un enfoque basado en la lingüística y la estilística cognitivas ofrece una gran cantidad de recursos a quienes desean integrar aspectos de los estudios lingüísticos y literarios en su enseñanza. Argumentamos que, en particular, la gramática cognitiva del discurso Text World Theory proporciona un conjunto accesible y útil de principios pedagógicos, y presentamos dos estudios de casos de investigación en colaboración con docentes que se basaron en la Text World Theory como modelo para pensar sobre la enseñanza de la gramática, la enseñanza de la literatura, el diseño de lecciones o charlas en el aula y su propia identidad como profesores de inglés. Los datos Ian Cushing & Marcello Giovanelli sugieren que este enfoque puede tener beneficios positivos para estudiantes que participan en el análisis lingüístico de alto nivel y en el desarrollo de respuestas a la literatura, y así como para docentes que piensan en el diseño de las lecciones y actividades.
A les escoles del Regne Unit, continua existint una compartimentació de l'assignatura d'anglés en "llengua" i "literatura", evident en les formes en què s'ensenya i s'avalua la matèria, així com en el grau en què el professorat es percep a si mateix com a docent de "llengua" o "literatura". En aquest article, suggerim que un enfocament basat en la lingüística i l'estilística cognitives ofereix una gran quantitat de recursos a aquelles persones que volen integrar aspectes dels estudis lingüístics i literaris en el seu ensenyament. Argumentem que, en particular, la gramàtica cognitiva del discurs Text World Theory proporciona un conjunt accessible i útil de principis pedagògics, i presentem dos estudis de casos d'investigació en col·laboració amb docents que es van basar en la Text World Theory com a model per pensar sobre l'ensenyament de la gramàtica, l'ensenyament de la literatura, el disseny de lliçons o xerrades a l'aula i la seua pròpia identitat com a professors d'anglès. Les dades suggereixen que aquest enfocament pot tenir beneficis positius per a estudiants que participen en l'anàlisi lingüística d'alt nivell i en el desenvolupament de respostes a la literatura, així com per a docents que pensen en el disseny de lliçons i activitats.
Research Interests:
In Ella McFadyen's 1940's Pegmen Tales the reader witnesses an Australian wishfulness read in the triumphant adventures of the small-of domestic objects brought to life through the imagination of children. In McFadyen's highly didactic... more
In Ella McFadyen's 1940's Pegmen Tales the reader witnesses an Australian wishfulness read in the triumphant adventures of the small-of domestic objects brought to life through the imagination of children. In McFadyen's highly didactic tales, clothes pegs stolen and deliberately misused come to embody an understated national ethos with biblical pretensions. The Peg family sail the world in their "Ark", spreading antipodean wonder, cheer and ingenuity everywhere they go. The Pegs themselves-as home-made toys-represent the imaginative ingenuity of Australian children. These are toys any child could make, and so may be read as a social leveller. The dream bringing them to life is that of decent, healthy children and the Pegs (as postwar family, sans father, strive to set themselves and the world good standards). Every anthropomorphism is deservedly read as comment on the human race or some department or aspect of it, and in this case it is Australian class, race and national pretensions which are promoted through the vehicle of mainly exemplary characters who, in their travels-for the sake of plot-negotiate a series of mildly ethical crises, and always come out smiling. This paper proceeds by considering the issues raised above in relation a small number of episodes from the tales: these dealing with the invasion of rogue mice, the creation of the Pegmen, with Pongo (from the Congo) and the Australian Aborigines, with the Peg's expedition to Antarctica and with the metamorphosis of swagmen into grey kangaroos.
En l'obra de 1940, Pegmen Tales, d'Ella McFadyen el lector és testimoni d'un miratge australià a les aventures triomfants d'allò menut-d'objectes domèstics que cobren vida a través de la imaginació dels infants. Als contes, altament didàctics, de McFadyen les pinces de la roba furtades i deliberadament maltractades prenen cos i declaren un ethos nacional amb pretensions bíbliques. La família Pinça navega pel mon al seu "Ark", tot propagant un pensament antípoda, alegre i ingenu allà on van. Les Pinces mateixes-com a joguets fets a casa-representen la ingenuïtat imaginativa dels infants australians. Aquests són joguets que qualsevol infant pot construir, i així pot ser llegit com un anivellador social. El somni de fer-los cobrar vida pertany als decents i sans xiquets i les Pinces (com a famílies de postguerra sense pare, que pugnen per adequar-se als bons estàndards mundials).
En l'obra de 1940, Pegmen Tales, d'Ella McFadyen el lector és testimoni d'un miratge australià a les aventures triomfants d'allò menut-d'objectes domèstics que cobren vida a través de la imaginació dels infants. Als contes, altament didàctics, de McFadyen les pinces de la roba furtades i deliberadament maltractades prenen cos i declaren un ethos nacional amb pretensions bíbliques. La família Pinça navega pel mon al seu "Ark", tot propagant un pensament antípoda, alegre i ingenu allà on van. Les Pinces mateixes-com a joguets fets a casa-representen la ingenuïtat imaginativa dels infants australians. Aquests són joguets que qualsevol infant pot construir, i així pot ser llegit com un anivellador social. El somni de fer-los cobrar vida pertany als decents i sans xiquets i les Pinces (com a famílies de postguerra sense pare, que pugnen per adequar-se als bons estàndards mundials).
Research Interests:
A genre approach to teaching lyric poetry is the subject of this essay. I have divided my discussion here into three parts. Part one contains a discussion and critique of genre theory as it relates specifically to the use of genre as a... more
A genre approach to teaching lyric poetry is the subject of this essay. I have divided my discussion here into three parts. Part one contains a discussion and critique of genre theory as it relates specifically to the use of genre as a framework to teach poetry. Part two examines and problematizes the various ways lyric genre has been defined in literary theory. Part three outlines the methodology of teaching lyric poetry, including suggestions for engaging strategies that may be implemented in classrooms. More precisely, part one of the essay is guided by the following question: Why are genres important to the teaching of literature at school? Defining genres may be problematic; the main reason this has been a problem arises from the fact that genre theory has taken quite different directions, ranging from taxonomic approaches that tend to classify and describe relations between literary texts, to a cultural approach that use genres "to examine the dynamic relationship between genres, literary texts, and socio-culture-in particular, the way genres organize, generate, normalize, and help reproduce literary as well as non-literary social actions in dynamic, ongoing, culturally defined and defining ways" (Bawarshi & Reiff, 2010, p.23). Most of the contemporary scholarship on genre, however, see genre as a sort of interpretive framework; as the embodiment of a tacit 'pact' of reading between authors and readers that function as 'horizons of expectation' for readers. As Karl Canvat writes, in his book Enseigner la littérature par le genre. Pour une approche théorique et didactique de la notion de genre littéraire, this 'pact' defines an agreement, a contract with the reader, that allows the text to be identified, thus facilitating understanding; it helps to give form and meaning in the text (Canvat, 1999, p.115). Such an approach of genre offers a way of teaching literature that has the basic function of supporting and orienting the act of reading. To elaborate this, seeing genres as "instrument[s] not of classification or prescription, but of meaning" (Fowler, 1982, p.22), can be enlightening in the sense that teaching literature using genres involves teaching students how to draw upon generic rules in order to identify and describe relations between literary texts, to describe genre change as responding to socio-historically situated conditions, and to structure their perceptions of literary representations. Moreover, given that genres are not a set of rules that writers or readers must follow, but a set of conventions that change over time, I believe that a genre approach to teaching literature helps students to recognize both "a larger number of literary relationships that would not be noticed as long as there were no context established for them" (Frye, pp. 247-248) and the uniqueness of a literary text that exceeds genre conventions.
The next part is concerned in first place with the reasons for selecting lyric poetry as subject matter. Students, confused by the complexity of many poems, are often apprehensive about poetry. How can we instill a love of a subject that so many students find intimidating? To overcome this, we should foster a sense of poetry reading as identification and participation; we should expose students to a wide variety of poems that speak of our common human condition and experiences, enabling the reader to connect both to others and to his own inner self. With this in mind, and taking into account that the ability to talk about feelings is really important in adolescence, a highly emotionally charged time of life, I decided to focus on lyric poetry –i.e. the type of poetry which expresses personal emotions or feelings. In his introduction to lyric, Scott Brewster writes that “lyric [as a form] has proved a problematic case for genre theory. At times it is treated as a timeless, universal aesthetic disposition, at others it is identified as a generic category clearly defined by its subject matter, formal features and purposes” (Brewster, 2009, p.2). Given this skeptical attitude towards lyric, before addressing questions about poetry teaching, it seems crucial for me to proceed to a survey of the debates surrounding lyric poetry. Thus, part two of this essay also seeks to offer a polyphonic range of perspectives about the most prominent characteristics of lyric genre (“lyric” is the name of a genre or of a mode? – lyric is a mimesis of the experience of the poet? – what about the lyric addressee?). The final section of the essay suggests a sample lesson plan and student-centered activities intended to strengthen students’ understanding of lyric poetry. Jonathan Culler argues that “love poetry can easily stand as paradigmatic for the lyric tradition” (Culler, 2015, p.207). In line with this argument, the lesson plan focuses on lyric poems, from an array of different periods of the Western literary tradition, expressing variations of erotic or romantic love and consists of three key focus areas: the rhetoric of love poems (i.e, the structure and language features of the form) to explore the complexities of love; the musical component of lyric poetry; the role of the setting in erotic lyricism.
The next part is concerned in first place with the reasons for selecting lyric poetry as subject matter. Students, confused by the complexity of many poems, are often apprehensive about poetry. How can we instill a love of a subject that so many students find intimidating? To overcome this, we should foster a sense of poetry reading as identification and participation; we should expose students to a wide variety of poems that speak of our common human condition and experiences, enabling the reader to connect both to others and to his own inner self. With this in mind, and taking into account that the ability to talk about feelings is really important in adolescence, a highly emotionally charged time of life, I decided to focus on lyric poetry –i.e. the type of poetry which expresses personal emotions or feelings. In his introduction to lyric, Scott Brewster writes that “lyric [as a form] has proved a problematic case for genre theory. At times it is treated as a timeless, universal aesthetic disposition, at others it is identified as a generic category clearly defined by its subject matter, formal features and purposes” (Brewster, 2009, p.2). Given this skeptical attitude towards lyric, before addressing questions about poetry teaching, it seems crucial for me to proceed to a survey of the debates surrounding lyric poetry. Thus, part two of this essay also seeks to offer a polyphonic range of perspectives about the most prominent characteristics of lyric genre (“lyric” is the name of a genre or of a mode? – lyric is a mimesis of the experience of the poet? – what about the lyric addressee?). The final section of the essay suggests a sample lesson plan and student-centered activities intended to strengthen students’ understanding of lyric poetry. Jonathan Culler argues that “love poetry can easily stand as paradigmatic for the lyric tradition” (Culler, 2015, p.207). In line with this argument, the lesson plan focuses on lyric poems, from an array of different periods of the Western literary tradition, expressing variations of erotic or romantic love and consists of three key focus areas: the rhetoric of love poems (i.e, the structure and language features of the form) to explore the complexities of love; the musical component of lyric poetry; the role of the setting in erotic lyricism.
Research Interests:
The purpose of this paper is to discuss the dialogic relationship between literary texts and paintings and the function of painting pictures in the teaching of literature in Secondary Education. The incorporation of paintings into... more
The purpose of this paper is to discuss the dialogic relationship between literary texts and paintings and the function of painting pictures in the teaching of literature in Secondary Education. The incorporation of paintings into literary education is founded on Bakhtin's principle of dialogism. The wider spirit of the theory of dialogism allows us to detach the literary text from the solitude of its autonomy, connecting it not only to other literary texts but also to other forms of art, which unfold within a particular historical and cultural context. One example of the dialogic relationship between literature and painting could be the dialogue between the poem 'We are just some… [battered guitars]' of the Greek poet Kostas Karyotakis and two paintings of the Austrian artist Egon Schiele, which was deployed in a teaching session for Greek eleventh graders. This sample teaching, thoroughly described in the paper, gave prominence to the dialogic relationship between the poem and the paintings, tracing their analogies on a thematic, stylistic and sociohistorical level. It also brought out the students' role as active participants in the dialogue between the poem and the paintings and as crucial agents of the meaning-making process. This empirical research has proved that the utilization of paint images can reignite students' interest in the ideas and expressive ways of poetry and, therefore, contribute effectively to the achievement of the aspirations of literary education. Moreover, it has shown that the analysis of painting pictures can be fully incorporated into the implementation framework of the current teaching methods of literature. Furthermore, the teaching venture has indicated that the parallel study of literary texts and paintings can establish fruitful interdisciplinary links between the distinct fields of literature and painting, and initiate students successfully into the fundamental principles of art in general.
El objetivo de este artículo es analizar la relación dialógica entre textos literarios y el arte visual, y la función de las artes visuales en la enseñanza de la literatura en la Educación Secundaria. La inclusión
de cuadros en la educación literaria está fundada en el principio bajtiniano del dialoguismo. En su versión más amplia, la teoría dialógica nos permite separar el texto literario de la soledad de su autonomía conectándolo, no solo con otros textos literarios, sino también con otras formas de arte que se desarrollan en un contexto histórico y cultural particular. Un ejemplo de relación dialógica entre literatura y pintura podría ser el dialogo entre el poema ‘Solo somos unas… [guitarras
maltratadas]’ del poeta griego Kostas Karyotakis y dos cuadros del pintor austriaco Egon Schiele, que se utilizaron en el desarrollo de una clase de undécimo grado de alumnos griegos. Esta muestra
pedagógica, ampliamente descrita en el artículo, enfatizó la relación dialógica entre el poema y los cuadros, trazando analogías a nivel temático, estilístico y socio-histórico. También promovió la
participación activa entre los estudiantes en el diálogo entre el poema y los cuadros, en el cual los estudiantes actuaron como agentes cruciales en el proceso de creación de significado. Esta investigación empírica demuestra que el uso del arte visual puede despertar el interés de los
estudiantes hacia las ideas y la expresión poética y, por lo tanto, contribuir de forma eficiente a la adquisición de las competencias académicas de la educación literaria. Es más, demuestra que un
análisis pictórico puede ser plenamente integrado en la implementación del marco teórico de las estrategias actuales de la educación literaria. Asimismo, la actividad docente indica que el estudio
paralelo de textos literarios y arte visual puede establecer conexiones interdisciplinares fructíferas entre los diferentes campos de la literatura y el arte, e iniciar con éxito a los estudiantes en los principios del arte en general.
L’objectiu d’aquest article és analitzar la relació dialògica entre textos literaris i l’art visual i la funció de les arts visuals en l’ensenyament de la literatura a l’Educació Secundària. La inclusió de quadre en
l’educació literària està fundada en el principi bakhtinià del dialoguisme. En la seua versió més àmplia, la teoria dialògica ens permet separar el text literari de la soledat de la seua autonomia connectant-lo, no sols amb d’altres textos literaris, sinó també amb d’altres formes d’art que es
desenvolupen en un context històric i cultural particular. Un exemple de relació dialògica entre literatura i pintura podria ser el diàleg entre el poema “Només som unes…[battered guitars]” del poeta grec Kostas Karyotakis i dos quadres del pinto austríac Egon Schiele que s’utilitzaren en el desenvolupament d’una classe d’onzé grau d’alumnes grecs. Aquesta mostra pedagògica, àmpliament descrita a l’article, va emfatitzar la relació dialògica entre el poema i els quadres tot traçant analogies a nivell temàtic, estilístic i sociohistòric. També va promoure la participació activa entre els estudiants en el diàleg entre el poema i els quadres en el qual els estudiants van actuar com a agents
crucials en el procés de creació de significat. Aquesta investigació empírica demostra que l’ús de l’art visual pot despertar l’interés dels estudiants cap a les idees i l’expressió poètica i, per tant, contribuir
de forma eficient a l’adquisició de les competències acadèmiques de l’educació literària. És més, demostra que una anàlisi pictòrica pot ser plenament integrada en la implementació del marc teòric
de les estratègies actuals de l’educació literària. Així mateix, l’activitat docent indica que l’estudi paral·lel de textos literaris i art visual pot establir connexions interdisciplinars fructíferes entre els
diferents camps de la literatura i l’art i iniciar amb èxit els estudiants en els principis de l’art engeneral.
El objetivo de este artículo es analizar la relación dialógica entre textos literarios y el arte visual, y la función de las artes visuales en la enseñanza de la literatura en la Educación Secundaria. La inclusión
de cuadros en la educación literaria está fundada en el principio bajtiniano del dialoguismo. En su versión más amplia, la teoría dialógica nos permite separar el texto literario de la soledad de su autonomía conectándolo, no solo con otros textos literarios, sino también con otras formas de arte que se desarrollan en un contexto histórico y cultural particular. Un ejemplo de relación dialógica entre literatura y pintura podría ser el dialogo entre el poema ‘Solo somos unas… [guitarras
maltratadas]’ del poeta griego Kostas Karyotakis y dos cuadros del pintor austriaco Egon Schiele, que se utilizaron en el desarrollo de una clase de undécimo grado de alumnos griegos. Esta muestra
pedagógica, ampliamente descrita en el artículo, enfatizó la relación dialógica entre el poema y los cuadros, trazando analogías a nivel temático, estilístico y socio-histórico. También promovió la
participación activa entre los estudiantes en el diálogo entre el poema y los cuadros, en el cual los estudiantes actuaron como agentes cruciales en el proceso de creación de significado. Esta investigación empírica demuestra que el uso del arte visual puede despertar el interés de los
estudiantes hacia las ideas y la expresión poética y, por lo tanto, contribuir de forma eficiente a la adquisición de las competencias académicas de la educación literaria. Es más, demuestra que un
análisis pictórico puede ser plenamente integrado en la implementación del marco teórico de las estrategias actuales de la educación literaria. Asimismo, la actividad docente indica que el estudio
paralelo de textos literarios y arte visual puede establecer conexiones interdisciplinares fructíferas entre los diferentes campos de la literatura y el arte, e iniciar con éxito a los estudiantes en los principios del arte en general.
L’objectiu d’aquest article és analitzar la relació dialògica entre textos literaris i l’art visual i la funció de les arts visuals en l’ensenyament de la literatura a l’Educació Secundària. La inclusió de quadre en
l’educació literària està fundada en el principi bakhtinià del dialoguisme. En la seua versió més àmplia, la teoria dialògica ens permet separar el text literari de la soledat de la seua autonomia connectant-lo, no sols amb d’altres textos literaris, sinó també amb d’altres formes d’art que es
desenvolupen en un context històric i cultural particular. Un exemple de relació dialògica entre literatura i pintura podria ser el diàleg entre el poema “Només som unes…[battered guitars]” del poeta grec Kostas Karyotakis i dos quadres del pinto austríac Egon Schiele que s’utilitzaren en el desenvolupament d’una classe d’onzé grau d’alumnes grecs. Aquesta mostra pedagògica, àmpliament descrita a l’article, va emfatitzar la relació dialògica entre el poema i els quadres tot traçant analogies a nivell temàtic, estilístic i sociohistòric. També va promoure la participació activa entre els estudiants en el diàleg entre el poema i els quadres en el qual els estudiants van actuar com a agents
crucials en el procés de creació de significat. Aquesta investigació empírica demostra que l’ús de l’art visual pot despertar l’interés dels estudiants cap a les idees i l’expressió poètica i, per tant, contribuir
de forma eficient a l’adquisició de les competències acadèmiques de l’educació literària. És més, demostra que una anàlisi pictòrica pot ser plenament integrada en la implementació del marc teòric
de les estratègies actuals de l’educació literària. Així mateix, l’activitat docent indica que l’estudi paral·lel de textos literaris i art visual pot establir connexions interdisciplinars fructíferes entre els
diferents camps de la literatura i l’art i iniciar amb èxit els estudiants en els principis de l’art engeneral.
Research Interests:
Poetry can be especially well-suited to encouraging awareness, reflection and debate about cultural difference. This article reflects on poetry’s overlooked suitability to engage young people in the expression of cultural difference in a... more
Poetry can be especially well-suited to encouraging awareness, reflection and debate about cultural difference. This article reflects on poetry’s overlooked suitability to engage young people in the expression of cultural difference in a progressively globalized world where cultivating cross-cultural understanding and tolerance needs to be at the top of our agendas.
My research paid attention to the different forms that poetry can take when young audiences interact with it. I focused both in school poetry and in poetry that circulates outside the straightjacket of formal educational contexts. The main body of this article focuses on literary qualities of texts but the first sections summarize the theoretical lenses that informed my investigation and the rationale that I used. I also include in this article, after an explanation about literary features in poems, a summary of the reflections that emerged from the analysis of printed and digital material and in conversations with interviewed key informants.
La poesía puede ser muy adecuada para incentivar la conciencia, la reflexión y el debate sobre la diferencia cultural. Este artículo reflexiona sobre la adecuación para comprometer a los jóvenes en
la expresión de la diferencia cultural en un mundo progresivamente globalizado en el que el cultivo de la comprensión intercultural y la tolerancia necesita prioridad. Nuestra investigación presta atención a las diferentes formas que puede tomar la poesía cuando las
audiencias jóvenes interactúan con ella. Focalizamos tanto en la poesía escolar como en la poesía que circula al margen de la camisa de fuerza de los contextos de educación formal. El cuerpo principal de
este artículo focaliza en las calidades literarias de los textos, pero los primeros apartados resumen los enfoques teóricos que avalan nuestra investigación y la lógica que se ha utilizado. También se incluye en este artículo, tras una explicación sobre los rasgos literarios de los poemas, un resumen de las reflexiones que surgen del análisis de material impreso y digital y en conversaciones con informantes clave entrevistados. La poesia pot ser molt adequada per a encoratjar la consciència, la reflexió i el debat sobre la diferència cultural. Aquest article reflexiona sobre l’adequació per a comprometre els joves en
l’expressió de la diferència cultural en un món progressivament globalitzat on el conreu de la comprensió intercultural i la tolerància necessita ser prioritària. La nostra recerca para atenció a les diferents formes que pot prendre la poesia quan les joves audiències interactuem amb ella. Focalitzem tant en la poesia escolar com en la poesia que circula al marge de la camisa de força dels contextos d’educació formal. El cos principal d’aquest article focalitza en les qualitats literàries dels textos però els primers apartats resumeixen els enfocaments
teòrics que avalen la nostra investigació i la lògica que s’ha utilitzat. També s’hi inclou en aquest article, després d’una explicació sobre els trets literaris als poemes, un resum de les reflexions que
sorgeixen de l’anàlisi de material imprès i digital i en converses amb informants clau entrevistats.
My research paid attention to the different forms that poetry can take when young audiences interact with it. I focused both in school poetry and in poetry that circulates outside the straightjacket of formal educational contexts. The main body of this article focuses on literary qualities of texts but the first sections summarize the theoretical lenses that informed my investigation and the rationale that I used. I also include in this article, after an explanation about literary features in poems, a summary of the reflections that emerged from the analysis of printed and digital material and in conversations with interviewed key informants.
La poesía puede ser muy adecuada para incentivar la conciencia, la reflexión y el debate sobre la diferencia cultural. Este artículo reflexiona sobre la adecuación para comprometer a los jóvenes en
la expresión de la diferencia cultural en un mundo progresivamente globalizado en el que el cultivo de la comprensión intercultural y la tolerancia necesita prioridad. Nuestra investigación presta atención a las diferentes formas que puede tomar la poesía cuando las
audiencias jóvenes interactúan con ella. Focalizamos tanto en la poesía escolar como en la poesía que circula al margen de la camisa de fuerza de los contextos de educación formal. El cuerpo principal de
este artículo focaliza en las calidades literarias de los textos, pero los primeros apartados resumen los enfoques teóricos que avalan nuestra investigación y la lógica que se ha utilizado. También se incluye en este artículo, tras una explicación sobre los rasgos literarios de los poemas, un resumen de las reflexiones que surgen del análisis de material impreso y digital y en conversaciones con informantes clave entrevistados. La poesia pot ser molt adequada per a encoratjar la consciència, la reflexió i el debat sobre la diferència cultural. Aquest article reflexiona sobre l’adequació per a comprometre els joves en
l’expressió de la diferència cultural en un món progressivament globalitzat on el conreu de la comprensió intercultural i la tolerància necessita ser prioritària. La nostra recerca para atenció a les diferents formes que pot prendre la poesia quan les joves audiències interactuem amb ella. Focalitzem tant en la poesia escolar com en la poesia que circula al marge de la camisa de força dels contextos d’educació formal. El cos principal d’aquest article focalitza en les qualitats literàries dels textos però els primers apartats resumeixen els enfocaments
teòrics que avalen la nostra investigació i la lògica que s’ha utilitzat. També s’hi inclou en aquest article, després d’una explicació sobre els trets literaris als poemes, un resum de les reflexions que
sorgeixen de l’anàlisi de material imprès i digital i en converses amb informants clau entrevistats.
Research Interests:
This article aims to highlight the crucial stages of C.P. Cavafy’s presence in education through textbooks about literature from 1930 until today. More specifically, the research is constructed around two areas: a) the fundamental role of... more
This article aims to highlight the crucial stages of C.P. Cavafy’s presence in education through textbooks about literature from 1930 until today. More specifically, the research is constructed around two areas: a) the fundamental role of literary criticism and how it was related to the
introduction of C.P. Cavafy in education in 1930, b) the degree of osmosis between History of Greek Literature and Education. The methodological criteria of the research are drawn from different areas,
such as: i) literary criticism, ii) history of education and educational policy, iii) history of textbook anthologies, and iv) poetry anthologies. During a course of eighty years, C. P. Cavafy is found in thirtyfive textbooks, teachers’ textbooks and curricula; ‘Ithaka’ is the most anthologized poem — twelve times. The positive opinions by the critics and the momentum of school anthologies that tried a holistic approach to poetry defined the inclusion of C. P. Cavafy in the school anthologies during the educational reform of 1929-1932. The evaluation of Cavafy in the History of Modern Greek Literature by C. Th. Dimaras surpasses the efforts made by the critics of that time. Moreover, Linos Politis also
holds a part of the restoration of C. P. Cavafy as far as the school textbooks are concerned, as his History of Modern Greek Literature, as well as his poetic anthology, determined the school literary
canon from the days of the Restoration of Democracy (1974)1 until now.
Este artículo trata de resaltar las etapas cruciales de la presencia de C.P. Cavafis en la educación a través de libros de texto sobre literatura desde 1930 hasta la actualidad. Más específicamente, la investigación está construida sobre dos áreas: a) el papel fundamental de la crítica literaria y como está relacionada con la introducción de C.P. Cavafis en la educación en 1930, b) el grado de ósmosis entre la historia de la literatura griega y la educación. Los criterios metodológicos de la investigación se delinean a través de diferentes áreas como: a) la crítica literaria, b) la historia de la educación y la política educativa, c) la historia de las antologías escolares y d) las antologías poéticas. En el curso de ocho años, C.P. Cavafis se encuentra en 35 libros de texto, manuales de profesores y currículos. “Itaca” es el poema que aparece en más antologías (12 veces). Las opiniones positivas de los críticos y el impulso de las antologías escolares que buscaron un enfoque holístico de la poesía, definieron la inclusión de C.P. Cavafis en las antologías escolares durante la reforma educativa de 1929-1932. La evaluación de Cavafis en la Historia de la Literatura Moderna Griega (en griego) de C.Th. Dimaras sobrepasa los esfuerzos hechos por los críticos en aquel periodo. Además, Linos Politis también contribuyó en parte a la restauración de C.P. Cavafis respecto de los libros de texto en tanto que su Historia de la Literatura Griega Moderna, así como su antología poética, determinaros el canon literario escolar desde los días de la restauración de la democracia (1974) hasta ahora.
introduction of C.P. Cavafy in education in 1930, b) the degree of osmosis between History of Greek Literature and Education. The methodological criteria of the research are drawn from different areas,
such as: i) literary criticism, ii) history of education and educational policy, iii) history of textbook anthologies, and iv) poetry anthologies. During a course of eighty years, C. P. Cavafy is found in thirtyfive textbooks, teachers’ textbooks and curricula; ‘Ithaka’ is the most anthologized poem — twelve times. The positive opinions by the critics and the momentum of school anthologies that tried a holistic approach to poetry defined the inclusion of C. P. Cavafy in the school anthologies during the educational reform of 1929-1932. The evaluation of Cavafy in the History of Modern Greek Literature by C. Th. Dimaras surpasses the efforts made by the critics of that time. Moreover, Linos Politis also
holds a part of the restoration of C. P. Cavafy as far as the school textbooks are concerned, as his History of Modern Greek Literature, as well as his poetic anthology, determined the school literary
canon from the days of the Restoration of Democracy (1974)1 until now.
Este artículo trata de resaltar las etapas cruciales de la presencia de C.P. Cavafis en la educación a través de libros de texto sobre literatura desde 1930 hasta la actualidad. Más específicamente, la investigación está construida sobre dos áreas: a) el papel fundamental de la crítica literaria y como está relacionada con la introducción de C.P. Cavafis en la educación en 1930, b) el grado de ósmosis entre la historia de la literatura griega y la educación. Los criterios metodológicos de la investigación se delinean a través de diferentes áreas como: a) la crítica literaria, b) la historia de la educación y la política educativa, c) la historia de las antologías escolares y d) las antologías poéticas. En el curso de ocho años, C.P. Cavafis se encuentra en 35 libros de texto, manuales de profesores y currículos. “Itaca” es el poema que aparece en más antologías (12 veces). Las opiniones positivas de los críticos y el impulso de las antologías escolares que buscaron un enfoque holístico de la poesía, definieron la inclusión de C.P. Cavafis en las antologías escolares durante la reforma educativa de 1929-1932. La evaluación de Cavafis en la Historia de la Literatura Moderna Griega (en griego) de C.Th. Dimaras sobrepasa los esfuerzos hechos por los críticos en aquel periodo. Además, Linos Politis también contribuyó en parte a la restauración de C.P. Cavafis respecto de los libros de texto en tanto que su Historia de la Literatura Griega Moderna, así como su antología poética, determinaros el canon literario escolar desde los días de la restauración de la democracia (1974) hasta ahora.
Research Interests:
The program of the 2nd cycle of Basic Education in Portugal contains several guidelines on the teaching of the poetic text, not only in terms of contents and objectives, but also concerning the suggestion of texts to read. These proposals... more
The program of the 2nd cycle of Basic Education in Portugal contains several guidelines on the teaching of the poetic text, not only in terms of contents and objectives, but also concerning the suggestion of texts to read. These proposals are always supported by the lists included in the National Reading Plan. Now, regarding the poetic text, inserted in the field called literary education, will it be useful to make available texts that deviate from the trajectories that the textbooks outline? Is it possible to embark on texts traditionally read by a more mature student audience? Will students be able to meet this challenge of reading and understanding without compromising their learning and tastes? This article aims to describe a trial carried out with students from the 2nd cycle of primary education in Portugal, in which it is proposed the reading of a text commonly read and /or studied years later in secondary education. It is the sonnet " O colchão dentro do toucado " by Nicolau Tolentino, an author from the XVIII Century. We will examine how this text can captivate the students and spark their interest for poetry through an extraordinary stylistic simplicity, a rhetoric stripped of adornments and an almost colloquial and graphic language that knows how to mix naivety, the unforeseen and some surprises, features so pleasing to these young readers. Can this text contribute to the purpose of literary education of the reader of the 2nd cycle of basic education? In what way and by what means will we propose the reading of an eighteenth-century text to young people of the twenty-first century? These are the questions we will try to answer next
Do programa do 2º ciclo do Ensino Básico Português constam várias orientações sobre o ensino do texto poético, não apenas no que toca aos conteúdos e objetivos, mas ainda relativas à sugestão de
Pedro Balaus Custódio textos a ler. Essas propostas são sempre coadjuvadas pelas listas incluídas no Plano Nacional de
Leitura. Ora, no que diz respeito ao texto poético, inserido no domínio curricular designado por educação literária, será útil disponibilizar textos que se desviem das trajetórias que os manuais delineiam? Será possível enveredar por textos tradicionalmente lidos por um público estudante mais adulto? Serão os alunos capazes de enfrentar esse desafio de leitura e de compreensão, sem comprometermos a aprendizagem e os seus gostos? Este artigo visa, pois, descrever um ensaio realizado com alunos do 2º ciclo do ensino básico português, em que se oferece a leitura de um texto comummente lido e/ou trabalhado anos mais
tarde, no ensino secundário. Trata-se do soneto “O colchão dentro do toucado” de Nicolau Tolentino, um autor do Séc. XVIII.
Atentaremos, ainda, como a singeleza deste texto pode cativar os alunos para o texto poético, através de uma extraordinária simplicidade estilística, uma retórica despida de adornos e uma linguagem
quase coloquial e popular, descritiva e gráfica que sabe misturar a ingenuidade, o imprevisto e a surpresa, características tão do agrado destas faixas de leitores mais jovens. Poderá este texto contribuir para as finalidades adstritas à educação literária do leitor do 2º ciclo do
ensino básico? De que forma e com que meios proporemos a leitura de um texto do século XVIII a jovens do século XXI? São essas as perguntas às quais tentaremos responder de seguida.
El programa de segundo ciclo de Educación Básica en Portugal contiene diversas directrices acercade la enseñanza del texto poético, no solo en términos de contenidos y objetivos sino también en lo que concierne a las sugerencias de lectura del texto. Estas propuestas se apoyan siempre en el campo llamado educación literaria. Así pues, teniendo en cuenta el texto poético, ¿sería útil poner al alcance
textos que se desvíen de las trayectorias que proponen los libros de texto? ¿Es posible embarcarse en textos tradicionalmente leídos por un público de estudiantes más maduros y maduras? ¿Son los
estudiantes capaces de afrontar este reto de leer y comprender sin comprometer su aprendizaje y gustos? Este artículo intenta describir una prueba llevada a cabo con estudiantado del segundo ciclo de
Educación Básica en Portugal, en el que se proponer leer un texto habitualmente leído años atrás en Educación Secundaria. Se trata del soneto “O colchão dentro do toucado” de Nicolau Tolentino, un
autor del siglo XVIII. Examinaremos cómo este texto puede cautivar los y las estudiantes y provocar su interés por la poesía a través de una simplicidad estilística extraordinaria, una retórica desnuda de adornos y un lenguaje casi coloquial y gráfico que sabe cómo mezclar la ingenuidad, el imprevisto y la sorpresa, características tan del gusto de estas franjas de lectores y lectoras más jóvenes.
¿Podría contribuir este texto a las finalidades adscritas a la educación literaria del lector de segundo ciclo de Educación Básica? ¿De qué manera y con qué medios propondremos la lectura de un texto
del siglo XVIII a jóvenes del siglo XXI? Son estas las preguntas a las que trataremos de responder a continuación.
El programa del segon cicle de l’Educació Bàsica a Portugal conté diverses directrius al voltant de l’ensenyament del text poètic, no sols en termes de continguts i objectius, sinó també en allò que concerneix els suggeriments de lectura del text. Aquestes propostes es recolzen sempre en el camp anomenat educació literària. A hores d’ara, tenint en compte el text poètic, seria útil posar a l’abast Jovens leitores e um soneto português do Séc. XVIII: uma aliança viável? Um ensaio no 2º Ciclo do Ensino Básico textos que es desvien de les trajectòries que proposen els llibres de text? És possible embarcar-se en textos tradicionalment llegits per un públic d’estudiants més madurs i madures? Són els estudiants capaços d’enfrontar aquest repte de llegir i comprendre sense comprometre el seu aprenentatge i gustos?
Aquest article mira de descriure una prova duta a terme amb estudiantat del segon cicle d’Educació Bàsica a Portugal, en el qual es proposa llegir un text habitualment llegit i/o estudiat anys enrere en
Educació Secundària. Es tracta del sonet “O colchão dentro do toucado”, de Nicolau Tolentino, un autor del segle XVIII. Examinarem com aquest text pot captivar l’estudiantat i provocar el seu interés per la poesia a través d’una simplicitat estilística extraordinària, una retòrica nua d’adornaments i un llenguatge quasi col·loquial i gràfic que sap com barrejar la ingenuïtat, l’imprevist i la sorpresa, característiques tan
del gust d’aquestes franges de lectors més joves. Podria contribuir aquest text a les finalitats adscrites a l’educació literària del lector del segon cicle d’Educació Bàsica? De quina manera i amb quins mitjans proposarem la lectura d’un text del segle XVIII a joves del segle XXI? Són aquestes les preguntes a les quals tractarem de respondre tot seguit.
Do programa do 2º ciclo do Ensino Básico Português constam várias orientações sobre o ensino do texto poético, não apenas no que toca aos conteúdos e objetivos, mas ainda relativas à sugestão de
Pedro Balaus Custódio textos a ler. Essas propostas são sempre coadjuvadas pelas listas incluídas no Plano Nacional de
Leitura. Ora, no que diz respeito ao texto poético, inserido no domínio curricular designado por educação literária, será útil disponibilizar textos que se desviem das trajetórias que os manuais delineiam? Será possível enveredar por textos tradicionalmente lidos por um público estudante mais adulto? Serão os alunos capazes de enfrentar esse desafio de leitura e de compreensão, sem comprometermos a aprendizagem e os seus gostos? Este artigo visa, pois, descrever um ensaio realizado com alunos do 2º ciclo do ensino básico português, em que se oferece a leitura de um texto comummente lido e/ou trabalhado anos mais
tarde, no ensino secundário. Trata-se do soneto “O colchão dentro do toucado” de Nicolau Tolentino, um autor do Séc. XVIII.
Atentaremos, ainda, como a singeleza deste texto pode cativar os alunos para o texto poético, através de uma extraordinária simplicidade estilística, uma retórica despida de adornos e uma linguagem
quase coloquial e popular, descritiva e gráfica que sabe misturar a ingenuidade, o imprevisto e a surpresa, características tão do agrado destas faixas de leitores mais jovens. Poderá este texto contribuir para as finalidades adstritas à educação literária do leitor do 2º ciclo do
ensino básico? De que forma e com que meios proporemos a leitura de um texto do século XVIII a jovens do século XXI? São essas as perguntas às quais tentaremos responder de seguida.
El programa de segundo ciclo de Educación Básica en Portugal contiene diversas directrices acercade la enseñanza del texto poético, no solo en términos de contenidos y objetivos sino también en lo que concierne a las sugerencias de lectura del texto. Estas propuestas se apoyan siempre en el campo llamado educación literaria. Así pues, teniendo en cuenta el texto poético, ¿sería útil poner al alcance
textos que se desvíen de las trayectorias que proponen los libros de texto? ¿Es posible embarcarse en textos tradicionalmente leídos por un público de estudiantes más maduros y maduras? ¿Son los
estudiantes capaces de afrontar este reto de leer y comprender sin comprometer su aprendizaje y gustos? Este artículo intenta describir una prueba llevada a cabo con estudiantado del segundo ciclo de
Educación Básica en Portugal, en el que se proponer leer un texto habitualmente leído años atrás en Educación Secundaria. Se trata del soneto “O colchão dentro do toucado” de Nicolau Tolentino, un
autor del siglo XVIII. Examinaremos cómo este texto puede cautivar los y las estudiantes y provocar su interés por la poesía a través de una simplicidad estilística extraordinaria, una retórica desnuda de adornos y un lenguaje casi coloquial y gráfico que sabe cómo mezclar la ingenuidad, el imprevisto y la sorpresa, características tan del gusto de estas franjas de lectores y lectoras más jóvenes.
¿Podría contribuir este texto a las finalidades adscritas a la educación literaria del lector de segundo ciclo de Educación Básica? ¿De qué manera y con qué medios propondremos la lectura de un texto
del siglo XVIII a jóvenes del siglo XXI? Son estas las preguntas a las que trataremos de responder a continuación.
El programa del segon cicle de l’Educació Bàsica a Portugal conté diverses directrius al voltant de l’ensenyament del text poètic, no sols en termes de continguts i objectius, sinó també en allò que concerneix els suggeriments de lectura del text. Aquestes propostes es recolzen sempre en el camp anomenat educació literària. A hores d’ara, tenint en compte el text poètic, seria útil posar a l’abast Jovens leitores e um soneto português do Séc. XVIII: uma aliança viável? Um ensaio no 2º Ciclo do Ensino Básico textos que es desvien de les trajectòries que proposen els llibres de text? És possible embarcar-se en textos tradicionalment llegits per un públic d’estudiants més madurs i madures? Són els estudiants capaços d’enfrontar aquest repte de llegir i comprendre sense comprometre el seu aprenentatge i gustos?
Aquest article mira de descriure una prova duta a terme amb estudiantat del segon cicle d’Educació Bàsica a Portugal, en el qual es proposa llegir un text habitualment llegit i/o estudiat anys enrere en
Educació Secundària. Es tracta del sonet “O colchão dentro do toucado”, de Nicolau Tolentino, un autor del segle XVIII. Examinarem com aquest text pot captivar l’estudiantat i provocar el seu interés per la poesia a través d’una simplicitat estilística extraordinària, una retòrica nua d’adornaments i un llenguatge quasi col·loquial i gràfic que sap com barrejar la ingenuïtat, l’imprevist i la sorpresa, característiques tan
del gust d’aquestes franges de lectors més joves. Podria contribuir aquest text a les finalitats adscrites a l’educació literària del lector del segon cicle d’Educació Bàsica? De quina manera i amb quins mitjans proposarem la lectura d’un text del segle XVIII a joves del segle XXI? Són aquestes les preguntes a les quals tractarem de respondre tot seguit.
Research Interests:
This study focuses on the countercultural comic book adaptations of the Odyssey. Since ancient Greek literature in general and Homer in particular, transcended the institutionalized formalistic and idealistic approach, the epics'... more
This study focuses on the countercultural comic book adaptations of the Odyssey. Since ancient Greek literature in general and Homer in particular, transcended the institutionalized formalistic and idealistic approach, the epics' adaptations became a vehicle for criticism or even a mirror of each receiving culture's present. The kind of relation established between each adaptation and its pretext is defined by the inscribed meta-narratives in its body. The graphic adaptations under discussion, countercultural, demystifying or even subversive, participate in the so-called "cross-audience phenomenon", addressing a dual readership, both children and adults. They aim at undermining the heroic ethos, provoking skepticism and criticizing allusively contemporary politics. They also trivialize the original through humorous, satiric or ironic imitation. This way they facilitate dialogue between past and present, by creating a threshold, a contact zone within which pluralism is the major trait.
Este estudio se centra en algunas adaptaciones no convencionales de la Odisea homérica en el cómic. Desde que la antigua literatura griega en general y Homero en particular, transcendieron la interpretación formalista e idealista, las adaptaciones épicas sirvieron como vehículo para la crítica o incluso como un espejo del presente de cada cultura receptora. El tipo de relación establecida entre cada adaptación y su pre-texto está definido por las meta-narrativas inscritas en su interior. Las gráficas que se discuten aquí, contraculturales, desmistificadoras o incluso subversivas, participan en el llamado "fenómeno de audiencias cruzadas", dirigiéndose a un lector dual, tanto niños como adultos. Su objetivo es socavar el espíritu heroico, provocar escepticismo y criticar de manera alusiva a la política contemporánea. También trivializan el original mediante imitaciones humorísticas, satíricas o irónicas. De esta manera, facilitan el diálogo entre el pasado y el presente, creando un umbral, una zona de contacto dentro de la cual el pluralismo es el rasgo principal.
Aquest estudi focalitza en algunes adaptacions no convencionals de l'Odissea homèrica al còmic. Des que l'antiga literatura grega en general i Homer en particular van transcendir la interpretació formalista i idealista, les adaptacions èpiques van servir com a vehicle per a la crítica o fins i tot com a un espill del present de cada cultura receptora. El tipus de relació establerta entre cada adaptació i el seu pretext està definit per les metanarratives inscrites al seu interior. Les adaptacions gràfiques que es discuteixen ací, contraculturals, desmitificadores o fins i tot subversives, participen en l'anomenat "fenomen d'audiències creuades", tot adreçant-se a un lector dual, tant infants com adults. El seu objectiu és soscavar l'esperit heroic, provocar escepticisme i criticar de manera al·lusiva la política contemporània. També trivialitzen l'original mitjançant imitacions humorístiques, satíriques o iròniques. D'aquesta manera, faciliten el diàleg entre el passat i el present tot creant un llindar, una zona de contacte dins de la qual el pluralisme n'és el tret principal.
Este estudio se centra en algunas adaptaciones no convencionales de la Odisea homérica en el cómic. Desde que la antigua literatura griega en general y Homero en particular, transcendieron la interpretación formalista e idealista, las adaptaciones épicas sirvieron como vehículo para la crítica o incluso como un espejo del presente de cada cultura receptora. El tipo de relación establecida entre cada adaptación y su pre-texto está definido por las meta-narrativas inscritas en su interior. Las gráficas que se discuten aquí, contraculturales, desmistificadoras o incluso subversivas, participan en el llamado "fenómeno de audiencias cruzadas", dirigiéndose a un lector dual, tanto niños como adultos. Su objetivo es socavar el espíritu heroico, provocar escepticismo y criticar de manera alusiva a la política contemporánea. También trivializan el original mediante imitaciones humorísticas, satíricas o irónicas. De esta manera, facilitan el diálogo entre el pasado y el presente, creando un umbral, una zona de contacto dentro de la cual el pluralismo es el rasgo principal.
Aquest estudi focalitza en algunes adaptacions no convencionals de l'Odissea homèrica al còmic. Des que l'antiga literatura grega en general i Homer en particular van transcendir la interpretació formalista i idealista, les adaptacions èpiques van servir com a vehicle per a la crítica o fins i tot com a un espill del present de cada cultura receptora. El tipus de relació establerta entre cada adaptació i el seu pretext està definit per les metanarratives inscrites al seu interior. Les adaptacions gràfiques que es discuteixen ací, contraculturals, desmitificadores o fins i tot subversives, participen en l'anomenat "fenomen d'audiències creuades", tot adreçant-se a un lector dual, tant infants com adults. El seu objectiu és soscavar l'esperit heroic, provocar escepticisme i criticar de manera al·lusiva la política contemporània. També trivialitzen l'original mitjançant imitacions humorístiques, satíriques o iròniques. D'aquesta manera, faciliten el diàleg entre el passat i el present tot creant un llindar, una zona de contacte dins de la qual el pluralisme n'és el tret principal.
Research Interests:
Este trabajo pretende analizar los beneficios de la reescritura creativa en la formación de maestros, a partir del estudio de varias prácticas realizadas a lo largo de cuatro cursos académicos, con una muestra de 182 futuros docentes, en... more
Este trabajo pretende analizar los beneficios de la reescritura creativa en la formación de maestros, a partir del estudio de varias prácticas realizadas a lo largo de cuatro cursos académicos, con una muestra de 182 futuros docentes, en la asignatura “Didáctica de la Literatura Infantil” del Grado de Maestro en Educación Infantil. Utilizando un modelo de investigación-acción, con una metodología cualitativa, se describe el proceso y se analizan los resultados, teniendo en cuenta la observación participante, las creaciones finales y la percepción del alumnado. Como resultado, se obtuvieron 40 recreaciones de textos de literatura infantil y juvenil (LIJ), elaboradas con diferentes técnicas. El
alumnado valoró positivamente la tarea, destacando el carácter práctico y la relación con su futuro profesional, la creatividad, el disfrute y los aprendizajes logrados. La tarea se adecuó a los intereses del alumnado, incrementó su motivación, promovió un rol activo de los estudiantes, contribuyó al acercamiento a la LIJ, permitió aplicar conocimientos adquiridos durante el curso y favoreció el desarrollo de competencias esenciales para los docentes. En conclusión, se pone de manifiesto la
adecuación de las prácticas de reescritura creativa para la formación del profesorado, especialmente en el contexto de la educación literaria
Aquest treball pretén analitzar els beneficis de la reescriptura creativa en la formació de mestres, a partir de l'estudi de diverses pràctiques realitzades al llarg de quatre cursos acadèmics, amb una mostra de 182 futurs docents, en l'assignatura “Didàctica de la Literatura Infantil” del Grau de Mestre en Educació Infantil. Utilitzant un model de recerca-acció, amb una metodologia qualitativa, es descriu el procés i s'analitzen els resultats, tenint en compte l'observació participant, les creacions finals i la percepció de l'alumnat. Com a resultat, es van obtenir 40 recreacions de textos de literatura infantil i juvenil (LIJ), elaborades amb diferents tècniques. L'alumnat va valorar positivament la tasca, destacant el caràcter pràctic i la relació amb el seu futur professional, la creativitat, el gaudi i els aprenentatges reeixits. La tasca es va adequar als interessos de l'alumnat, va incrementar la seua motivació, va promoure un rol actiu dels estudiants, va contribuir a l'acostament a la LIJ, va permetre aplicar coneixements adquirits durant el curs i va afavorir el desenvolupament de competències essencials per als docents. En conclusió, es posa de manifest l'adequació de les pràctiques de reescriptura creativa per a la formació del professorat, especialment en el context de l'educació literaria
alumnado valoró positivamente la tarea, destacando el carácter práctico y la relación con su futuro profesional, la creatividad, el disfrute y los aprendizajes logrados. La tarea se adecuó a los intereses del alumnado, incrementó su motivación, promovió un rol activo de los estudiantes, contribuyó al acercamiento a la LIJ, permitió aplicar conocimientos adquiridos durante el curso y favoreció el desarrollo de competencias esenciales para los docentes. En conclusión, se pone de manifiesto la
adecuación de las prácticas de reescritura creativa para la formación del profesorado, especialmente en el contexto de la educación literaria
Aquest treball pretén analitzar els beneficis de la reescriptura creativa en la formació de mestres, a partir de l'estudi de diverses pràctiques realitzades al llarg de quatre cursos acadèmics, amb una mostra de 182 futurs docents, en l'assignatura “Didàctica de la Literatura Infantil” del Grau de Mestre en Educació Infantil. Utilitzant un model de recerca-acció, amb una metodologia qualitativa, es descriu el procés i s'analitzen els resultats, tenint en compte l'observació participant, les creacions finals i la percepció de l'alumnat. Com a resultat, es van obtenir 40 recreacions de textos de literatura infantil i juvenil (LIJ), elaborades amb diferents tècniques. L'alumnat va valorar positivament la tasca, destacant el caràcter pràctic i la relació amb el seu futur professional, la creativitat, el gaudi i els aprenentatges reeixits. La tasca es va adequar als interessos de l'alumnat, va incrementar la seua motivació, va promoure un rol actiu dels estudiants, va contribuir a l'acostament a la LIJ, va permetre aplicar coneixements adquirits durant el curs i va afavorir el desenvolupament de competències essencials per als docents. En conclusió, es posa de manifest l'adequació de les pràctiques de reescriptura creativa per a la formació del professorat, especialment en el context de l'educació literaria
Research Interests:
This article brings together findings from translation theory, the poetics of children’s poetry, and the pedagogy of translation, in an attempt to theorise the practice of poetry-translation in the literary, first-language classroom. I... more
This article brings together findings from translation theory, the poetics of children’s poetry, and the pedagogy of translation, in an attempt to theorise the practice of poetry-translation in the literary, first-language classroom. I argue that translating children’s poetry in the context of translation workshops mobilises skills, and encourages ways of thinking about poetry, that espouse particularly well one of the complex challenges of literary education: namely, triggering in learners an emergent sense of the literary. Poetry-translation, I contend, allows for profoundly experiential engagement with some of the most sophisticated, and least easily articulated, aspects of the aesthetics of literature – prominently, the resistance of the literary text to paraphrase, the lack of a clear content-form dichotomy, and the embodied aspects of the literary encounter. Because translating is never just writing, but always already writing one’s reading, the translation of poetry in the literary classroom requires pupils to capture, experience, and take ownership of their encounters with literature, in order to re-express them. I first explain the practice of literary translation in the classroom; I then talk about contemporary poetry translation theory and its deeply phenomenological approach to text. I next show why the particular poetics of children’s poetry situate that kind of text ideally for a pre-semantic, intuitive approach to poetry translation. Finally, I look at the writing process as a way of turning the pupil into what Roland Barthes calls a poéticien, a person whose poetry-writing does
theoretical work.
Este artículo recoge resultados desde la teoría de la traducción, la poética de la poesía infantil y la pedagogía de la traducción en un intento de teorizar la práctica de la traducción de poesía en el aula de literatura de L1. Se argumenta que la traducción de la poesía infantil en el contexto de los talleres de traducción, activas destrezas e incentivas maneras de pensar acerca de la poesía que apoya especialmente bien uno de los complejos retos de la educación literaria, concretamente desencadenar en los y las aprendices un incipiente sentido de lo literario. La traducción de poesía, se defiende, permite un compromiso experiencial profundo con algunos de los más sofisticados y menos fácilmente articulados, aspectos de la estética de la literatura. De manera prominente, la resistencia del texto literario a la paráfrasis, la falta de una dicotomía clara forma-contenido y los aspectos integrantes del encuentro literario. Porque la traducción nunca es solo escribir sino siempre haber escrito la propia lectura, la traducción de poesía en el aula de literatura requiere que el alumnado capture, experiencie y se apropie de sus encuentros con la literatura para re-expresarlos. Primero se explica la práctica de la traducción literaria en el aula; después se habla sobre la poesía contemporánea y su enfoque profundamente fenomenológico. Después se muestra por qué la particular poética de la poesía infantil sitúa este tipo de texto idealmente para un enfoque presemántico, intuitivo de la traducción de la poesía. Finalmente, se observa el proceso de escritura como una manera de convertir el alumnado en lo que Roland Barthes llama un poéticien, una persona cuya escritura poética realiza un trabajo teórico.
Aquest article arreplega troballes des de la teoria de la traducció, la poètica de la poesia infantil i la pedagogia de la traducció en un intent de teoritzar la pràctica de la traducció de poesia en l’aula de literatura de L1. S’argumenta que la traducció de la poesia infantil en el context dels tallers de traducció activa destreses i encoratja maneres de pensar al voltant de la poesia que dona suport especialment bé a un dels complexos reptes de l’educació literària: concretament desencadenar en els/les aprenents un incipient sentit d’allò literari. La traducció de poesia, es defèn, permet un compromís experiencial profund amb alguns dels més sofisticats i menys fàcilment articulats, aspectes de l’estètica de la literatura. De manera prominent, la resistència del text literari a la paràfrasi, la manca d’una dicotomia clara forma-contingut i els aspectes integrants de l’encontre literari. Perquè la traducció mai és només escriure sinó sempre haver escrit la pròpia lectura, la traducció de poesia a l’aula de literatura requereix que l’alumnat capture, experiencie i s’apropie dels seus encontres amb la literatura per tal de re-expressar-los. Primer s’explica la pràctica de la traducció literària a l’aula; després es parla sobre la poesia contemporània i el seu enfocament profundament fenomenològic. Després es mostra per què la particular poètica de la poesia infantil situa aquest tipus de text idealment per a un acostament presemàntic, intuïtiu de la traducció de la poesia. Finalment s’observa el procés d’escriptura com a una manera de convertir l’alumnat en allò que Roland Barthes anomena a poéticien, una persona l’escriptura poètica de la qual fa un treball teòric.
theoretical work.
Este artículo recoge resultados desde la teoría de la traducción, la poética de la poesía infantil y la pedagogía de la traducción en un intento de teorizar la práctica de la traducción de poesía en el aula de literatura de L1. Se argumenta que la traducción de la poesía infantil en el contexto de los talleres de traducción, activas destrezas e incentivas maneras de pensar acerca de la poesía que apoya especialmente bien uno de los complejos retos de la educación literaria, concretamente desencadenar en los y las aprendices un incipiente sentido de lo literario. La traducción de poesía, se defiende, permite un compromiso experiencial profundo con algunos de los más sofisticados y menos fácilmente articulados, aspectos de la estética de la literatura. De manera prominente, la resistencia del texto literario a la paráfrasis, la falta de una dicotomía clara forma-contenido y los aspectos integrantes del encuentro literario. Porque la traducción nunca es solo escribir sino siempre haber escrito la propia lectura, la traducción de poesía en el aula de literatura requiere que el alumnado capture, experiencie y se apropie de sus encuentros con la literatura para re-expresarlos. Primero se explica la práctica de la traducción literaria en el aula; después se habla sobre la poesía contemporánea y su enfoque profundamente fenomenológico. Después se muestra por qué la particular poética de la poesía infantil sitúa este tipo de texto idealmente para un enfoque presemántico, intuitivo de la traducción de la poesía. Finalmente, se observa el proceso de escritura como una manera de convertir el alumnado en lo que Roland Barthes llama un poéticien, una persona cuya escritura poética realiza un trabajo teórico.
Aquest article arreplega troballes des de la teoria de la traducció, la poètica de la poesia infantil i la pedagogia de la traducció en un intent de teoritzar la pràctica de la traducció de poesia en l’aula de literatura de L1. S’argumenta que la traducció de la poesia infantil en el context dels tallers de traducció activa destreses i encoratja maneres de pensar al voltant de la poesia que dona suport especialment bé a un dels complexos reptes de l’educació literària: concretament desencadenar en els/les aprenents un incipient sentit d’allò literari. La traducció de poesia, es defèn, permet un compromís experiencial profund amb alguns dels més sofisticats i menys fàcilment articulats, aspectes de l’estètica de la literatura. De manera prominent, la resistència del text literari a la paràfrasi, la manca d’una dicotomia clara forma-contingut i els aspectes integrants de l’encontre literari. Perquè la traducció mai és només escriure sinó sempre haver escrit la pròpia lectura, la traducció de poesia a l’aula de literatura requereix que l’alumnat capture, experiencie i s’apropie dels seus encontres amb la literatura per tal de re-expressar-los. Primer s’explica la pràctica de la traducció literària a l’aula; després es parla sobre la poesia contemporània i el seu enfocament profundament fenomenològic. Després es mostra per què la particular poètica de la poesia infantil situa aquest tipus de text idealment per a un acostament presemàntic, intuïtiu de la traducció de la poesia. Finalment s’observa el procés d’escriptura com a una manera de convertir l’alumnat en allò que Roland Barthes anomena a poéticien, una persona l’escriptura poètica de la qual fa un treball teòric.
Research Interests:
What is poetry? The definitions are countless. As many as the people in this world. It might be argued that the most decisive aspect of poetry is its resistance to be defined, labeled, or pinned down. We all know how poetry sounds and... more
What is poetry? The definitions are countless. As many as the people in this world. It might be argued that the most decisive aspect of poetry is its resistance to be defined, labeled, or pinned down. We all know how poetry sounds and feels, and we can recognize a poem when we hear, recite or read one. However, it may be difficult for us to explain, or offer a detailed account of what exactly is poetry and what its meaning might be, its effect, or significance in our lives. Very often, poetry is defined as a special kind of language which does innovative things with words, sound, rhythm and pattern; features which consist a constant source of our pleasure and understanding of the poem. We may even understand a poem not only by feeling its rhythms but also by hearing its sounds as well as by grasping its clusters of meanings, yet we may not be able to express our understanding of it to others.
Research Interests:
CFP Gender in Literary Education What may it mean to read and teach literature through the prism of gender? In what ways and methods can we integrate a balanced gender-approach into literary didactics? In what syllabi, strategies and... more
CFP Gender in Literary Education
What may it mean to read and teach literature through the prism of gender? In what ways and methods can we integrate a balanced gender-approach into literary didactics? In what syllabi, strategies and instruction plans can we actually maintain and promote gender equality? And how can these concerns be adequately addressed and embedded into the literature classroom?
According to Webster’s New World Dictionary, “in most Indo-European languages gender is not necessarily correlated with sex”, that is to say, that “biological sex does not directly or even at all generate the characteristics conventionally associated with it. Culture, society, history define gender, not nature” (Jehlen, 1995, p.263). “Simply speaking”, says Catharine R. Stimpson, “gender is a way of classifying living things and languages, of sorting them into groups: feminine and masculine. However, no system of classification is ever simple” (1986, p.1). In fact, from the perspective of gender, the terms ‘masculine’ and ‘feminine’ as well as their conventionalism are being put under the microscope. Gender theory emphasizes the ‘trans-sectional’ and ‘transcultural’ (Jamison Green, Ashley Hoskin et al., 2019, pp.44-45) nature of all gender identities and challenges the notion of cisnormativity. In Gender Trouble (1990), Judith Butler famously declared that gender is a socially and culturally constructed category, and that gender identity is rather a product of performance, not a natural quality, essentially divided to binary categories. Feminist and post-feminist theories have also had a crucial contribution to the articulation of gender identities from the perspective of women, thus, highlighting as well the overwhelmingly cultural character of gender. Classic studies, like Kate Millet’s (1970) or Luce Irigaray’s (1977), emphasized that women are phallicly marked by men, their fathers, husbands, procurers, who, under the law of patriarchy which has operated in societies for long, dominate women and cast various systems of oppression upon them.
What may it mean to read and teach literature through the prism of gender? In what ways and methods can we integrate a balanced gender-approach into literary didactics? In what syllabi, strategies and instruction plans can we actually maintain and promote gender equality? And how can these concerns be adequately addressed and embedded into the literature classroom?
According to Webster’s New World Dictionary, “in most Indo-European languages gender is not necessarily correlated with sex”, that is to say, that “biological sex does not directly or even at all generate the characteristics conventionally associated with it. Culture, society, history define gender, not nature” (Jehlen, 1995, p.263). “Simply speaking”, says Catharine R. Stimpson, “gender is a way of classifying living things and languages, of sorting them into groups: feminine and masculine. However, no system of classification is ever simple” (1986, p.1). In fact, from the perspective of gender, the terms ‘masculine’ and ‘feminine’ as well as their conventionalism are being put under the microscope. Gender theory emphasizes the ‘trans-sectional’ and ‘transcultural’ (Jamison Green, Ashley Hoskin et al., 2019, pp.44-45) nature of all gender identities and challenges the notion of cisnormativity. In Gender Trouble (1990), Judith Butler famously declared that gender is a socially and culturally constructed category, and that gender identity is rather a product of performance, not a natural quality, essentially divided to binary categories. Feminist and post-feminist theories have also had a crucial contribution to the articulation of gender identities from the perspective of women, thus, highlighting as well the overwhelmingly cultural character of gender. Classic studies, like Kate Millet’s (1970) or Luce Irigaray’s (1977), emphasized that women are phallicly marked by men, their fathers, husbands, procurers, who, under the law of patriarchy which has operated in societies for long, dominate women and cast various systems of oppression upon them.
Research Interests:
This article aims to highlight the representation of Greek mythology in Greek primary textbooks and the educational purpose of this representation, which includes macroscopic rearrangement, modification of individual texts, and addition... more
This article aims to highlight the representation of Greek mythology in Greek primary textbooks and the educational purpose of this representation, which includes macroscopic rearrangement, modification of individual texts, and addition of ancillary materials. In Greek primary schools, third graders begin to learn mythology in the introductory part of the subject History. The educational aspect of mythology in textbooks focuses on heroes being represented as exemplary models for teaching values to children. The texts reflect modern metanarrative of individualism, which teachers and parents consider important for children to learn. In its entirety, the textbook repeats each hero’s fighting spirit and struggles (macroscopic metanarratives). In addition, each story is modified to manifest only the hero’s individual accomplishments, concealing their negative aspects, and underestimating the influence of social contexts such as gender discrimination (modification of individual texts). Moreover, the pictures and maps, present in the textbooks, create an image of “timeless Greece” as it traces the movements of the heroes. These materials help young students connect the heroes’ world with their own. Activities and questions also help children adopt heroes as familiar role models (paratextual and visual elements). In conclusion, mythology in Greek primary school History textbooks function as an effective tool to teach the value of individualism to children.
Research Interests:
The increasingly common intertextual use of English nursery rhymes has had an impact upon their transfer into target cultures: entire nursery rhymes, fragments and characters are now found in translational situations. Most of these... more
The increasingly common intertextual use of English nursery rhymes has had an impact upon their transfer into target cultures: entire nursery rhymes, fragments and characters are now found in translational situations. Most of these situations are adaptations of nursery rhymes into other media; one of the most evident examples is the use of nursery rhyme characters in a different context, often portrayed visually. Through a case study with Spanish students aged 12 to 14, the aim of this report is to address issues about the relevance of intertextuality in translation, as well as the assumptions in relation to discourse and visual input. In this qualitative mixed-method study, participants worked with nursery rhymes without any visual prompts and intertextually presented nursery rhyme characters, and offered insight into their expectations and anticipations. The results demonstrate how visual adaptation proves to contribute to children’s and adolescent’s acculturation and assumptions in relation to a hegemonic cultural model, thus reducing the openness to accepting foreignization in cultural transfers.
Research Interests:
Translation Studies, Adaptation, Film Adaptation, Intertextuality, Rereading and Intertextuality, and 8 moreAcculturation, Adaptation (Film Studies), Translation, Acculturation strategies, Acculturation and cultural identity, Adaptation and Appropriation Theory, Intertextuality and Translation, and Nursery Rhymes
Abstract This article recognises the interplay between learners’ understanding of the world and the literature selected for, and read by, children as a result of current curriculum design within the UK. As part of the author’s doctoral... more
Abstract
This article recognises the interplay between learners’ understanding of the world and the literature selected for, and read by, children as a result of current curriculum design within the UK. As part of the author’s doctoral study, an extensive review was conducted into the place of children’s literature in the development of socio-cultural constructs; this included an appraisal of the function of published narratives within the development of a national curriculum for English in the UK. The findings of the review detailed here identified that an ideological linkage between the study of literature and the development of sociocultural values resulted from an increased politicisation of the English curriculum, particularly post-2010. Within the social and historical debates, reading was identified as a specific mechanism for transmitting adult-centric ideas around spiritual, moral, social and cultural beliefs. Issues of power and control became emphasised within the review through the exploration of the actions of gatekeepers, including publishers, librarians, teachers and even politicians, as they attempted to define a preferred canon of literature for study. Throughout the wider literature, contemporary political discourse seemingly argued for dominance over and marginalisation of different factions of society without acknowledging the implicit and explicit bias found within. The review concluded that educators have a responsibility to teach critical literacy skills to enable young readers to negotiate the ideologies being presented to them, but, in the view of this author, this is only possible if teachers enable learners to interrogate for themselves the literature chosen as resources for the classroom.
Key words: Children’s Literature, Curriculum, Ideology, Power, Reading.
This article recognises the interplay between learners’ understanding of the world and the literature selected for, and read by, children as a result of current curriculum design within the UK. As part of the author’s doctoral study, an extensive review was conducted into the place of children’s literature in the development of socio-cultural constructs; this included an appraisal of the function of published narratives within the development of a national curriculum for English in the UK. The findings of the review detailed here identified that an ideological linkage between the study of literature and the development of sociocultural values resulted from an increased politicisation of the English curriculum, particularly post-2010. Within the social and historical debates, reading was identified as a specific mechanism for transmitting adult-centric ideas around spiritual, moral, social and cultural beliefs. Issues of power and control became emphasised within the review through the exploration of the actions of gatekeepers, including publishers, librarians, teachers and even politicians, as they attempted to define a preferred canon of literature for study. Throughout the wider literature, contemporary political discourse seemingly argued for dominance over and marginalisation of different factions of society without acknowledging the implicit and explicit bias found within. The review concluded that educators have a responsibility to teach critical literacy skills to enable young readers to negotiate the ideologies being presented to them, but, in the view of this author, this is only possible if teachers enable learners to interrogate for themselves the literature chosen as resources for the classroom.
Key words: Children’s Literature, Curriculum, Ideology, Power, Reading.
Research Interests:
Children's Literature, Curriculum Studies, Children's and Young Adult Literature, Language and Ideology, Ideology, and 8 moreReading, Reading Comprehension, Ideology and Discourse Analysis, Curriculum and Instruction, Teaching and Learning Writing and Reading, Curriculum, Reading Education, and Curriculum and Pedagogy
Abstract Art forms become interrelated when intertextual phenomena occur. The choice of previous art forms to create humour may seem to be a playful game, but it is the result of many kinds of inserted messages. Fourteen animated feature... more
Abstract
Art forms become interrelated when intertextual phenomena occur. The choice of previous art forms to create humour may seem to be a playful game, but it is the result of many kinds of inserted messages. Fourteen animated feature films by DreamWorks have been analysed and classified in depth (by using Sebeok’s (1986) intertextual categories, which were also described by Hatim & Mason (1990)), in order to demonstrate how animation is an art that encompasses other artistic productions. Firstly, art and animation will be defined in order to, secondly, use the corpus to exemplify the intertextual connections from other art forms. Lastly, the final quantitative and qualitative results will substantiate the conclusion that these productions by DreamWorks are an example of artistic cinematographic intertextuality.
Key words: animation, intertextuality, art forms, Children’s Literature..
Resumen
Las formas artísticas se interrelacionan cuando se pone en práctica el fenómeno intertextual. El uso de formas artísticas previas para crear humor puede parecer un juego pero es el resultado de la inserción de varios tipos de mensajes en un texto/discurso. Se analizan y clasifican en profundidad catorce películas de animación creadas por DreamWorks (se emplea para ello las categorías intertextuales propuestas por Sebeok (1986) descritas, a su vez, por Hatim & Mason (1990)), con el propósito de demostrar cómo la animación es un arte que engloba a otras producciones artísticas. En primer lugar, se definen los conceptos de arte y animación para, acto seguido, mostrar mediante el corpus cuáles son las conexiones intertextuales que provienen de otras formas artísticas. Los resultados cuantitativos y cualitativos permiten concluir que las producciones animadas de DreamWorks son un ejemplo de intertextualidad cinematográfica artística.
Palabras clave: arte, álbumes, museos, galerías, contexto.
Resum
Les formes artístiques s’interrelacionen quan es posa en pràctica el fenomen intertextual. L’ús de formes artístiques prèvies per crear humor pot semblar un joc però és el resultat de la inserció de diversos tipus de missatges en un text/discurs. S’analitzen i classifiquen en profunditat catorze pel·lícules d’animació creades per DreamWorks (s’hi empra per a això les categories intertextuals proposades per Sebeok (1986) descrites, d’altra banda, per Hatim & Mason (1990)), amb el propòsit de demostrar com l’animació és un art que engloba d’altres produccions artístiques. En primer lloc, es defineixen els conceptes d’art i animació per a, tot seguit, mostrar mitjançant el corpus quines són les connexions intertextuals que provenen d’altres formes artístiques. Els resultats quantitatius i qualitatius permeten concloure que les produccions animades de DreamWork són un exemple d’intertextualitat cinematogràfica artística.
Paraules clau: animació, intertextualitat, formes artístiques, literatura infantil i juvenil.
Art forms become interrelated when intertextual phenomena occur. The choice of previous art forms to create humour may seem to be a playful game, but it is the result of many kinds of inserted messages. Fourteen animated feature films by DreamWorks have been analysed and classified in depth (by using Sebeok’s (1986) intertextual categories, which were also described by Hatim & Mason (1990)), in order to demonstrate how animation is an art that encompasses other artistic productions. Firstly, art and animation will be defined in order to, secondly, use the corpus to exemplify the intertextual connections from other art forms. Lastly, the final quantitative and qualitative results will substantiate the conclusion that these productions by DreamWorks are an example of artistic cinematographic intertextuality.
Key words: animation, intertextuality, art forms, Children’s Literature..
Resumen
Las formas artísticas se interrelacionan cuando se pone en práctica el fenómeno intertextual. El uso de formas artísticas previas para crear humor puede parecer un juego pero es el resultado de la inserción de varios tipos de mensajes en un texto/discurso. Se analizan y clasifican en profundidad catorce películas de animación creadas por DreamWorks (se emplea para ello las categorías intertextuales propuestas por Sebeok (1986) descritas, a su vez, por Hatim & Mason (1990)), con el propósito de demostrar cómo la animación es un arte que engloba a otras producciones artísticas. En primer lugar, se definen los conceptos de arte y animación para, acto seguido, mostrar mediante el corpus cuáles son las conexiones intertextuales que provienen de otras formas artísticas. Los resultados cuantitativos y cualitativos permiten concluir que las producciones animadas de DreamWorks son un ejemplo de intertextualidad cinematográfica artística.
Palabras clave: arte, álbumes, museos, galerías, contexto.
Resum
Les formes artístiques s’interrelacionen quan es posa en pràctica el fenomen intertextual. L’ús de formes artístiques prèvies per crear humor pot semblar un joc però és el resultat de la inserció de diversos tipus de missatges en un text/discurs. S’analitzen i classifiquen en profunditat catorze pel·lícules d’animació creades per DreamWorks (s’hi empra per a això les categories intertextuals proposades per Sebeok (1986) descrites, d’altra banda, per Hatim & Mason (1990)), amb el propòsit de demostrar com l’animació és un art que engloba d’altres produccions artístiques. En primer lloc, es defineixen els conceptes d’art i animació per a, tot seguit, mostrar mitjançant el corpus quines són les connexions intertextuals que provenen d’altres formes artístiques. Els resultats quantitatius i qualitatius permeten concloure que les produccions animades de DreamWork són un exemple d’intertextualitat cinematogràfica artística.
Paraules clau: animació, intertextualitat, formes artístiques, literatura infantil i juvenil.
Research Interests:
Art History, Animation, Children's Literature, Contemporary Art, Children's reading, and 9 moreChildren's Literature & Culture, Arts Education, Children's and Young Adult Literature, Intertextuality, Children's Media, Arts Education and Pedagogy, Artes, Education of Fine Arts, and Intertextuality and Allusion
The article describes types of word–image relationships in Polish literary education and is based on interdisciplinary methodology. The reform of the education system in 1999 was a clear turning point in the history of Polish research on... more
The article describes types of word–image relationships in Polish literary education and is based on interdisciplinary methodology. The reform of the education system in 1999 was a clear turning point in the history of Polish research on this issue.
Use of iconic material in Polish language education, referring to intersemiotic relationships between the word and the image and resulting from tasks performed by the student during Polish language lessons, has been an important topic of discussionamong educationalists for many years. In terms of complementary reading texts that will further develop text interpretation, the authors consider equal treatment of literary and iconic texts. Cultivating interpretation skills open up new horizons to the contemporary young audience of the world in culture, literature, and art. As the next generation the quest for new meaning, initiating mechanisms of new vision and new sensitivity to the reception of arts will also allow a redefinition of the concepts of interpretation, meaning, and significance.
Use of iconic material in Polish language education, referring to intersemiotic relationships between the word and the image and resulting from tasks performed by the student during Polish language lessons, has been an important topic of discussionamong educationalists for many years. In terms of complementary reading texts that will further develop text interpretation, the authors consider equal treatment of literary and iconic texts. Cultivating interpretation skills open up new horizons to the contemporary young audience of the world in culture, literature, and art. As the next generation the quest for new meaning, initiating mechanisms of new vision and new sensitivity to the reception of arts will also allow a redefinition of the concepts of interpretation, meaning, and significance.
Research Interests:
We invite papers related to the overall topic of the issue as described above to be presented. Possible areas for investigation include, but are not restricted to: - Children’s poetry and Literary Education. - Children’s poetry and the... more
We invite papers related to the overall topic of the issue as described above to be presented. Possible areas for investigation include, but are not restricted to:
- Children’s poetry and Literary Education.
- Children’s poetry and the oral tradition.
- Children’s poetry as a visual art (multimodality, printed poems, concrete poetry, etc.).
- The relationship of form and content in poetry: the poem as a ‘verbal icon’.
- The plurality of poetic form: haiku, tanka, pantoum, limerick, diamante, clerihew, and so on.
- Theories of literature and poetry teaching: from New Criticism to Reader-response.
- Children’s poetry and the young reader: aspects of reading and responding to poems.
- Children and young adults as poets.
- Poetry canon in classrooms.
- Children’s poetry and illustration.
- Poetry picture books: a new way of reading and enjoying poetry?
- Teaching children’s poetry in school: from manuals to informal spaces.
- Young Adult Poetry and the Internet.
- Empirical studies about poetry and children’s poetry.
- Children’s poetry and Literary Education.
- Children’s poetry and the oral tradition.
- Children’s poetry as a visual art (multimodality, printed poems, concrete poetry, etc.).
- The relationship of form and content in poetry: the poem as a ‘verbal icon’.
- The plurality of poetic form: haiku, tanka, pantoum, limerick, diamante, clerihew, and so on.
- Theories of literature and poetry teaching: from New Criticism to Reader-response.
- Children’s poetry and the young reader: aspects of reading and responding to poems.
- Children and young adults as poets.
- Poetry canon in classrooms.
- Children’s poetry and illustration.
- Poetry picture books: a new way of reading and enjoying poetry?
- Teaching children’s poetry in school: from manuals to informal spaces.
- Young Adult Poetry and the Internet.
- Empirical studies about poetry and children’s poetry.
Research Interests:
Journal of Literary Education / 2018 n. 1 58 http://doi.org/10.7203/JLE.1.12252 Donkey Xote cabalga distinto en España y en Italia: reflexiones sobre la intertextualidad audiovisual Mercedes Ariza. Fondazione Universitaria San Pellegrino,... more
Journal of Literary Education / 2018 n. 1 58
http://doi.org/10.7203/JLE.1.12252
Donkey Xote cabalga distinto en España y en Italia:
reflexiones sobre la intertextualidad audiovisual
Mercedes Ariza. Fondazione Universitaria San Pellegrino, Italia. mercedes.ariza@fusp.it
Resumen
El objetivo del presente trabajo es analizar el fenómeno de la intertextualidad en el ámbito de la traducción de la literatura infantil y juvenil en general y en el campo de la traducción audiovisual en particular. Nuestro punto de partida es el análisis de los referentes intertextuales presentes en la película Donkey Xote (José Pozo, 2007) y en su versión para doblaje en italiano. Tras identificar las dificultades y las estrategias de traducción de la “intertextualidad audiovisual” (Martínez Sierra, 2010; Chaume, 2012), presentaremos algunos referentes intertextuales añadidos en italiano para implicar de manera más directa al espectador (adulto) italiano. De hecho, la versión italiana introduce alusiones inherentes al mundo cinematográfico estadounidense e italiano inexistentes en el TO con un afán de tipo humorístico evidente.
Abstract
The aim of the present paper is to analyse the intertextuality in the field of Translation of Children’s Literature and specially in Audiovisual Translation. We analyse the presence of intertextual elements in the Spanish animated film Donkey Xote (José Pozo, 2007) and in the Italian dubbing. After the identification of the difficulties and the strategies inside the Translation of the so called “audiovisual intertextuality” (Martínez Sierra, 2010; Chaume, 2012), we propose some intertextual elements introduced in the Italian version in order to capture the interest of an adult audience. In others words, the Italian dubbing shows particular allusions regarding American and Italian films that were conceived to create humour.
http://doi.org/10.7203/JLE.1.12252
Donkey Xote cabalga distinto en España y en Italia:
reflexiones sobre la intertextualidad audiovisual
Mercedes Ariza. Fondazione Universitaria San Pellegrino, Italia. mercedes.ariza@fusp.it
Resumen
El objetivo del presente trabajo es analizar el fenómeno de la intertextualidad en el ámbito de la traducción de la literatura infantil y juvenil en general y en el campo de la traducción audiovisual en particular. Nuestro punto de partida es el análisis de los referentes intertextuales presentes en la película Donkey Xote (José Pozo, 2007) y en su versión para doblaje en italiano. Tras identificar las dificultades y las estrategias de traducción de la “intertextualidad audiovisual” (Martínez Sierra, 2010; Chaume, 2012), presentaremos algunos referentes intertextuales añadidos en italiano para implicar de manera más directa al espectador (adulto) italiano. De hecho, la versión italiana introduce alusiones inherentes al mundo cinematográfico estadounidense e italiano inexistentes en el TO con un afán de tipo humorístico evidente.
Abstract
The aim of the present paper is to analyse the intertextuality in the field of Translation of Children’s Literature and specially in Audiovisual Translation. We analyse the presence of intertextual elements in the Spanish animated film Donkey Xote (José Pozo, 2007) and in the Italian dubbing. After the identification of the difficulties and the strategies inside the Translation of the so called “audiovisual intertextuality” (Martínez Sierra, 2010; Chaume, 2012), we propose some intertextual elements introduced in the Italian version in order to capture the interest of an adult audience. In others words, the Italian dubbing shows particular allusions regarding American and Italian films that were conceived to create humour.
Research Interests:
Translation Studies, Children's Literature, Children's Literature & Culture, Children's and Young Adult Literature, Intertextuality, and 7 moreChildren's Media, Rereading and Intertextuality, Translation and Interpretation, Translation, media translation; subtitling; dubbing; the Internat and/as translation, Dubbing, and Dubbing Translation
This article will look at the relationship of the arts: fine arts, music, song and other kinds of artistic expression in picturebooks, prior to considering how the arts have been used to communicate human rights issues linked to war,... more
This article will look at the relationship of the arts: fine arts, music, song and other kinds of artistic expression in picturebooks, prior to considering how the arts have been used to communicate human rights issues linked to war, conflict and peace in picturebooks. It will briefly consider what is meant by "the arts", prior to considering how some award winning picturebook creators have been influenced by fine art in their book illustrations, and how others have taken lyrics from songs dealing with conflict, peace and human rights and illustrated them to create picturebooks as art objects which are both emotive and emotional. A particular focus will be on books affiliated to Amnesty International with special reference to Imagine by John Lennon. Resum Aquest article fa una mirada a la relació entre les arts: belles arts, música, cançó i altres tipus d'expressió artística en àlbums il·lustrats, abans de considerar com han sigut utilitzades les arts per a comunicar els problemes respecte dels drets humans lligats a la guerra, el conflicte i la pau en aquests àlbums. Es considerarà breument què s'entén per "les arts" abans de considerar com alguns autors premiats d'àlbums com a objectes artístics són tant emotius com emocionals. Es farà una incidència particular en els llibres publicats per Amnistia Internacional amb especial referència a Imagine de John Lennon. Paraules clau: Drets humans, Pau, Música, Àlbums il·lustrats, Art. Resumen Este artículo contempla la relación entre las artes: bellas artes, música, canción y otros tipos de expresión artística en álbumes ilustrados antes de considerar cómo han sido utilizadas las artes para comunicar la problemática respecto de los derechos humanos ligados a la guerra, el conflicto y la paz en estos álbumes. Se considerará brevemente qué se entiende por "las artes" antes de considerar omo algunos autores premiados de álbumes en tanto que objetos artísticos son tanto emotivos como emocionales. Se incidirá particularmente en los libros publicados por Amnistía Internacional con especial referencia a Imagine de John Lennon.
Research Interests:
Collage is a form found in many classic and popular picturebooks for children, and contemporary picturebook artists have increasingly used the cross-mediality of the form, but its more radical use is perhaps less well known. This paper... more
Collage is a form found in many classic and popular picturebooks for children, and contemporary picturebook artists have increasingly used the cross-mediality of the form, but its more radical use is perhaps less well known. This paper explores collage as a particularly interdisciplinary artistic expression, pointing to plural readings and understandings across its intermedial form, drawing on a number of 'cutting-edge' artists' picturebooks for children that have posed radical political questions through collage design, including Hannah Höch’s Picturebook (1945), Umberto Eco & Eugenio Carmi’s The Bomb and the General (1989), Davide Cali & Serge Bloch’s The Enemy (2009) and André Leblanc & Barroux’s The Red Piano (2009).
Now recognised as a major turning point in the evolution of modernist art—a form that always seeks change—collage is a developing element of children’s literature. Many of the images in anti-establishment or anti-war picturebooks act as riposte to political rhetoric. Such questions are posed as a fundamental part of the urgent artistic expression of collage, where absurdist and paradoxical images expose truths and ridicule fictions, created to surprise and shock the reader or viewer. The special relationship of collage as anti-war activism and ‘avant-guerre’ art is explored, viewing collage as a form which can challenge the seeming realities of a point in history, present political critique and point to possibilities for change, using as its material ripped-out, torn, cut, stuck and pasted visual refuse of its time. Thus war becomes literally war-torn.
Now recognised as a major turning point in the evolution of modernist art—a form that always seeks change—collage is a developing element of children’s literature. Many of the images in anti-establishment or anti-war picturebooks act as riposte to political rhetoric. Such questions are posed as a fundamental part of the urgent artistic expression of collage, where absurdist and paradoxical images expose truths and ridicule fictions, created to surprise and shock the reader or viewer. The special relationship of collage as anti-war activism and ‘avant-guerre’ art is explored, viewing collage as a form which can challenge the seeming realities of a point in history, present political critique and point to possibilities for change, using as its material ripped-out, torn, cut, stuck and pasted visual refuse of its time. Thus war becomes literally war-torn.
Research Interests:
Art History, Literature, Contemporary Art, Politics, Avant-Garde, and 3 moreCollage, War, and Picturebook
Literary Education is now firmly established in all stages of schools, colleges and universities and is considered a legitimate, interdisciplinary and multifaceted field of study. The inaugural issue of JLE is dedicated to the study of... more
Literary Education is now firmly established in all stages of schools, colleges and universities and is considered a legitimate, interdisciplinary and multifaceted field of study. The inaugural issue of JLE is dedicated to the study of Literary Education as an academic discipline which embraces all aspects of reading and teaching literature in different educational contexts and in different languages. Another primal mission of JLE is the study of the fundamental role of literature in the intellectual education for all students of all backgrounds while contributing to the field of knowledge in our global society. Through this study of literature dialog will open to rejuvenate teaching practices, new literacies and radical methodologies. What are the challenges of reading literary texts in the classroom? What are the aims and the methods of this endeavor and what texts should the educators choose in order their students to become confident to engage in individual but also group readings? Students need more opportunities to meaningfully engage with literature and to view/respond to/interpret literary texts in ways never thought of before. In what ways and means can this be achieved?
Research Interests:
Based on a keynote address delivered at the 2017 Child and the Book conference in Valencia on interdisciplinary links between children's literature and the arts, this essay draws on its author's experience first as a children's literature... more
Based on a keynote address delivered at the 2017 Child and the Book conference in Valencia on interdisciplinary links between children's literature and the arts, this essay draws on its author's experience first as a children's literature scholar focused on picture books and then as a volunteer guide and docent for school tours in art museums. It explores how visits to art museums might be enriched by thinking about the art in them in the ways in which we think about the art in children's picture books-as images illuminated by a context of nearby images and the verbal language they appear in connection with. After an exploration of common assumptions about how to look at art in museums and a consideration of the ways in which our knowledge of picture books might influence our interactions with that art, the essay also briefly considers how museum art might influence our understanding and appreciation of picture books. Resumen Basado en la conferencia plenaria pronunciada en 2017 en el congreso en Valencia The Child and the Book sobre vínculos interdisciplinares entre la literatura infantil y las artes, este artículo utiliza la experiencia del autor como guía voluntario y docente para visitas escolares a museos artísticos. Explora cómo las visitas a museos de arte pueden ser enriquecidas pensando acerca del arte que contienen de la manera en la que pensamos sobre el arte en los álbumes para niños y niñas – como imágenes iluminadas por un contexto de imágenes cercanas y por el lenguaje verbal que aparece en conexión con ellas. Tras una exploración de las asunciones habituales sobre cómo mirar el arte en los museos y una consideración sobre las maneras en las que nuestro conocimiento de los álbumes puede influir nuestras interacciones sobre este arte, el ensayo considera también brevemente cómo el arte de los museos puede influir nuestra comprensión y apreciación de los álbumes. Resum Basat en la conferencia plenària pronunciada el 2017 al congrés a València The Child and the Book sobre vincles interdisciplinaris entre la literatura infantil i les arts, aquest article utilitza l'experiència de l'autor com a guia voluntari i com a docent per a visites escolars a museus artístics. Explora com les visites a museus d'art poden ser enriquides tot pensant sobre l'art que hi contenen de la manera en la que pensem sobre l'art en els àlbums per a infants – com a imatges il·luminades per un context d'imatges properes i pel llenguatge verbal que apareix en connexió amb elles. Després d'una exploració de les assumpcions habituals sobre com mirar l'art als museus i una consideració sobre les maneres en les quals el nostre coneixement dels àlbums pot influir les nostres interaccions sobre aquest art, l'assaig considera també breument com l'art dels museus pot influir la nostra comprensió i apreciació dels àlbums.