web dubouis and double consciousness - the way the kids reacted to their story being told on the screen.
looking for the logic in their stories. (should be in maloch stuff) probably michaels or cazden.
Have to find narrative forms of analysis!!! Or not. narrative does not seem to be what's going on here except in their stories.
http://qualitativeresearch.ratcliffs.net/15methods.pdf
Saturday, December 27, 2008
Sunday, December 21, 2008
balance scale
you see it's like a balance scale. Either there's too much influence from the technology or there's very little. And when you think about the most together stories... like bryce's fun little things... it's a combination of both.
But deseree was a master as well.
But deseree was a master as well.
Tuesday, December 16, 2008
looking into stories.
okay... i've been trying to look into stories. i have found a few things I think I can build upon.
here's a nice line:
African-American composition theory is based on these assumptions:
1. Form and content or inextricably bound.
2. Black discourse is an academic discourse in constant flux, in negotiation with other discourses including the dominant discourse
3. Contrastive analysis of AAVE syntax and discourse against standardized syntax and discourse will result in students’ improved critical language facilities
4. Increased historical and cultural self consciousness and critical awareness can be realized in writing and discourse showing Black discourse features.
African American Literacies
Elaine Richardson
Routledge, London and NY
Black discourse was operationalized as smaller units of expression including: rhythmic dramatic evocative language, references to color–race–ethnicity, use of proverbs, aphorisms, biblical verses, sermonic tone, direct address-conversational tone, cultural references, ethnolinguistic idioms, verbal inventiveness, cultural values/community consciousness, field dependency, narrative sequencing, tonal semantics, signifying, structural call-response and testifying. (Examples of each are given in the more detailed methodology in note 1 to this chapter.)(p. 100)
Black discourse was operationalized as smaller units of expression including: rhythmic dramatic evocative language, references to color–race–ethnicity, use of proverbs, aphorisms, biblical verses, sermonic tone, direct address-conversational tone, cultural references, ethnolinguistic idioms, verbal inventiveness, cultural values/community consciousness, field dependency, narrative sequencing, tonal semantics, signifying, structural call-response and testifying. (101)
Rhythmic, dramatic, evocative language. Use of metaphors, significations, vivid imagery. Example: “Our history through the eyes of white America after it has been cut, massacured and censored is pushed down blacks throath.”
2. Proverbs, aphorisms, biblical verses. Employment of familiar maxims or biblical verses. Example: “there is a time and place for everything.”
3. Sermonic tone reminiscent of traditional Black Church rhetoric, especially in vocabulary, imagery, metaphor. Example: “The man should once again be the leader of the household as God intended and the female … the helpmate.”
4. Direct address, conversational tone. These two are not necessarily the same, but often co-occur. Speaking directly to audience—also, can be a kind of call/response. Example: ‘‘Would you rather be respected as Aunt Jemima and Sambo or Queen Nzinga? As yourself or someone else?”
5. Cultural references. Reference to cultural items/icons which usually carry symbolic meaning in the AAVE communities. Example: “There are still those Uncle Toms … out to get you.”
6. Ethnolinguistic idioms. Use of language which bears particular meaning in Black community. Example: “Black English is a ‘Black Thang’ you wouldn’t understand … That’s on the real!”.
7. Verbal inventiveness, unique nomenclature. Example: “[W]e will begin dealing with this deep seeded self-destruction and self-hate.”
8. Cultural values—community consciousness. Expressions of concern for the development of African Americans; concern for welfare of entire community, not just individuals. Example: “Before Blacks can come together in racial harmony they need to strengthen their own people. Trying to unite … will only cause more problems if we have not taken care of our own business.”
9. Field dependency. Involvement with and immersion in events and situations; personalizing phenomenon; lack of distance from topics and subjects. Example: “[w]e should first try to accomplish better race matters within ourselves. We can do this by patronizing and supporting our Black community.’’
10. Narrative sequencing. Dramatic retelling of a story implicitly linked to topic, to make a point. Reporting of events dramatically acted out and narrated. Relating the facts and personal socio-psychological perspective on them. Example: “I have learned … some things that never crossed my path in thirteen years of miseducation … This was very important for me because I … felt that [my] writing was wrong and far beyond improving.”
11. Tonal semantics (repetition of sounds or structures to emphasize meaning). Example: “European views are the rules,” “We are victimized …” [structure repeated four times in subsequent sentences].
2. Signifying—use of indirection to make points. May employ oppositional logic, overstatement, understatement—and/or reliance on reader’s knowledge of implicit assumption that is taken to be common knowledge (shared world view). Example: “In light of having limited means of getting first hand information we then have had to rely on books and the media to provide us with an unbiased account of information … we know how honest the media is.”
13. Call/response (structural)—writer returns repetitiously to the prompt as a structural device—checking for constant connection with the question or text at hand. A repeated invocation of the language from the prompt, manifesting as a refrain. Example: “to be a member of the AAVE Culture and literate,” “Black and literate,” “Blacks being literate” (repeated four times).
14. Testifying—telling the truth through story—bearing witness to the righteousness of a condition or situation. Example: “I use [the works of Angelou and Douglass] to liberate myself from my hardships to come.”
9155-156)
here's a nice line:
African-American composition theory is based on these assumptions:
1. Form and content or inextricably bound.
2. Black discourse is an academic discourse in constant flux, in negotiation with other discourses including the dominant discourse
3. Contrastive analysis of AAVE syntax and discourse against standardized syntax and discourse will result in students’ improved critical language facilities
4. Increased historical and cultural self consciousness and critical awareness can be realized in writing and discourse showing Black discourse features.
African American Literacies
Elaine Richardson
Routledge, London and NY
Black discourse was operationalized as smaller units of expression including: rhythmic dramatic evocative language, references to color–race–ethnicity, use of proverbs, aphorisms, biblical verses, sermonic tone, direct address-conversational tone, cultural references, ethnolinguistic idioms, verbal inventiveness, cultural values/community consciousness, field dependency, narrative sequencing, tonal semantics, signifying, structural call-response and testifying. (Examples of each are given in the more detailed methodology in note 1 to this chapter.)(p. 100)
Black discourse was operationalized as smaller units of expression including: rhythmic dramatic evocative language, references to color–race–ethnicity, use of proverbs, aphorisms, biblical verses, sermonic tone, direct address-conversational tone, cultural references, ethnolinguistic idioms, verbal inventiveness, cultural values/community consciousness, field dependency, narrative sequencing, tonal semantics, signifying, structural call-response and testifying. (101)
Rhythmic, dramatic, evocative language. Use of metaphors, significations, vivid imagery. Example: “Our history through the eyes of white America after it has been cut, massacured and censored is pushed down blacks throath.”
2. Proverbs, aphorisms, biblical verses. Employment of familiar maxims or biblical verses. Example: “there is a time and place for everything.”
3. Sermonic tone reminiscent of traditional Black Church rhetoric, especially in vocabulary, imagery, metaphor. Example: “The man should once again be the leader of the household as God intended and the female … the helpmate.”
4. Direct address, conversational tone. These two are not necessarily the same, but often co-occur. Speaking directly to audience—also, can be a kind of call/response. Example: ‘‘Would you rather be respected as Aunt Jemima and Sambo or Queen Nzinga? As yourself or someone else?”
5. Cultural references. Reference to cultural items/icons which usually carry symbolic meaning in the AAVE communities. Example: “There are still those Uncle Toms … out to get you.”
6. Ethnolinguistic idioms. Use of language which bears particular meaning in Black community. Example: “Black English is a ‘Black Thang’ you wouldn’t understand … That’s on the real!”.
7. Verbal inventiveness, unique nomenclature. Example: “[W]e will begin dealing with this deep seeded self-destruction and self-hate.”
8. Cultural values—community consciousness. Expressions of concern for the development of African Americans; concern for welfare of entire community, not just individuals. Example: “Before Blacks can come together in racial harmony they need to strengthen their own people. Trying to unite … will only cause more problems if we have not taken care of our own business.”
9. Field dependency. Involvement with and immersion in events and situations; personalizing phenomenon; lack of distance from topics and subjects. Example: “[w]e should first try to accomplish better race matters within ourselves. We can do this by patronizing and supporting our Black community.’’
10. Narrative sequencing. Dramatic retelling of a story implicitly linked to topic, to make a point. Reporting of events dramatically acted out and narrated. Relating the facts and personal socio-psychological perspective on them. Example: “I have learned … some things that never crossed my path in thirteen years of miseducation … This was very important for me because I … felt that [my] writing was wrong and far beyond improving.”
11. Tonal semantics (repetition of sounds or structures to emphasize meaning). Example: “European views are the rules,” “We are victimized …” [structure repeated four times in subsequent sentences].
2. Signifying—use of indirection to make points. May employ oppositional logic, overstatement, understatement—and/or reliance on reader’s knowledge of implicit assumption that is taken to be common knowledge (shared world view). Example: “In light of having limited means of getting first hand information we then have had to rely on books and the media to provide us with an unbiased account of information … we know how honest the media is.”
13. Call/response (structural)—writer returns repetitiously to the prompt as a structural device—checking for constant connection with the question or text at hand. A repeated invocation of the language from the prompt, manifesting as a refrain. Example: “to be a member of the AAVE Culture and literate,” “Black and literate,” “Blacks being literate” (repeated four times).
14. Testifying—telling the truth through story—bearing witness to the righteousness of a condition or situation. Example: “I use [the works of Angelou and Douglass] to liberate myself from my hardships to come.”
9155-156)
Sunday, December 7, 2008
An important thought
Dr. M. asked me why I thought these kids struggled to tell stories.
Well 1, I was judging what "story" was to me, not to these first graders.
And, I also see that these kids were in a school context so were telling stories in what they knew about school contexts. The most successful student in the most restrictive writing class wrote the most descriptive stories.
I was thinking there was some correlation to the stories particularly from the beginning to kids who were best able to conform fit in, most successful in school to those who "described"
Michael and Chosen were not deemed very successful in school. I need to make this chart.
Well 1, I was judging what "story" was to me, not to these first graders.
And, I also see that these kids were in a school context so were telling stories in what they knew about school contexts. The most successful student in the most restrictive writing class wrote the most descriptive stories.
I was thinking there was some correlation to the stories particularly from the beginning to kids who were best able to conform fit in, most successful in school to those who "described"
Michael and Chosen were not deemed very successful in school. I need to make this chart.
Subscribe to:
Posts (Atom)
