Dr.+Martinez


 * **C&I 5833: Picture Books and the**
 * Practice of Literacy**
 * Spring 2012**
 * Class Meets: Tuesday, 5:30-8:15**
 * Room: MB 0.414**

The mission of the Department of Interdisciplinary Learning and Teaching is to:
 * Office Hours:**
 * **Monday, 10:00-11:00 in MB 2.210C**
 * **Tuesday, 9:30-11:30 in BV 3.346**
 * **Tuesday, 3:30-5:15 in MB 2.210C**
 * **by appointment** || **Miriam Martinez**
 * Office: MB 2.210C**
 * Phone: 458-5971**
 * E-mail: Miriam.Martinez@utsa.edu**
 * Please note: This is the email address I use. I do not use Blackboard email.** ||
 * //Mission Statement//**
 * Advance the intellectual and professessional development of students and faculty through research, critical reflection and dialogue, civic responsibility, and transformative leadership;
 * Promote equality and social justice by advocating for educational change and reform; and
 * Nurture the personal and professional integrity of all learners.

To be a model interdisciplinary education program that prepares professionals to work with diverse learners in a global setting.
 * //Vision Statement//**

v **Intellectual**: Demonstrates cultural, political, historical, technological, and content knowledge, as well as pedagogical-content knowledge for learners of all abilities; v **Critically conscious**: Understands the interrelationship among socio-cultural, historical, and political contexts of US education and engages in empowering practices; v **Inquisitive**: Critically analyzes, produces, and disseminates research; v **Transformative**: Recognizes and engages in research-based, developmentally, culturally and linguistically responsive and inclusive practices that are life-changing for all learners; v **Ethical**: Exhibits ethical behavior in all their interactions with all populations; and v **Professional:** Articulates a philosophy and demonstrates a strong professional identity that respects a diverse global society.
 * Core Values of the Department of Interdisciplinary Learning and Teaching:**


 * Course Description:** This course focuses on the picture book. The course will investigate the formal properties of picture books, the potential of picture books for enabling literacy development, and how children and young adults interact with them. The course will include aesthetic theory, theories of text-picture relationships, theories of literacy, and theories of literary understanding, and attempt to forge connections among these theories. Research on children’s engagement with (and responses to) picture books will also be included.

· to better appreciate the creation of picturebooks—including the crafting of visual aspects of picturebooks as well as the process of their development

 * to explore ways in which children read and respond to picturebooks
 * to explore ways in which your own insights into how picturebooks work (e.g., their layouts, media, techniques) can be used to support and guide students’ explorations and deepened understanding of picturebooks
 * to become more aware of individual artists and their works

Tan, Shaun. //The Arrival//.
 * Required Texts:**

Sendak, Maurice. //Where the Wild Things Are//.

Various journal articles and excerpted chapters (see list below). Readings are posted on Blackboard. Further, we will be reading and discussing many picturebooks. Since the only picturebook you will need to purchase is //Where the Wild Things Are//, **//plan to commit yourself to spending lots of time//** in libraries and other venues where you can borrow them for study and for bringing to class. By class end, you will have produceda log of 30 picturebooks you have read **closely**.

**Tentative Course Calendar** The Picturebook: What Is It? Language to Talk about Picturebooks || Sipe (1998) (optional reading) || What Is the Future of the Picturebook? Creating Picture Books: A Focus on Process || Bosman (2010) || Literary Elements //Where the Wild Things Are// Eeds and Peterson (1991) || Goldenberg (1993) Bandre & Button (2011) || How Illustrator Decisions Impact the Telling: Looking at Variants of a Story—Style, Medium and Other Considerations || Caldecott Terms and Criteria Teale, Kim, & Boerman-Cornell (2008) Goldstone & Labbo (2004) ||
 * **Date** ||  **Topic**  ||  **Assignment**  ||
 * January 17 || Course Overview
 * January 24 || The Changing Picture Book: A Historical Perspective
 * January 31 || Learning to Look at Pictures (in New Ways)
 * Rather than meeting as an organized class on January 31, you will attend the following session at the McNay Art Museum:**
 * **Thursday, February 2 at 5:30 p.m.** ||  ||
 * February 7 || Theoretical Perspectives on the Art of PBs: Literary, Aesthetic, Semiotic
 * The Foundation of Story
 * Picture/Text Relationships: How Pictures and Text Work Together to Develop Literary Elements || Kiefer (2008)
 * February 14 || Aesthetic Theory: Design choices in the creation of Picturebooks
 * Picture/Text Relationships: Further Considerations
 * Principles of book design || Kiefer (1995)
 * February 21 || Aesthetic Theory: Design choices in the creation of Picturebooks
 * Elements of design (visual elements) || **Due: Professional Reading Log** ||
 * February 28 || Aesthetic Theory: Design choices in the creation of Picturebooks
 * Principles of picture design (composition) ||  ||
 * March 6 || Aesthetic Theory: Design choices in the creation of Picturebooks
 * Technical choices in the creation of picturebooks: Medium and style ||  ||
 * March 13 || **Spring Break** ||  ||
 * March 20 || **Illustrator Presentations** || **Due: Illustrator Presentations and Paper** ||
 * March 27 || Choosing Quality Picturebooks: The Caldecott
 * Due: Picturebook Reading File, Part 1** ||
 * April 3 || Special Types of Picturebooks
 * Wordless picturebooks and graphic novels
 * Postmodern picturebooks || //The Arrival// by Shaun Tan
 * April 10 || Special Types of Picturebooks
 * Informational picturebooks || Colman (2007) ||

Sipe (2000) Sipe & Brightman (2009)
 * April 17 || Picturebook Instruction: What Should It Look Like? || Madura (1995)
 * Due: First Draft of Instructional Lesson Plan** ||
 * April 24 || Picture Books in a Digital Age || **Due: Picturebook Reading File, Part 2** ||
 * May 1 || Research on Children’s Meaning-Making in Picturebooks || Pantaleo (2004)
 * Due: Professional Reading Log** ||
 * **May 8**
 * 5:00-7:30** || **Micro-teach** || **Due: Final Instructional Lesson Plan**
 * Due: Micro-teach** ||

Optional reading: (This is intended to serve as a resource for you): Sipe, L. R. (1998). Learning the language of picturebooks. //Journal of Children’s Literature, 24//, 66-75. Bosman, J. (2010). “Picture Books No Longer a Staple for Children” //New York Times//, October 8, 2010. [] No outside reading Kiefer, B. (2008). Reading the art of the picturebook. In Flood, J., Heath, S. B., & Lapp, D. (Eds.). //Handbook of Research on Teaching Literacy Through the Communicative and Visual Arts, vol. 2.// New York: Lawrence Erlbaum, pp. 375-379. Eeds, M., & Peterson, R. (1991). Teacher as curator: Learning to talk about literature. //The Reading Teacher, 45,// 118-126. Kiefer, B. Z. (1995). //The Potential of Picturebooks: From Visual Literacy to Aesthetic Understanding.// Englewood Cliffs, NJ: Merrill. [chapter 6] Goldenberg, C. (1993). The design and typography of children’s books. //The Horn Book Magazine//, //69//, 559-566. Bandre, P. E., & Button, K. (2011). Picturebook design: Art, words, typography…everything matters. //Journal of Children’s Literature, 37, 54-59.// No outside reading No outside reading No outside reading Caldecott Terms and Criteria Tan, Shaun. (2007). //The arrival//. New York: Arthur A. Levine Books.
 * Readings**
 * January 17**
 * January 24**
 * January 31**
 * February 7**
 * February 14**
 * February 21**
 * February 28**
 * March 6**
 * March 27**
 * April 3**

Rudiger, H. M. (2006). Reading lessons: Graphic novels 101. //Horn Book Magazine//, 126-134. = = =//Teale, W. H., Kim, J., & Boerman-Cornell, W. (2008).//It’s Elementary! Graphic novels for the K–6 classroom. //Book Links,// 17. 7-13.=

Goldstone, B. P., & Labbo, L. (2004). The postmodern picture book: A new subgenre. //Language Arts, 81//, 196-204.


 * April 10**

Colman, P. (2007). A new way to look at literature: A visual model for analyzing fiction and nonfiction. //Language Arts, 84//, 257-268.


 * April 17**

Madura, S. (1995). The line and texture of aesthetic response: Primary children study authors and illustrators. //The Reading Teacher, 49//, 110-118.


 * April 24**

Pending


 * May 1**

Pantaleo, P. (2004). Young Children interpret the metafictive in Anthony Browne’s __Voices in the Park__. //Journal of Early Childhood Literacy// 4(2), 211-233.

Sipe, L. R., & Brightman, A. (2009). Young children’s interpretations of page breaks in contemporary picturebooks. //Journal of Literacy Research, 41//, 1-36.

Sipe, L. R. (2000). The construction of literary understanding by first and second graders in oral response to picture storybook read-alouds, //Reading Research Quarterly//, //35//, 252-275.

Select and carefully read/inspect 30 (or more) picturebooks. Include picturebooks for younger and older readers (varied by style, media). (You can also include board books, alphabet and number books, Mother Goose/Nursery Rhymes, engineered (features book—flaps, moveable parts), wordless, and patterned (predictable) books. And if you wish, you can include graphic novels.) **In particular, seek out picturebooks that are new to you!!!** For each entry in your file, document your **careful inspection** that reflects the facets of picturebooks that we will be exploring in class. In addition to noting the title, author, and illustrator of the book (and date of publication), consider writing about the following: genre, medium, style of illustration, interplay of pictures and text, book design, illustration composition, peritextual features, and other elements of note. Your professional readings and our class investigations may suggest other features worth writing about in the file. In particular, highlight elements that you find of particular note for each book. Bring your picturebook file to class each night (you’ll likely add to it in class). __Evaluative criteria__: The degree to which your entries reflect a **thoughtful** reading and **in-depth** analysis.
 * COURSE REQUIREMENTS**
 * Assignment 1: Picturebook Reading File**

__Due dates:__ March 27 (Part 1: 15 books) April 24 (Part 2: 15 books) __Possible Points:__ 75 points

__Purpose__: Keep track of the **central ideas** of your professional reading for each class and prepare you for class discussion. Bring the Readings Journal to each class. __Procedures__: Your response to each professional reading will be organized in the following way:
 * Assignment 2: Professional Readings Log**
 * Include bibliographic information for the article/chapter. (APA style)
 * Summarize at least 3 **central ideas** in the article. (It is likely that some readings will require more than 3 points.)
 * List at least two points for class discussion.


 * Readings to include for February 21:**
 * Bosman
 * Kiefer (2008)
 * Eeds & Peterson
 * Kiefer (1995)
 * Bandre & Button (2011)
 * Goldenberg

__Due dates__: February 21, May 1 __Evaluative criteria__: The degree to which your entries reflect **central ideas** and a **thoughtful** reading of the assigned piece. __Possible Points:__ 75 points
 * Readings to include for May 1:**
 * Goldstone & Labbo
 * Colman
 * Rudiger
 * Pantaleo
 * Sipe
 * Sipe & Brightman
 * Madura

For this assignment **you and a partner** will select an illustrator and conduct an in-depth study of the books of the illustrator (or author/illustrator). Your analysis of the illustrator’s work should draw on your understanding of semiotic, aesthetic, and literary theory. Some of the facets of crafting to which you will want to attend include the interplay of pictures and text, medium, style, the use of visual elements, design/composition, peritextual features, etc.. In addition to your analysis, you will want to document what critics have said about the work of the illustrator and (if at all possible) what the illustrator says about his/her own work. This analysis should be based on a **minimum** of five works by the individual. If possible, try to examine the complete body of the illustrator’s work. You will present the findings of your analysis in two formats: (1) a paper in which you discuss the results of your analysis. The paper should adhere to APA guidelines. You and your partner will hand in a single paper. (2) a class presentation (approximately 15 minutes). Your presentation should be supported with a PowerPoint. The presentation should be lively and engaging. And remember, because this is an illustrator study, it will be critical that your classmates be able to see the work of the illustrator. (The use of technology is encouraged if it serves your goals.) Prepare a handout (one or two pages) of your presentation for your classmates, including resources for learning more about the author/illustrator. A list of recommended author/illustrators is included in the syllabus. No author/illustrator can be studied by more than one group. So you and your partner must sign up in advance for an author/illustrator with the instructor. **And stretch yourself: Don’t choose your favorite author/illustrator. Choose someone new!!** __Evaluative criteria__: The evaluative criteria includes adherence to the description of the assignment, the thoughtfulness/reflection of your observations and ideas, as well as the **support** you offer for your thinking. The class presentation should be engaging, useful, and reflective of what you learned. __Due date:__ March 20 __Possible Points:__ 50 points
 * Assignment 3:** Illustrator Study

One of our important jobs as literacy teachers is to help students build their store of textual knowledge (i.e., knowledge about how texts work. This inclues both verbal and visual knowledge). You will select a facet of the picturebook that you think young people need to learn about and develop a lesson plan for introducing this facet. Consider all that we have explored this semester in making your decision about what constitutes an element worthy of instruction. For example, you might want to explore how characters are developed in picturebooks, or the interplay of pictures and text, or peritextual features. **The possibilities are endless.** One you have identified a focus, you will develop a detailed lesson plan for introducing the element to students. You will bring the initial draft of the plan to class on ???????? to share with peers.You will also turn in a cop of this draft to the instructor. Then, based on feedback from peers and the instructor, you can revise the plan if you choose. As a culminating activity you will do a micro-teach of the lesson on ??????? to a small group of your peers. You will also turn in the final draft of the lesson plan. __Evaluative criteria__: The evaluative criteria include the thoughtfulness/reflection of your plan. __Due dates:__ __Possible Points__:50 points
 * Assignment 4: Helping children learn to read picturebooks.**
 * April 17: First draft of instructional plan
 * May 8 : Completed instructional plan
 * May 8: Micro-teach

Total Possible Points 250 Points to earn A 225-250 Points to earn B 200-224 Points to earn C 175-199 Points to earn D 150-174 F below 150

__Late Work__: Students celebrating religious holidays and students absent on official University business are allowed to make up work. Other late work is not accepted **without a doctor’s excuse. No exceptions.**

**Recommendations for Author/Illustrator Study** Anthony Browne John Burningham Peter Catalanotto Bryan Collier Barbara Cooney Floyd Cooper Leo & Diane Dillon Lois Ehlert Ian Falconer Mordecai Gerstein Emily Gravett Kevin Henkes Pat Hutchins Trina Schart Hyman Steve Jenkins Ezra Jack Keats Steve Kellogg E. B. Lewis Petra Mathers David McPhail Patricia Polacco || Chris Raschka Peggy Rathman Faith Ringgold Eric Rohmann Allen Say Laura Vaccaro Seeger Brian Selznick Maurice Sendak David Shannon Uri Shulevitz David Small William Steig Mark Teague Chris Van Allsburg Melanie Watt David Wiesner Vera Williams Mo Willems Don and Audrey Wood Ed Young ||
 * Anno

**Professional Development Opportunities for Students** **Spring 2012**


 * UTSA Storytelling Festival**
 * March 3, 9:00-12:00**
 * Main Building**


 * Poetry Alive!**
 * Februray 18, 9:00-11:00**
 * Business Building 2.01.06**

Dr. Janis Harmon January 25, 1:00-2:30 Buena Vista 3.350 **Meet the Expert: ‘**The Dangers of Excessive Test Prep: What Students Don’t (and Do) Learn about Reading During Test Prep Instruction” Dr. Dennis Davis February 7, 4:00-5:30 Buena Vista 3.350
 * Meet the Expert: “**Reading the Writing on the Wall: Using Interactive Word Walls in Conventional and Digital Formats”

Dr. Misty Sailors with Angeli Wilson, Tracey Kumar, Shannon Blady March 8, 4:00-5:30 Buena Vista 3.350
 * Meet the Expert: “**Using and Creating Literacy Tools in Classrooms”

Dr. Roxanne Henkin April 2, 4:00-5:30 Buena Vista 3.350
 * Meet the Expert: “**Sky Blue: Learning about Students through Their Writing”

Students are expected to demonstrate professional conduct and attire during class sessions. All cell phones and beepers must be turned off during class periods unless prior permission has been given by the instructor. Text messaging is not permitted. If you need accommodation related to a disability, please visit me during my office hours to discuss your needs. Students with disabilities must be registered with the Office of Disability Services located in MS 2.03.18 (Main Campus, 458-4157) or BV 1.302 (Downtown, 458-2838) in order to receive support services. The University expects every student to maintain a high standard of individual integrity for work done. Scholastic dishonesty is a serious offense, which includes, but is not limited to, cheating on a test or other class work, plagiarism (the appropriation of another’s work and the unauthorized incorporation of that work in one’s own work), and collusion (the unauthorized collaboration with another person in preparing college work offered for credit). In cases of scholastic dishonesty, the faculty member responsible for the class may initiate disciplinary proceedings against the student. In this class all UTSA procedures will be followed and the necessary paperwork will be filed with the Office of Student Life and the Division of Education. A penalty will be recommended by the course instructor to the Office of Student Life which may impose an additional university penalty. If you are not sure what constitutes plagiarism, please visit the UTSA site or [] (also linked through our Blackboard site under ‘Resources’) “On my honor, as a student at The University of Texas at San Antonio, I will uphold the highest standards of academic integrity and personal accountability for the advancement of the dignity and the reputation of our university and myself.” This Syllabus is provided for informational purposes regarding the anticipated course content and schedule of this course. It is based upon the most recent information available on the date of its issuance and is as accurate and complete as possible. I reserve the right to make any changes I deem necessary and/or appropriate. I will make my best efforts to communicate any changes in the syllabus in a timely manner. Students are responsible for being aware of these changes.
 * Disability:**
 * Scholastic Dishonesty:**
 * Plagiarism:**
 * UTSA Honor Code:**

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