Master’s Degree

--Foci: Literacy as a Critical Social Practice

To question the everyday including popular culture and the mediaTo understand and explore how power and politics impact us via the texts

we encounter and readTo support the taking on of multiple perspectivesTo instill in learners the need to ask questions and to engage in inquiry.To move thinking to action for purposes of promoting social justice

Engagements

Students read, discussed, and reflected on articles by Alan Luke, Andy Manning, Peter Freebody, Peggy McIntosh, Gunter Kress,Patrick Shannon, Carol Edelsky, Bess Alterwerger, Vivian Vasquez, Philip McCormick, Barbara Comber, Hilary Janks, Bill Greene, Colin Lankshear,Brian Street, Michel Knobel, Shirley Brice Heath, Donna Alverman, MitziLewison, Christine Leland, Richard Beach, Gerald Campano, Peggy Albers

Once a month they also participated in curricular engagements where they were invited to see all texts as political, interrogate the everyday (includingadvertisements and the media), try on new perspectives and, rather thanleave issues at an academic level, propose and take social action. They werealso encouraged to work with their own students in supporting themin taking on a critical perspective and in sharing their successes and frustrations.

Motivated Signs

1. All ‘signs’ are motivated. In a children’s book, for example,one has to assume that everything was done on purpose.

2. Read “Willy & Hugh” and, working alone, identify:a. What you see as significant signs;b. How you think the author wanted you to read these signs, andc. What work you see these signs doing in terms of positioning the reader.

Reference: Lewison, M., Leland, C., & Harste, J. (2008). Creating Critical Classrooms. Taylor & Frances.

Books

--Sandra C.

Willy & HughInteresting Readings

Group of gorillas read as, the “in-group” (Leslie); “an exclusive club” (Mary Ann);“an exclusive team – no one else allowed” (Marcia)

Willy’s posture read as “downtrodden, downcast, lonely, sad, unexpressive,uninterested, perhaps unmotivated” (Alison)

Motorcycle outfit read as “tough guy” (Christine A.), “bully” (Jamie)Tree trunks as backdrop to joggers read as “strong, firm, distant, rigid” (Penny)Handshake signifies “cooperation” (Marisa); “a friendship begins” (Jessica);

“camaraderie” (Ingrid); “the beginning of a relationship” (Maria Luisa); “acoming together” (Lisa)

“Authority” is seen as being signified by “police cap” (Anne); “sunglasses”(Christine B.)

Willy’s clothing read as “nerdy”; shirt tail hanging out read as “belonging to a rougher crowd” (Cathy)

Red shirt read as “strength”; Blue shirt read as “weakness” (Jacquie)Big Ideas seen as “Everyone has something to contribute; Friendship is a

two way street; No one wants to be excluded” (Sylvia); “Nice guys finishfirst” (Luciana); “Friends come in all shapes and sizes” (Jen);

Willy & Hugh Signs

Positioning of Characters (Perspective) 84%Body Language (Facial Expressions) 63%Size 56%Dress (Color) 41%Activities (Watching Joggers; Library) 31%Language (Names; Sound Bytes) 31%Species 06%

Gender .00%

N=32

Positioning of Characters (Perspective)

84%

Body Language

63%

Size

56%

Dress (Color)

41%

Activities

31%

Language (Names; Sound Bytes)

31%

Species

06%

Willy & Hugh Signs

Positioning of Characters (Perspective) 84%Body Language (Facial Expressions) 63%Size 56%Dress (Color) 41%Activities (Watching Joggers; Library) 31%Language (Names; Sound Bytes) 31%Species 06%

Gender .00%

N=32

Sister Anne’s HandsInteresting Readings

Opening references to Ed Sullivan Show and “peace signs being in” read as “a time of innocence” (Kevin)

Lots of references to metaphoric language – “a person of her color,”“the colors of hatred,” “kissed by an angel,” “learning how to use her wings,” “as colorful as birds”

Butterfly read as “rebirth” (Lisa)Lots of references to hands:

Open hands read as an open heart; Fist read as closed heart and mindColors of hands (“pink like Barbie”, brown, white) read as “a coming together” (Bernice)

Nun read as sign of Christianity and Catholicism (Cathy); Image of the kindlynun is highlighted and built upon (Jess)

Illustrations show “stereotypical” classroom as “ bleak” (Angela), “dingy,” “kids in straight rows,” (Anabel), and “an apple on the teacher’s desk” (Dervel)

Sister Ann’s Hands Signs

Metaphoric Language 71%Activities (Making a card; paper airplane) 50%Color 75%Hands References 93%Race and Ethnicity 43%References to Pop Culture 43%References to Habit/Social Class/Role 36%Illustrations .29%

Church’s Involvement .00%

N=28

Willy & Hugh Signs2nd Group

Size 82%Dress (Color) 79%Activities (Watching Joggers; Library) 75%Language (Names; Sound Bites) 71%Positioning of Characters (Perspective) 50%Body Language (includes Facial Expression) 14%Species 14%

Gender 07%

N=28

REVISION OF INVITATION

1. Identify the stereotype being addressed.

2.Identify 5 signs which are being used to convey that stereotype.

2.Interrogate what still isn’t being addressed.

Into the Forest Signs

Color or lack thereof .93%Barrenness (Forest) .59%Opening (Storm) .45%Reference to Other Fairy Tales .76%Reference Little Red Riding Hood .28%Gender of Protagonist .38%Body or Facial Expressions .14%Ending .28%

Absent Father .76%

Interesting Readings

“Nice Little Cake” = read as “Temptation” (Darryl) and as something “Coveted” (Tina), that is, something which was wanted that he had.

As soon as the story was seen as a fairy tale, it was read as a “Cautionary Tale” (Dorothy).

“Children meeting on the road” = read as representing “other stories wherechildren lost their parents” (Fady).

Grandmother = read as comforting, nice, warm (Sharida).“Mother’s open arms” = read as redemption; the Catholic image of Christ with

his outstretched hands (Marta)Moral synthesized as “women love; men leave” (Betty).

Sister Anne’s Hands Signs

Metaphoric Language 64%Activities (Making a card; paper airplane) 73%Color 79%Hands References 67%Race and Ethnicity 46%References to Pop Culture 15%References to Habit/Social Class/Role 64%Illustrations 36%

Church’s Involvement .24%

N=33

Conclusions

Teachers tend to give “nice” rather than “critical” reading of children’s bookseven when those books address important social issues.

The more explicit the instructional engagement the more successful teacherswere in unpacking the stereotypes and social issues that were implicitlybeing addressed (and or ignored) in the children’s books used in this study.

Children’s books which address social issues which hit too close to home(that is, which directly relate to the life space of the participant), seem harderfor participants to unpack than do the social issues in books which seem moredistant to the participant in terms of his or her personal life space.