Reading images: an approach to children’s picturebooks

2nd Baltic Sea Conference / 15th Nordic Reading ConferenceLiteracy skills – for learning

Turku, Finland, August 11-13 2010

A. M. Ramos* & R. Ramos***University of Aveiro (Portugal)

**University of Minho (Portugal)Centre of Child Studies

Introduction

Research project "Environment and ecoliteracy in recent literature for children"” (1/9/2009 – 31/12/2011)

(Centre for Child Studies, Univ. of Minho, Braga, Portugal)

www.ecoliteracia.iec.uminho.pt

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Aim of this study:

to identify the lines of intersection between the aesthetic and recreational dimensions of children’s literature and its pedagogical possibilities, specifically concerning ecoliteracy.

Object of study

two wordless picturebooks, published in Portugal in 2008 and 2009: Um dia na praia [A day at the

beach], by Bernardo Carvalho

Onda [Wave], by Suzy Lee

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maritime scenarios

specific relationship between humans and the sea

Theoretical framework

picturebook theory (Duran 2002; Linden 2003, 2008/2009; Sipe & Brightman 2009; Bosh & Duran 2009)

postmodern picturebook theory (Nikolajeva 2008; Sipe & Pantaleo 2008)

paratextual analysis (Muheim 1979)

wordless picturebooks analysis in different contexts (Jalongo et al.2002; Margallo 2008)

ecoliteracy and environmental education (Drouin & Astolfi 1986; Borges 2002; Capra 2002)

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Wave, by Suzy Lee (1)

double page spread - dialogue between the natural elements and a child protagonist

technique - chromatic interplay

black and charcoal grey: earthly elements

blue: the sea

seagulls - suggestions of movement and dynamism

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Wave, by Suzy Lee (2)

symbolic meaning of the dividing line in double page spread = boundary between the earth (security) and the sea (instability)

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narrative organization

struggle between opposing forces throughout 12 spreads , followed by 5 more where the child has established a peaceful and fascinating relationship with the sea

Wave, by Suzy Lee (3)

expression of different emotions: curiosity, fear, mesmerized gazing, attempts at closeness and control, contentment , excitement , surprise/fright, fear, challenge

(see examples)

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A day at the beach,by Bernardo Carvalho (1)

narrative that totally dispenses verbal discourse

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minimal set of resources

coloured and contourless basic shapes

the book prompts the reader's interpretive initiative

A day at the beach,by Bernardo Carvalho (2)

the narrative starts in the initial endpapers, provinding spaciallocation

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split page representing two recognizable actions (sets the initial situation)

A day at the beach,by Bernardo Carvalho (3)

unknown object spotted in the sea

the protagonist identifies the object as a kind of debris

man removes the object from the water

dramatic growth of the pollution problem

man removes all objects from the water

all objects retrieved from the sea are recycled and reused in the construction of a boat

man sails out into the sea10

A day at the beach,by Bernardo Carvalho (4)

man’s journey metaphorical interpretation

stimulating challenge to the individual’s reading and interpretation skills

influence of cinematic technique

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Conclusions (1)

underlying suggestion of a privileged interaction involving human beings and the environment, especially the sea

human being seems to discover the true essence of the sea, its symbolic meaning as a primeval source of life and a medium of harmonious interaction.

euphoric image of the sea by valuing it, strongly and ultimately urging readers to protect and preserve it adequately

seagulls as a cohesive element - symbolic bond between man and nature, evoking a maritime setting and ensuring visual stability 12

Conclusions (2)

these books allow multiple readings

they illustrate the narrative possibilities of pictures

they connect visual literacy (learning to interpret images), cultural literacy (learning the characteristics and expectations of social groups) and literacy with print (learning to read and write language) (cf.: Jalongoet al. 2002)

they foster the development of the readers' narrative skills

they require a competent reader with a solid grasp of the codes regulating this editorial genre

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Conclusions (3)

harmonious interaction between the human being and the seaside environment

ability to take part in the natural scenario

in Wave, the sea is pictured as an equal, one of the protagonist's partners

in A day at the beach, the sea, which was a dumping ground before, is converted into a pleasurable space

perspective utilitarian, but it determines the sustainable condition of space use: man's intervention on environment must be altered

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Conclusions (4)

the realistic dimension of picture story books reinforces the readers' identification with the recreated worlds

reading is the outcome of an active and collaborative process

these books prescribe a process of reading and of generating meaning which is in every respect identical to that of a text, thereby requiring attentive, perceptive and active readers who, moreover, are willing to take part in the game of reading

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References (1)

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CARVALHO, B. (2008). Um dia na praia. Oeiras: Planeta Tangerina.

LEE, S. (2009). Onda. Lisboa: Gatafunho.

BOSH, E. & DURAN, T. (2009). «OVNI: Un álbum sin palabras que todos leemos de manera diferente»,

Anuario de Investigación en Literatura Infantil y Juvenil, 7 (2), pp. 39-52.

BORGES, F. (2002). A Educação Ambiental no 1º Ciclo do Ensino Básico – Contributos para o seu

desenvolvimento no 4º ano de escolaridade, Braga, Universidade do Minho

DROUIN, A; ASTOLFI, J. (1986). «Milieu», Aster, 3, pp. 73-109.

DURAN, T. (2002). Leer antes de leer. Madrid: Anaya.

JALONGO, M. R., et al.(2002). «Using Wordless Picture Books to Support Emergent Literacy», Early

Childhood Education Journal, vol. 29, Nº 3, pp. 167-177.

LINDEN, S. (2003). «L’album, entre texte, image et support», La Revue des Livres pour Enfants – 214, pp.

59-68.

LINDEN, S. (2008-2009). «Et si le sans avait du sens?», Hors Cadre, 3, pp. 7-11.

MARGALLO, A. M. (2008). «¿Qué tipo de corpus facilita la integración y el aprendizaje lingüístico y literario

de los alumnos recién llegados?», paper presented at the 9èmes Rencontres de Chercheurs en

Didactique de la Littérature (Bordeaux, 3-5 Avril), (http://gretel-

uab.pangea.org/images/stories/burdeosgretelanamaria.pdf)

MUHEIM, M. (1979). I formati / a cura. Bologna: Zanicheli.

NIKOLAJEVA, M. (2008). «Play and playfulness in postmodern picturebooks», in SIPE, L. R & PANTALEO,

S. (ed.), Postmodern Picturebooks: play, parody, and self-referenciality, New York: Routledge

research in Education, pp. 55-74

SIPE, L. R. & BRIGHTMAN, A. E. (2009). «Young Children’s Interpretations of Page Breaks in Contemporary Picture Storybooks». Journal of Literacy Research, 41. pp. 68-103

Reading images: an approach to children’s picturebooks

2nd Baltic Sea Conference / 15th Nordic Reading ConferenceLiteracy skills – for learning

Turku, Finland, August 11-13 2010

A. M. Ramos* & R. Ramos***University of Aveiro (Portugal)

**University of Minho (Portugal)Centre of Child Studies