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.
Monday, November 17, 2008
Bryce's 2nd Story analysis and some thoughts I want to get down
This is Bryce's second story. Here you can see he is not drawing, he is manipulating the available shapes in the computer program to create different monsters. I would consider this a Describing Story. That is, he created some characters on the screen, and then used the audio portion of his story to describe them. He described what their bodies looked like, labeling the last one an Alien Dog. Of course this is more sophisticated than what we'll see Trace do later... just describing the stamps he's lined up on the page. But still, I think there's a connection to the stories. This is more like Deseree's first story where she talks about what she drew. Bur because of the title here, I'd again rank it a little more story than Trace's work.
Notice the background. Background is Bryce's Anchor. I notice that pretty much all of them... with no prompting from me included some sort of setting. I'd say only Michael and his money were the only characters without time spent on background.
Bryce means for you not to just look at the shapes even though he's describing their parts. He wants you to see aliens here.
-------------------------------------
Character Driven Stories...
character, set in a background, show action, movement over time. These I consider traditional stories.
Descriptive Stories
computer artwork featured... a show and tell with a narrative feel.
----------------------------------------
I think the fatalism in some of these stories (not shown by bryce, the sci fi guy) is cultural. Can I write Smitherman on this? Hah hah.
I'm trying to make connections to Labbo's work on different stances toward the computer which I think are there. Like for some the computer is a place to draw a story, but the story is not inherently digital. So in these cases the storyteller is in control.
Then some stories are purely digital... like Trace just describing what he's put together. And I think a little bit of Jaidyn's last story, though with her her audio adds too much personality to actually be purely digital.
And some stories are hybrid... like I think this one is. sure it's about what was created digitally... but it's also about Bryce's aliens. It is absolutely clear in his third movie.
Notice the background. Background is Bryce's Anchor. I notice that pretty much all of them... with no prompting from me included some sort of setting. I'd say only Michael and his money were the only characters without time spent on background.
Bryce means for you not to just look at the shapes even though he's describing their parts. He wants you to see aliens here.
-------------------------------------
Character Driven Stories...
character, set in a background, show action, movement over time. These I consider traditional stories.
Descriptive Stories
computer artwork featured... a show and tell with a narrative feel.
----------------------------------------
I think the fatalism in some of these stories (not shown by bryce, the sci fi guy) is cultural. Can I write Smitherman on this? Hah hah.
I'm trying to make connections to Labbo's work on different stances toward the computer which I think are there. Like for some the computer is a place to draw a story, but the story is not inherently digital. So in these cases the storyteller is in control.
Then some stories are purely digital... like Trace just describing what he's put together. And I think a little bit of Jaidyn's last story, though with her her audio adds too much personality to actually be purely digital.
And some stories are hybrid... like I think this one is. sure it's about what was created digitally... but it's also about Bryce's aliens. It is absolutely clear in his third movie.
Sunday, November 16, 2008
Tuesday, November 11, 2008
Bryce Story Analysis
I think Bryce had been waiting his whole life to tell this story. According to talks with his teacher, he is a very quiet boy that hardly says anything in class either prompted or otherwise. So you can just imagine that the reason he is so quiet is that all these sci fi stories are floating around in his head.
I consider this a traditional story character, plot movement, appropriate ending. This one is different from the others because it is easily fit into a genre of writing.
An interesting thing about Bryce's work here is that .. .well one thing is that he does have an anchor... like Trace it is the "background." But this story was born and floated in his mind well before he got to the technology. Instead of drawing (and this is something he did through out his work) he manipulated the different shapes he could make with the software (and also the pattern fill on the paint can for the backgrounds.
But he definitely... in this story shaped the digital world on his screen to fit what he wanted the story to be. He made a rhombus looking shape to be the thunder horn or sword or whatever it is.
My role? I helped him record and i saved and placed the pictures he drew in photostory.
Visually this story was not interesting because he talked for so long the story didn't "move."
Would this story have come out of his mind if not for this opportunity? I don't think so. His teacher didn't necessarily have him writing a whole lot of choice writing. She did come to me after the project started with a paper he'd written about an alien that was quite clever and she was amazed at the peek she got into the mind of this quiet boy. Heh.
I consider this a traditional story character, plot movement, appropriate ending. This one is different from the others because it is easily fit into a genre of writing.
An interesting thing about Bryce's work here is that .. .well one thing is that he does have an anchor... like Trace it is the "background." But this story was born and floated in his mind well before he got to the technology. Instead of drawing (and this is something he did through out his work) he manipulated the different shapes he could make with the software (and also the pattern fill on the paint can for the backgrounds.
But he definitely... in this story shaped the digital world on his screen to fit what he wanted the story to be. He made a rhombus looking shape to be the thunder horn or sword or whatever it is.
My role? I helped him record and i saved and placed the pictures he drew in photostory.
Visually this story was not interesting because he talked for so long the story didn't "move."
Would this story have come out of his mind if not for this opportunity? I don't think so. His teacher didn't necessarily have him writing a whole lot of choice writing. She did come to me after the project started with a paper he'd written about an alien that was quite clever and she was amazed at the peek she got into the mind of this quiet boy. Heh.
Michael 3rd story analysis
The money continues! This was a very independent effort. Unlike the 2nd story, Michael did not ask for help to do anything with this. What is interesting to me is the very distinct style of each student artist. I love the people Michael draws. I wonder if he draws them like this in his regular writing. Perhaps I need to scan his writing and see.
I consider this a traditional story... characters, plot movement.
Characters: has moved on from family. Here's a "man" who faces a violent end. These kids find violence interesting/funny/entertaining. Okay you say that's a typical little boy thing and that's true. But the girls did it too. (Arianna and Deseree)
This one, like most of the third stories, were recorded independently. That is, on the first ones I recorded for them, but on this one they did it on their own. Might explain the lilt toward violent deaths and blood!
I consider this a traditional story... characters, plot movement.
Characters: has moved on from family. Here's a "man" who faces a violent end. These kids find violence interesting/funny/entertaining. Okay you say that's a typical little boy thing and that's true. But the girls did it too. (Arianna and Deseree)
This one, like most of the third stories, were recorded independently. That is, on the first ones I recorded for them, but on this one they did it on their own. Might explain the lilt toward violent deaths and blood!
Michael's 2nd Story Analysis
Michael's Second Story is posted below. His anchor is the dollar bills. In this case he needed to change the size of the bill to fit what he wanted to say. I helped him do that. I remember when he had a copy/paste issue he wailed quite loudly. It was something I could fix, but I remember he was quite upset. Basically he meant to copy/paste his small size bill, but had accidentally pasted the whole picture which kinda messed things up for him.
Michael has a bill cosby voice!
Michael was freed in this story. He was having a good time. Of course he knew that they would share with the others by this time.
I consider this a traditional story. I mean there were characters and action. There was of course violence (actually a common trait across many of the stories) and there's the gorilla digression. But he seems to get back to an "end" before he finishes.
It is also an elaboration of his first story. Now his money is in a basket.
Characters: Family Mom/Dad/Sister
Movement: giving of dollars and punch to face and giving of gorilla, something about dad not winning?
Anchor: money
Michael has a bill cosby voice!
Michael was freed in this story. He was having a good time. Of course he knew that they would share with the others by this time.
I consider this a traditional story. I mean there were characters and action. There was of course violence (actually a common trait across many of the stories) and there's the gorilla digression. But he seems to get back to an "end" before he finishes.
It is also an elaboration of his first story. Now his money is in a basket.
Characters: Family Mom/Dad/Sister
Movement: giving of dollars and punch to face and giving of gorilla, something about dad not winning?
Anchor: money
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