DOCSLIB.ORG

Long Ago & Far Away (Season III). Discussion and Activity Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

DOCUMENT RESUME ED 351 706 CS 213 610 AUTHOR Hepler, Susan TITLE Long Ago & Far Away (Season III). Discussion and Activity Guide. INSTITUTION WGBH-TV, Boston, Mass. PUB DATE 91 NOTE 33p. AVAILABLE FROMWGBH, Educational Print and Outreach, 125 Western Ave., Boston, MA 02134 ($3 per copy; quantity price is negotiable). PUB TYPE Guides Classroom Use Teaching Guides (For Teacher) (052) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS *Class Activities; Drama; Elementary Education; Lesson Plans; *Literature Appreciation; Public Television; *Television Viewing IDENTIFIERS *Long Ago and Far Away (Television Series) ABSTRACT This discussion and activity guide is intended to accompany the third season (1991-92) of "Long Ago & Far Away," a dramatic series on public television which combines animation, live action, and puppetry to invite children ages 5 to 9 into the magical land of storytelling. The guide seeks to help teachers, librarians, or parents to lead childrer to respond to each film's content in a variety of ways that make "Long Ago & Far Away" a door into the world of literature. The guide first presents an introduction about the series, about television in the classroom, about using the guide, and a lesson on the art cf animation. The guide next presents 22 lesson plans for particular "Long Ago & Far Away" episodes, each lesson plan containing a short section about the story, suggested activities before viewing, discussion questions and activities which encourage children to think about what they have seen, and a bibliography. Ordering information concludes the guide.(SR) ********************************************************************** * Reproductions supplied by EDRS are the best that can be made * * from the original document. * *********************************************************************** r via AIMOIr1MMORRNli - - AM. A Discussion and Activity Guide I& AI 1 A_ _1_ SEASON III U.S. DEPARTMENT Of EDUCATION 'PERMISSION TO REPRODUCETHIS Office of Educational Research and improvement MATERIAL HAS BEEN GRANTEDBY EDUCATIONAL RESOURCES INFORMATION CENTER IERICI 'Thisdocument nas Peen reproduced as received from the parson of organization origInalmg C Hal°, changes nave teen made to improve fePrOduCtion Quaid), Points of new or opinion% staled in this dOCu- man( do not necessarily represent ofhval TO THE EDUCATIONAL RESOURCES OERI position or policy INFORMATION CENTER (ERIC). MEW-WM'IMMEM fiLiaiiiiWWW2ga wwwwww- Imam ammr.mnsa...1......1...avva This Discussion and Activity Guide From the Producer Contents was developed to accompany the Welcome to Season III of Long About the Series 1 third season premiering on public Ago & Far Away. Thanks to your Television in the Classroom television in October 1991. enthusiastic response to our Using This Guide 2 second season, we are back, ready The Art of Animation 3 Long Ago & Far Away is produced The Fool of the World and by WGBH and presented in part- to present more imaginative children's programming. the Flying Ship(Parts I, III nership with International Reading The Emperor's New Clothes 6 Association; Library of Congress, For those of vou who arc new Uncle Elephant 7 Center for the Book; and the to the series, I invite you to join your colleagues in using Long Ago Lucinda's Tale 8 Association for Library Service to Merlin and the Dragons 9 Children, a division of the Ameri- i Far Away to introduce young children to the wonders of Pegasus 10 can Library Association. literature, language, and the Hungarian Folktalcs 11 Funding for the series was pro- imagination. Abel's Island 12 vided by The Stride Rite Chari- And to those of you returning The Man Who Planted Trees 13 table Foundation on behalf of the to the series, let me thank you for Bill and Bunny 14 Stride Rite Children's Group. your support and encouragement. Beauty and the Beast 15 We enjoyed hearing from you Noah's Ark 16 throughout the year. Your stories Ralo 17 ,..tride? Rite of how the series fit into Your Circus Dreams 18 More Hungarian Folktalcs 19 Funding was also provided by The reading curricula, combined with your requests for "more shows!" The Boy in the Oak Tree 20 Corporation for Public Broadcast- helped us launch this third season. Oh, Mr. Toad! (Parts I, II) 21 ing, the National Endowment for Bill the Minder the Humanities, the Arthur We've also used your suggestions of books and stories both to select The Pied Piper of Hamelin 23 Vining Davis Foundations, the The Reluctant Dragon 24 National Endowment for the Arts, titles for the current season and to suggest future programs to our Frog and Toad 25 The George Gund Foundation, favorite animators. The Wind in the Willows 26 H. John Heinz HI Charitable Ordering Information 27 Trust, and WGBH Educational I hope you enjoy the new season as much as we do. I look Foundation. forward to hearing from you. Sandy Cohen Producer Long Ago c.;"' Far Away Copyright (01991 Off-Air Taping Rights by WGBH Educational Foundation All programs in this series mar he recorded 125 Western Avenue and shown tbr educational use within seven Boston, Massachusetts 02134 days directly after broadcast. To rent or pur (6171492-2777 chase videocassettes of available programs, please see the distributor list on page 27. .3 idt.a..aaansk&IIMIII1111.141:111 Long Ago &Far Away About the Series viewers to foreign lands, introduc- experiences that will involve nce upon a time, young ing them to new people and children in the wealth of beauty children discovered the experiences along the way. The and meaning that children's world of fantasy through series reflects the diversity of other literature has to offer. In addition, the magic of hearing times and places with films set in the guide seeks to help teachers, 0stories told or read aloud. The Russia, Hungary, Great Britain, or librarians, parents, or anyone who stories full of dragons and New York in 1919 at the height of works with children to lead them to giants, quests and brave acts, the Harlem Renaissance. The series respond to each film's content, exotic settings, and good conquer- also reflects a diversity of cultures, both literary and visual, in a variety ing evil kindled their imagina- customs, languages, texts, themes, of ways, making Long Ago Far tions and encouraged them to gain music, and production styles, intro- Away a door into the world of new insights into the world and ducing the audience to a broad literature. themselves. range of ideas and experiences. Now television has become our These are award-winning films, Television in the nation's primary storyteller, but many of which have never been the stories it tells to young chil- seen in this country. Many of the Classroom dren often lack the splendor and programs are based on hooks, such eleision is a far-reach- substance of the books and tales as Uncle Elephant by Arnold Lobel, ing, influential, and children might read. Commercial The Reluctant Dragon by Kenneth entertaining medium. Its children's programs are at time Grahame, N1ordicai Gerstein's T_potential for educating frenetic, product-oriented, heavy- version of Beauty and the Beast. and young children in the humanities, handed, and violent. Peter Spier's Noah's Ark. Other however, has largely been unreal- Long Ago C...."- Far Away, a stories contain patterns found ized. Yet educators have seen the dramatic series that offers an throughout children's literature, value of such public television attractive alternative to traditional such as "the quest" and "helpful programming as The WonderWorks commercial fare, invites children companions,- or themes of "strong Family Movie, Reading Rainbow, ages five to nine into the magical friendships" and "personal growth and Long Ago & Par Away in land of storytelling. It presents through brave acts." motivating children to read the highly entertaining dramatic This Discussion and Activity books that these programs feature. programs from around the world, Guide seeks to make these chil- Tong Ago 6-~ Far Away focuses programs that tell important dren's hook connections concrete on timeless stories, dramatizing or stories in a captivating visual style. so that parents, teachers, and animating them to appeal to an Unlike most children's television, librarians can follow the viewing audience of five- to nine-year-olds these programs take the time to of Long Ago Far Away with and their families. The dramatiza- build wonder and delight, captur p ing the magic of such lasting stories as The Pied Piper of Hamelin, Beauty and the Beast, and Merlin and the Dragons. The third season of Long Ago c.:'- Far Away presents 25 half- hours of dramatic and animated programs. Many of the stories arc based on folktales or classic works while others are original screen- plays. Animation, live action, and puppetry ofkr children a beautiful and sophisticated visual experience. Long Ago C:- Far Away leads 4 !INAUSIMICAISIGNIIIINMENIP1151a4MN3111141 ALI oiliiriimonitniario! tions are faithful to the spirit and story and feature ways to involve and discussed. Activities include art, intent of their literary sources. children in the ideas of the programdrama, and construction, and Thus, Mordicai Gerstein's magical before they see it. When the pro- nearly all ask for some kind of hand-painted illustrations, brought gram is a dramatization of a book, writing. These writing ideas spring to life for "Beauty and the Beast," it is suggested in several cases that naturally from what children have reflect that tale's French origins; teachers read aloud part of the hookdone, and many assume that during the animated puppetry of "The to bring children into the story as the writing process children may Fool of the World and the Flying partly knowledgeable viewers. collaborate with others and also Ship" is true to the Russian folktale Children who have some expecta- with the educator. The activity in on which it is based; elegant folk tions or predictions about the pro- each lesson asks readers to talk to patterns decorate "Hungarian gram's content understand better one another.
Recommended publications
  • May Hill Arbuthnot Honor Lecture

    May Hill Arbuthnot Honor Lecture

    was born in the mid-twentieth cen- decadent was forbidden. This included tury at the crossroads of Europe in religion and many books and ideas. But I a country that no longer exists— people still held on to their books and Czechoslovakia, now Czech Repub- kept their thoughts to themselves; they lic. Looking back, I can say that books also kept their religious beliefs even if meant everything in my life, and not just they did not express them openly. It was because I grew up in a time before tele- all very confusing for a small child. vision or computers but because I lived in a dark totalitarian empire, not even My parents, both artists, told stories to realizing it, with books being the only my sister and me. They read us fairy beams of light. tales and the books of wonderful mod- ern Czech writers and illustrators (pre– Books shaped my ideas; they held my World War II) like the brothers Karel and May Hill dreams, my fears, and my hopes. Books Josef Čapek or OndČej Sekora, and they made me draw pictures of what I had drew pictures with us. That was fun. read. They became the most important Arbuthnot and continuous stepping-stones through My father’s mother—my grandmother, my life. Marie—did not want me to grow up Honor in sin, so she took me secretly to visit One hundred fifty years ago, [British phi- imposing churches. She told me Bible losopher] Herbert Spencer wrote, “Chil- stories and showed me the statues of Lecture dren should be led to make their own saints and paintings of martyrs.
  • (ALSC) Caldecott Medal & Honor Books, 1938 to Present

    (ALSC) Caldecott Medal & Honor Books, 1938 to Present

    Association for Library Service to Children (ALSC) Caldecott Medal & Honor Books, 1938 to present 2014 Medal Winner: Locomotive, written and illustrated by Brian Floca (Atheneum Books for Young Readers, an imprint of Simon & Schuster Children’s Publishing) 2014 Honor Books: Journey, written and illustrated by Aaron Becker (Candlewick Press) Flora and the Flamingo, written and illustrated by Molly Idle (Chronicle Books) Mr. Wuffles! written and illustrated by David Wiesner (Clarion Books, an imprint of Houghton Mifflin Harcourt Publishing) 2013 Medal Winner: This Is Not My Hat, written and illustrated by Jon Klassen (Candlewick Press) 2013 Honor Books: Creepy Carrots!, illustrated by Peter Brown, written by Aaron Reynolds (Simon & Schuster Books for Young Readers, an imprint of Simon & Schuster Children’s Publishing Division) Extra Yarn, illustrated by Jon Klassen, written by Mac Barnett (Balzer + Bray, an imprint of HarperCollins Publishers) Green, illustrated and written by Laura Vaccaro Seeger (Neal Porter Books, an imprint of Roaring Brook Press) One Cool Friend, illustrated by David Small, written by Toni Buzzeo (Dial Books for Young Readers, a division of Penguin Young Readers Group) Sleep Like a Tiger, illustrated by Pamela Zagarenski, written by Mary Logue (Houghton Mifflin Books for Children, an imprint of Houghton Mifflin Harcourt Publishing Company) 2012 Medal Winner: A Ball for Daisy by Chris Raschka (Schwartz & Wade Books, an imprint of Random House Children's Books, a division of Random House, Inc.) 2013 Honor Books: Blackout by John Rocco (Disney · Hyperion Books, an imprint of Disney Book Group) Grandpa Green by Lane Smith (Roaring Brook Press, a division of Holtzbrinck Publishing Holdings Limited Partnership) Me...Jane by Patrick McDonnell (Little, Brown and Company, a division of Hachette Book Group, Inc.) 2011 Medal Winner: A Sick Day for Amos McGee, illustrated by Erin E.
  • Megan Lambert

    Megan Lambert

    June 2018 Megan Dowd Lambert, M.A. Children’s Literature Website: http://megandowdlambert.com Twitter: @MDowdLambert Cell Phone (413) 695-4515 Email: [email protected] or [email protected] Education Simmons College, Boston, MA. 9/00 –01/02 • M.A. in Children’s Literature; recipient of merit grants from the Simmons College Children’s Literature Scholarship Fund and the Virginia Haviland Scholarship; awarded Teaching Assistant Scholarship position, fall 2001. G.P.A. 3.9 • Independent Study with The Eric Carle Museum of Picture Book Art: Celebrating the Picture Book as an Art Form. Project included: o School Outreach Coordination: Designed and implemented free visiting storytime sessions for over 8,000 students and 1,500 teachers in programs engaging participants with the picture book as an art form. This work led to my creation of The Whole Book Approach, detailed below. I also led teacher meetings to share The Carle’s mission and solicit teachers’ feedback about how The Carle might develop school partnerships. Submitted meeting reports to The Carle’s Founding Director, H. Nichols B. Clark. o Teacher Education: Awarded Xeric Foundation grant to develop and implement fall 2002 teacher training program on picture book art and visual perception. o Bibliographic Research: Conducted bibliographic research to develop a 2,500- volume picture book Reading Library housed in The Carle. o Storytime Reader: Led the museum office’s weekly drop-in storytime program. UMASS-Amherst, Amherst, Massachusetts 1/00-6/00 • Completed the course Children’s Literature, An Issues Approach in the Education Department, based on the work of Dr.
  • RARE EARLY NAUGHTY CHILDREN BOOK the High Quality of the Stories 298

    RARE EARLY NAUGHTY CHILDREN BOOK the High Quality of the Stories 298

    Helen & Marc Younger Pg 39 [email protected] 294. [HOFFMANN,HEINRICH]. DER & Loening, ca 1870. Oblong 4to, printed boards, spine repaired and normal wear, VG+. Printed on rectos only, each leaf has a rhyme about a different naughty KRIEGS STRUWWELPETER lustige child embellished with 2 very fine hand-colored engravings. Includes: Bertha and bilder und verse von Karl Ewald Olszewski. the Greedy Boys, Little Chinaman, Inquisitive Susan, Little Trespasser, Freddy Munchen: Holbein 1915. 4to, pict. bds, and the Fire and more. Not in Baumgartner, Ruhle 301a. Rare. $1750.00 edges and spine extrems rubbed else VG+. A marvelous Struwwelpeter parody with a militaristic / World War I theme. Printed on rectos only, each leaf has a warlike motif (Der Bombenpeter, Kaiser Wilhelm, Der Japs etc). Very scarce. $600.00 RARE AND GRUESOME McLOUGHLIN STRUWWELPETER IMITATION 295. [HOFFMANN,HEINRICH]. HEEDLESS HARRY AND OTHER NAUGHTY CHILDREN STORIES. NY: McLoughlin Bros., 1905. 4to, pict. wraps, [32]p. + covers, 299. HOFFMANN,HEINRICH. JIMMY SLIDERLEGS. NY: Sully (inscribed paper aging, some finger soil, VG+. Illustrated with color cover plus 1898). 4to, cl. backed pict. bds, sl. cover soil and very faint edge stain else numerous b&w’s on every page accompany verse about Heedless Harry, remarkably clean and tight and VG+. Illus. in color on every page to accompany Little Lie Abed, The Naughty Boy Who Destroyed His Books, The Dainty the rhymes about Cruel Paul, Tom Bogus, Dr. Wango Tango, Discontented Lucy, Boy, The Little Boy Who Would Not Be Washed and more. The last page Slovenly Betsy and others. A scarce title. $500.00 has a frightful of the Old Man That Draws the Teeth of Children Who Bite: $1200.00 UNCOMMON McLOUGHLIN TITLE RARE STRUWWELPETER PAINTING BOOK 300.
  • “Get the Picture?” by John Stewig (2002)

    “Get the Picture?” by John Stewig (2002)

    Get the Picture? JOHN STEWIG icture book experts commonly assert that in the best None of this is described through words, but we get a clear sense books one sees a combination of fine art and exemplary of the environment because of the art. This is a visual particu- Pwriting, which reinforce each other. The finished product larization of common, and thus easily understood, objects. that results is stronger because of this interaction of words Some artists are fond of adding a “visual signature” and images. How is this symbiosis achieved? to their work. It has been duly noted by several critics that To answer that question, we need to consider how pic- viewers can always find Chris Van Allsburg’s dog in each of ture books come to be. Sometimes, they are the product of his books, though it isn’t mentioned in the text. The same is one individual who crafts both the words and the images. true for the cats that are a recurring image in books by Trina Two who come to mind are Lois Ehlert, as in Waiting for Schart Hyman. Wings (Harcourt 2001), and Denise Fleming, as in Pumpkin At other times, the artist elaborates. For example, James Eye (Holt 2001). In such cases, the creator can move back Marshall crams his visual interpretation of Edward Lear’s and forth between text and art, adding a detail in the art and The Owl and the Pussycat (HarperCollins 1998) with a wealth removing it from the words, or the reverse. of detail not included in the poem itself.
  • Fairy Tale Versions~

    Fairy Tale Versions~

    FAIRY TALES/FOLK TALES Fairy Tales are a type of folktale in which magic plays a great part. Compiled by Sheila Kirven GENERAL Anderson, Hans Christian Steadfast Tin Soldier Juv.A544ste Armstrong, Gerry The magic bagpipe Juv. 788.9 .A735m Browne, Anthony Into the Forest Juv. B882i (Story incorporates elements of familiar tales) Casserley, Anne Roseen Juv. 398.21 .C344r Chapman, Gaynor The Luck Child Juv. 398.21.C466l 1968 De Regniers, Beatrice Little Sister and the Month Brothers Juv. D431Li Schenk The House in the Wood and Other Old Fairy Stories Juv. 398.2.G864h Little Lit: Folklore and Fairy Tale Funnies Juv.398.21.F666 Hennessy, B. G. Once Upon a Time Map Book: Take a Tour Juv.H515o of Six Enchanted Lands (Peter Pan, Wizard of Oz, Alice in Wonderland, Jack and then Beanstalk, Aladdin, Snow White) Jacobs, Joseph The buried moon; a tale told by Joseph Jacobs. Juv. 398.21 .J17b Jacobs, Joseph Indian fairy tales Juv.398.2 .J17i 1969 MacDonald, George, The golden key Juv. M135g Matsutani, Miyoko, The crane maiden. Juv. 98.21 .M434c My Storytime Collection of First Favorite tales Juv. 398.2.M995 2002 O’Malley, Kevin Once upon a cool motorcycle dude Juv. O543o (Two classmates try to tell a fairy tale to their class with some imaginative twists to some well-known fairy tale elements!) Oxenbury, Helen. Helen Oxenbury nursery story book. Juv. 398.21 .O98h San Jose, Christine Little Match Girl Juv. 398.21.A544j San Souci, Robert D. White Cat Juv.398.21.SS229w 1990 Singer, Marilyn Follow Follow: A book of Reverso poems Juv.811.54.S617f (Poems
  • Commonlit | the Pied Piper of Hamelin

    Commonlit | the Pied Piper of Hamelin

    Name: Class: The Pied Piper of Hamelin By Robert Browning 1888 Robert Browning (1812-1889) was an English poet and playwright known for his dramatic verse. “The Pied Piper of Hamelin,” published in 1888, is a poetic retelling of the German legend from the Middle Ages in which a man is hired to lure rats away from a town with his magic pipe. As you read, take notes on the Piper's actions and motivations. [1] Hamelin town's in Brunswick, By famous Hanover city; The River Weser, deep and wide, Washes its wall on the southern side; [5] A pleasanter spot you never spied; But, when begins my ditty, Almost five hundred years ago, To see townsfolk suffer so From vermin, was a pity. [10] Rats! They fought the dogs, and killed the cats, And bit the babies in the cradles, And ate the cheeses out of the vats, And licked the soup from the cook's own ladles, [15] Split open the kegs of salted sprats,1 "Pied Piper with Children" by Kate Greenaway is in the public Made nests inside men's Sunday hats, domain. And even spoiled the women's chats, By drowning their speaking With shrieking and squeaking [20] In fifty different sharps and flats. 1. a small fish of the herring family 1 At last the people in a body To the Town Hall came flocking: "'Tis clear," cried they, "our Mayor's a noddy;2 And as for our Corporation—shocking [25] To think we buy gowns lined with ermine3 For dolts4 that can't or won't determine What's best to rid us of our vermin! You hope, because you're old and obese, To find in the furry civic robe ease? [30] Rouse up, sirs! Give your brains a racking To find the remedy we're lacking, Or, sure as fate, we'll send you packing!" At this the Mayor and Corporation Quaked with a mighty consternation.5 [35] An hour they sat in council, At length the Mayor broke silence: "For a guilder6 I'd my ermine gown sell, I wish I were a mile hence! It's easy to bid one rack one's brain — [40] I'm sure my poor head aches again I've scratched it so, and all in vain.
  • Fairy Tales & Legends: the Novels

    Fairy Tales & Legends: the Novels

    Koertge, Ron. Lies, Knives and Girls in Red Dresses (Little Red Riding Hood) Levine, Gail Carson. Fairest (Snow White isn’t the fairest of them all) These are tales that are written in full Lo, Malinda. novel form, with intricately developed Ash (Cinderella) plots and characters. Sometimes the Marillier, Juliet. version is altered, such as taking place in a Wildwood Dancing (The Frog Prince different location or being told through and Twelve Dancing Princesses, set in the eyes of a different character. Transylvania) Anderson, Jodi Lynn. Martin, Rafe. Tiger Lily (Peter Pan) Birdwing (A continuation of Six Swans) Barron, T.A. Masson, Sophie. The Lost Years of Merlin series Serafin (Puss in Boots, only the cat is an Great Tree of Avalon series angel in disguise) Bunce, Elizabeth. McKinley, Robin. A Curse as Dark as Gold (Rumplestiltskin) Beauty (Beauty & the Beast) Coombs, Kate. Spindle’s End (Sleeping Beauty) The Runaway Princess Meyer, Marissa. (A new twist on old tales) Lunar Chronicles (Dystopian fairy tales) Crossley-Holland, Kevin. Meyer, Walter Dean. Arthur trilogy Amiri & Odette (Swan Lake set in the Projects) Delsol, Wendy. Stork trilogy (Snow Queen) Napoli, Donna Jo. Dokey, Cameron. Beast (Beauty & the Beast, set in Persia, Golden (Rapunzel) told from Beast’s point of view) Beauty Sleep (Sleeping Beauty) Breath (Pied Piper) Donoghue, Emma. Crazy Jack (Jack and the Beanstalk; Kissing the Witch (13 tales loosely Jack’s looking for his dad) connected to each other) The Magic Circle (Hansel & Gretel; the witch’s story) Durst, Sarah Beth. Ice (East of the Sun, West of the Moon) Pearce, Jackson.
  • Hail to the Caldecott!

    Hail to the Caldecott!

    Children the journal of the Association for Library Service to Children Libraries & Volume 11 Number 1 Spring 2013 ISSN 1542-9806 Hail to the Caldecott! Interviews with Winners Selznick and Wiesner • Rare Historic Banquet Photos • Getting ‘The Call’ PERMIT NO. 4 NO. PERMIT Change Service Requested Service Change HANOVER, PA HANOVER, Chicago, Illinois 60611 Illinois Chicago, PAID 50 East Huron Street Huron East 50 U.S. POSTAGE POSTAGE U.S. Association for Library Service to Children to Service Library for Association NONPROFIT ORG. NONPROFIT PENGUIN celebrates 75 YEARS of the CALDECOTT MEDAL! PENGUIN YOUNG READERS GROUP PenguinClassroom.com PenguinClassroom PenguinClass Table Contents● ofVolume 11, Number 1 Spring 2013 Notes 50 Caldecott 2.0? Caldecott Titles in the Digital Age 3 Guest Editor’s Note Cen Campbell Julie Cummins 52 Beneath the Gold Foil Seal 6 President’s Message Meet the Caldecott-Winning Artists Online Carolyn S. Brodie Danika Brubaker Features Departments 9 The “Caldecott Effect” 41 Call for Referees The Powerful Impact of Those “Shiny Stickers” Vicky Smith 53 Author Guidelines 14 Who Was Randolph Caldecott? 54 ALSC News The Man Behind the Award 63 Index to Advertisers Leonard S. Marcus 64 The Last Word 18 Small Details, Huge Impact Bee Thorpe A Chat with Three-Time Caldecott Winner David Wiesner Sharon Verbeten 21 A “Felt” Thing An Editor’s-Eye View of the Caldecott Patricia Lee Gauch 29 Getting “The Call” Caldecott Winners Remember That Moment Nick Glass 35 Hugo Cabret, From Page to Screen An Interview with Brian Selznick Jennifer M. Brown 39 Caldecott Honored at Eric Carle Museum 40 Caldecott’s Lost Gravesite .
  • Live to Re-Tell the Tale

    Live to Re-Tell the Tale

    Live to Re-tell the Tale.... Select a favourite fairy tale that you would like to re-tell. Then, choose one character from the story who will present the tale from his/her point of view. Consider the following questions as you think about your Re-told Tale: Will the story be different because of the character you have chosen? For example, if that character is a Big Bad Wolf or an Evil Witch, how might you change the story to reflect that character’s take on the story? Will there be added scenes in your tale based on the character you have chosen? For example, if you chose to tell the tale of Cinderella from the Fairy Godmother’s perspective, what might be different about your story (ie., before, during and after the ball?) How will the dialogue in the story be different as it comes from your character? Do you want to make your main character a more modernized, or nicer, or meaner version than in the original tale? What other information do you want to share about your character that might not have been part of the original story? You do not have to rewrite the entire tale, but can write a synopsis of it. (A synopsis is like a summary, that lets the reader or listener know what the whole story is about). Your synopsis can be in point form, in mini paragraphs, or in whatever form you like. You will present your story ORALLY to the group, so you can also think about how your presentation will be different than an entire written story.
  • THESIS ARTISTS' BOOKS and CHILDREN's BOOKS Elizabeth A

    THESIS ARTISTS' BOOKS and CHILDREN's BOOKS Elizabeth A

    THESIS ARTISTS’ BOOKS AND CHILDREN’S BOOKS Elizabeth A. Curren Art and the Book In partial fulfillment of the requirements For the Degree of Master of Arts in Art and the Book Corcoran College of Art + Design Washington, DC Spring 2013 © 2013 Elizabeth Ann Curren All Rights Reserved CORCORAN COLLEGE OF ART + DESIGN May 6, 2013 WE HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER OUR SUPERVISION BY ELIZABETH A. CURREN ENTITLED ARTISTS’ BOOKS AND CHILDREN’S BOOKS BE ACCEPTED AS FULFILLING, IN PART, REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTs IN ART AND THE BOOK. Graduate Thesis Committee: (Signature of Student) Elizabeth A. Curren (Printed Name of Student) (Signature of Thesis Reader) Georgia Deal (Printed Name of Thesis Reader) (Signature of Thesis Reader) Sarah Noreen Hurtt (Printed Name of Thesis Reader) (Signature of Program Chair and Advisor) Kerry McAleer-Keeler (Printed Name of Program Director and Advisor) Acknowledgements Many people have given generously of their time, their experience and their insights to guide me through this thesis; I am extremely grateful to all of them. The faculty of the Art and The Book Program at the Corcoran College of Art + Design have been most encouraging: Kerry McAleer-Keeler, Director, and Professors Georgia Deal, Sarah Noreen Hurtt, Antje Kharchi, Dennis O’Neil and Casey Smith. Students of the Corcoran’s Art and the Book program have come to the rescue many times. Many librarians gave me advice and suggestions. Mark Dimunation, Daniel DiSimone and Eric Frazier of the Rare Books and Special Collections at the Library of Congress have provided research support and valuable comments during the best internship opportunity anyone can ever have.
  • The Pied Piper of Hamelin Role-Play Level 4

    The Pied Piper of Hamelin Role-Play Level 4

    The Pied Piper of Hamelin Role-play Level 4 Cast Non-speaking roles (2 or 3 children for each role) ? Narrator 1 Pied Piper Children Rats ? Narrator 2 Mayor People of Hamelin Work with the children to allocate characters and prepare a short performance. Discuss the stage directions in advance and make sure the children understand how to follow the script. Narrator 1: One day, a strange man went to see the mayor. He was wearing red and yellow clothes and he carried a pipe in his hand. Pied Piper: I am the Pied Piper and I can make the rats leave Hamelin. Mayor: If you can make these rats leave Hamelin, I will give you lots of money. Pied Piper: I will remember that. Narrator 2: Then, the strange man went into the streets of Hamelin. He began to play some strange music on his pipe. (The Piper plays. The rats stop and listen.) Narrator 1: The rats heard the music and they stopped to listen. Suddenly, one rat followed the Pied Piper. Then, another rat followed him. And another. Soon, all the rats were following the Pied Piper. (The rats follow the Piper to the river.) Copyright © LadybirdCopyright Books Ltd, 2018 page 1 The Pied Piper of Hamelin Role-play Level 4 Narrator 2: The Pied Piper walked toward the river. He was still playing the strange music on his pipe. The rats followed him and they all jumped into the river. And that was the end of the rats in Hamelin. (The Pied Piper returns to the mayor.) Narrator 1: The Pied Piper went back to see the mayor.