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Latino Fiction, Nonfiction, Poetry, and Folklore
Latino Fiction, Nonfiction, Poetry, and Folklore Fiction Abuela and Abuelo (Dorros) E DOR Beto and the Bone Dance (Freschet) E FRE Book Fiesta! Celebrate Children’s Day, book day (Mora) E MOR Bread Is for Eating (Gershator) E GER Call Me Tree=Llámame Árbol (Gonzalez) E GON Carlos and the Squash Plant (Stevens) E STE The Cazuela that the Farm Maiden Stirred (Vamos) E VAM Christmas Gift (Jiménez) HOL E JIM Dancing Home (Ada) FIC ADA Dear Primo: a Letter to My Cousin (Tonatiuh) E TON Día de los Muertos (Thong) E THO Diego Rivera, His World and Ours (Tonatiuh) E TON The Fiesta Dress: A Quinceañera Tale (McNelly) E MCC A Gift for Abuelita: Celebrating the Day of the Dead (Luenn) E LUE Gracias (Mora) E GRA Green Is a Chile Pepper (Thong) E THO Home at Last (Elya) E ELY Hooray, a Piñata (Kleven) E KLE Hurray for Three Kings’ Day (Carlson) E CAR I Love Saturdays y Domingos (Ada) E ADA Isla (Dorros) E DOR Jalapeño Bagels (Wing) E WIN Just a Minute: a Trickster Tale and Counting Book (Morales) E MOR Just in Case: a Trickster Tale and Spanish Alphabet Book (Morales) E MOR Little Chanclas (Lozan) E LOZ Little Roja Riding Hood (Elya) E ELY Love, Amalia (Ada) FIC ADA Lucha Libre: the Man in the Silver Mask: a Bilingual Cuento (Garza) E GAR Marisol McDonald Doesn’t Match (Brown) E BRO My Very Own Room (Pérez) E PER N Is for Navidad (Elya) HOL E ELY Nana’s Big Surprise (Pérez) E PER Oh No, Gotta Go (Elya) E ELY The Rainbow Tulip (Mora) E MOR The Storyteller’s Candle (González) E GON Viva Frida (Morales) E MOR What Can You Do with a Rebozo? (Tafolla) -
Vocabulary Growth Using Nonfiction Literature and Dialogic Discussions in Preschool Classrooms
Digital Collections @ Dordt Faculty Work Comprehensive List 8-2014 Vocabulary Growth Using Nonfiction Literature and Dialogic Discussions in Preschool Classrooms Gwen R. Marra Dordt College, [email protected] Follow this and additional works at: https://digitalcollections.dordt.edu/faculty_work Part of the Curriculum and Instruction Commons, and the Reading and Language Commons Recommended Citation Marra, G. R. (2014). Vocabulary Growth Using Nonfiction Literature and Dialogic Discussions in Preschool Classrooms. Retrieved from https://digitalcollections.dordt.edu/faculty_work/69 This Dissertation is brought to you for free and open access by Digital Collections @ Dordt. It has been accepted for inclusion in Faculty Work Comprehensive List by an authorized administrator of Digital Collections @ Dordt. For more information, please contact [email protected]. Vocabulary Growth Using Nonfiction Literature and Dialogic Discussions in Preschool Classrooms Abstract The preschool years are a crucial time for children to develop vocabulary knowledge. A quality preschool environment promotes large amounts of language usage including picture book read alouds and discussions. There is growing research to support the use of nonfiction literature in preschool classrooms to promote vocabulary growth and knowledge of the world for preschool children. This research study compared vocabulary growth of preschool children using fiction and dialogic discussions ersusv vocabulary growth of preschool children using nonfiction and dialogic discussions following a six week study of autumn and changes that happen during this season to the environment and animals. The quasi- experimental design used the Peabody Picture Vocabulary Test-4, a curriculum-based measure for receptive vocabulary, and a curriculum-based measure for expressive vocabulary to assess vocabulary growth. -
A Definition of Folklore: a Personal Narrative
University of Pennsylvania ScholarlyCommons Department of Near Eastern Languages and Departmental Papers (NELC) Civilizations (NELC) 2014 A Definition of olklorF e: A Personal Narrative Dan Ben-Amos University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/nelc_papers Part of the Folklore Commons, Near and Middle Eastern Studies Commons, and the Oral History Commons Recommended Citation Ben-Amos, D. (2014). A Definition of olklorF e: A Personal Narrative. Estudis de Literatura Oral Popular (Studies in Oral Folk Literature), 3 9-28. Retrieved from https://repository.upenn.edu/nelc_papers/141 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/nelc_papers/141 For more information, please contact [email protected]. A Definition of olklorF e: A Personal Narrative Abstract My definition of folklore as "artistic communication in small groups" was forged in the context of folklore studies of the 1960s, in the discontent with the definitions that were current at the time, and under the influence of anthropology, linguistics - particularly 'the ethnography of speaking' - and Russian formalism. My field esearr ch among the Edo people of Nigeria had a formative impact upon my conception of folklore, when I observed their storytellers, singers, dancers and diviners in performance. The response to the definition was initially negative, or at best ambivalent, but as time passed, it took a more positive turn. Keywords context, communication, definition, performance, -
The Success and Ambiguity of Young Adult Literature: Merging Literary Modes in Contemporary British Fiction Virginie Douglas
The Success and Ambiguity of Young Adult Literature: Merging Literary Modes in Contemporary British Fiction Virginie Douglas To cite this version: Virginie Douglas. The Success and Ambiguity of Young Adult Literature: Merging Literary Modes in Contemporary British Fiction. Publije, Le Mans Université, 2018. hal-02059857 HAL Id: hal-02059857 https://hal.archives-ouvertes.fr/hal-02059857 Submitted on 7 Mar 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Abstract: This paper focuses on novels addressed to that category of older teenagers called “young adults”, a particularly successful category that is traditionally regarded as a subpart of children’s literature and yet terminologically insists on overriding the adult/child divide by blurring the frontier between adulthood and childhood and focusing on the transition from one state to the other. In Britain, YA fiction has developed extensively in the last four decades and I wish to concentrate on what this literary emergence and evolution has entailed since the beginning of the 21st century, especially from the point of view of genre and narrative mode. I will examine the cases of recognized—although sometimes controversial—authors, arguing that although British YA fiction is deeply indebted to and anchored in the pioneering American tradition, which proclaimed the end of the Romantic child as well as that of the compulsory happy ending of the children’s book, there seems to be a recent trend which consists in alleviating the roughness, the straightforwardness of realism thanks to elements or touches of fantasy. -
"Fictionalism: Morality and Metaphor"
- 1 - Fictionalism: Morality and metaphor Richard Joyce Penultimate draft of paper appearing in F. Kroon & B. Armour-Garb (eds.), Philosophical Fictionalism (Oxford University Press, forthcoming). 1. Introduction Language and reflection often pull against each other. Ordinary ways of talking appear to commit speakers to ontologies that may, upon reflection, be deemed problematic for a variety of empirical, metaphysical, and/or epistemological reasons. The use of moral discourse, for example, appears to commit speakers to the existence of obligation, evil, desert, praiseworthiness (and so on), while metaethical reflection raises a host of doubts about how such properties could exist in the world and how we could have access to them if they did. One extreme solution to the tension is to give up reflection—to become like those “honest gentlemen” of England, as Hume described them, who “being always employ’d in domestic affairs, or amusing themselves in common recreations, have carried their thoughts very little beyond those objects” (Treatise 1.4.7.14). Hume sounds a touch envious of the unreflective idyll, but the very fact that he is penning a treatise on human nature shows that this is not a solution available to him; and, likewise, the very fact that you are reading this chapter shows that it’s unlikely to be a solution for you. Another extreme solution to the tension is to give up language—not in toto, of course, but selectively: to stop using those elements of discourse that are deemed to have unacceptable commitments. How radical this eliminativism is will depend on the nature of the problem. -
Download Lesson
EPISODE 9 LESSON PLAN TEACHER SYNOPSIS Since ancient times, people around the world have used fairy tales, fables, and folktales to capture the imagination of and entertain an audience. However, these tales were meant to do more than entertain: they were used to teach morals. Fairy tales, fables, and folktales share other elements, such as talking animals, mythical creatures, and/or inanimate objects that think or feel emotions. Such tales are still being written and enjoyed today. Listen to hear how a professional writer transformed one boy’s story seed into a fantastic fable, complete with three edible houses and one hungry wolf. WHIP UP A FAIRYTALE with Bil Lepp STUDENT SYNOPSIS Want more resources? Download our activity- Do you have a favorite fairy tale, fable, or folktale? You might packed companion kits remember the characters and plot, but do you recall what you for Episode 9 Look Before learned from the story? A lesson you could apply to your every- You Eat! on our website. day life? Fairy tales, fables, and folktales are some of the oldest types of stories known, and while the stories may differ, all share common elements. Listen to hear a modern fable created by a professional writer and an eleven-year-old boy. LITERATURE CONNECTIONS Aesop’s Fables: The Classic Edition - Aesop Fairy Tales, Fables, Legends, and Myths - Bette Bosma Grimm’s Fairy Tales - Jacob and Wilhelm Grimm How to Tell a Folktale - Carol Alexander The Illustrated Anansi: Four Caribbean Folk Tales - Philip M. Sherlock Weblinks are EXTERNAL WEB MATERIALS embedded into this PDF. -
The Low-Status Character in Shakespeare's Comedies Linda St
Western Kentucky University TopSCHOLAR® Masters Theses & Specialist Projects Graduate School 5-1-1973 The Low-Status Character in Shakespeare's Comedies Linda St. Clair Western Kentucky University Follow this and additional works at: http://digitalcommons.wku.edu/theses Part of the English Language and Literature Commons Recommended Citation St. Clair, Linda, "The Low-Status Character in Shakespeare's Comedies" (1973). Masters Theses & Specialist Projects. Paper 1028. http://digitalcommons.wku.edu/theses/1028 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Masters Theses & Specialist Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. ARCHIVES THE LOW-STATUS CHARACTER IN SHAKESPEAREf S CCiiEDIES A Thesis Presented to the Faculty of the Department of English Western Kentucky University Bov/ling Green, Kentucky In Partial Fulfillment of the Requirements for the Degree Master of Arts Linda Abbott St. Clair May, 1973 THE LOW-STATUS CHARACTER IN SHAKESPEARE'S COMEDIES APPROVED >///!}<•/ -J?/ /f?3\ (Date) a D TfV OfThesis / A, ^ of the Grafduate School ACKNOWLEDGEMENTS With gratitude I express my appreciation to Dr. Addie Milliard who gave so generously of her time and knowledge to aid me in this study. My thanks also go to Dr. Nancy Davis and Dr. v.'ill Fridy, both of whom painstakingly read my first draft, offering invaluable suggestions for improvement. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS iii INTRODUCTION 1 THE EARLY COMEDIES 8 THE MIDDLE COMEDIES 35 THE LATER COMEDIES 8? CONCLUSION 106 BIBLIOGRAPHY Ill iv INTRODUCTION Just as the audience which viewed Shakespeare's plays was a diverse group made of all social classes, so are the characters which Shakespeare created. -
Urban Legends
Jestice/English 1 Urban Legends An urban legend, urban myth, urban tale, or contemporary legend is a form of modern folklore consisting of stories that may or may not have been believed by their tellers to be true. As with all folklore and mythology, the designation suggests nothing about the story's veracity, but merely that it is in circulation, exhibits variation over time, and carries some significance that motivates the community in preserving and propagating it. Despite its name, an urban legend does not necessarily originate in an urban area. Rather, the term is used to differentiate modern legend from traditional folklore in pre-industrial times. For this reason, sociologists and folklorists prefer the term contemporary legend. Urban legends are sometimes repeated in news stories and, in recent years, distributed by e-mail. People frequently allege that such tales happened to a "friend of a friend"; so often, in fact, that "friend of a friend has become a commonly used term when recounting this type of story. Some urban legends have passed through the years with only minor changes to suit regional variations. One example is the story of a woman killed by spiders nesting in her elaborate hairdo. More recent legends tend to reflect modern circumstances, like the story of people ambushed, anesthetized, and waking up minus one kidney, which was surgically removed for transplantation--"The Kidney Heist." The term “urban legend,” as used by folklorists, has appeared in print since at least 1968. Jan Harold Brunvand, professor of English at the University of Utah, introduced the term to the general public in a series of popular books published beginning in 1981. -
Creative Nonfiction
WRITING CREATIVE NON-FICTION THEODORE A. REES CHENEY CREATIVE NONFICTION Creative nonfiction tells a story using facts, but uses many of the techniques of fiction for its compelling qualities and emotional vibrancy. Creative nonfiction doesn’t just report facts, it delivers facts in ways that move the reader toward a deeper understanding of a topic. Creative nonfiction requires the skills of the storyteller and the research ability of the conscientious reporter. Writers of creative nonfiction must become instant authorities on the subject of their articles or books. They must not only understand the facts and report them using quotes by authorities, they must also see beyond them to discover their underlying meaning, and they must dramatize that meaning in an interesting, evocative, informative way—just as a good teacher does. When you write nonfiction, you are, in effect, teaching the reader. Research into how we learn shows that we learn best when we are simultaneously entertained—when there is pleasure in the learning. Other research shows that our most lasting memories are those wrapped in emotional overtones. Creative nonfiction writers inform their readers by making the reading experience vivid, emotionally compelling, and enjoyable while sticking to the facts. TELLING THE “WHOLE TRUTH” Emotions inform our understanding all the time. So, to tell the whole truth about most situations that involve people (and most situations do), in the words of Tom Wolfe, we need to “excite the reader both intellectually and emotionally.” The best nonfiction writers do not tell us how we should think about something, how we should feel about it, nor what emotions should be aroused. -
Moral Rhetoric in Twitter: a Case Study of the U.S
Moral Rhetoric in Twitter: A Case Study of the U.S. Federal Shutdown of 2013 Eyal Sagi ([email protected]) Kellogg School of Management, Northwestern University Evanston, IL 60208 USA Morteza Dehghani ([email protected]) Brain Creativity Institute, University of Southern California Los Angeles, CA 90089 USA Abstract rhetoric is prevalent in political debates (e.g., Marietta, 2009). In this paper we apply a computational text analysis technique used for measuring moral rhetoric in text to analyze the moral Our investigation contributes to the general study of loadings of tweets. We focus our analysis on tweets regarding moral cognition by providing an alternative method for the 2013 federal government shutdown; a topic that was at the measuring moral concerns in a more naturalistic setting forefront of U.S. politics in late 2013. Our results demonstrate compared to self-report survey method and artificial that the positions of the members of the two major political paradigms used in traditional judgment and decision-making parties are mirrored by the positions taken by the Twitter experiments. communities that are aligned with them. We also analyze retweeting behavior by examining the differences in the moral Following Sagi and Dehghani (2013), we define moral loadings of intra-community and inter-community retweets. rhetoric as “the language used for advocating or taking a We find that retweets in our corpus favor rhetoric that moral stance towards an issue by invoking or making salient enhances the cohesion of the community, and emphasize various moral concerns”. Our analysis of moral rhetoric is content over moral rhetoric. We argue that the method grounded in Moral Foundations Theory (Graham et al., proposed in this paper contributes to the general study of 2013; Haidt & Joseph, 2004), which distinguishes between moral cognition and social behavior. -
Henryson's Fables: "The Subtell Dyte of Poetry" Gregory Kratzmann
Studies in Scottish Literature Volume 20 | Issue 1 Article 6 1985 Henryson's Fables: "the subtell dyte of poetry" Gregory Kratzmann Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation Kratzmann, Gregory (1985) "Henryson's Fables: "the subtell dyte of poetry"," Studies in Scottish Literature: Vol. 20: Iss. 1. Available at: https://scholarcommons.sc.edu/ssl/vol20/iss1/6 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Gregory Kratzmann Henryson's Fables: "the subtell dyte of poetry" Henryson's Fables were once discussed almost exclusively as documents of social realism, or as humorous poems which at their best might be designated "Chaucerian." In an important article in 1962, Denton Fox urged "that it might be helpful to look at the Fables from a more severely literary viewpoint, and to examine them as poems"; further, he pleaded the necessity to examine the poems "as wholes," that is, as fables consisting of two carefully related parts, story and moralization.1 Although there has been some stimulating criticism of the Fables during the past twenty years, commentary has been neither as prolific nor as wide-ranging as that directed at The Testament of Cresseid, and there is room for more discussion of those two closely-related critical issues raised in Fox's article. This essay has two concerns. -
Monsters and Near-Death Experiences in Eric Mccormack's First Blast Of
ARTICLE https://doi.org/10.1057/s41599-019-0374-y OPEN Monsters and near-death experiences in Eric McCormack’s First Blast of the Trumpet Against the Monstrous Regiment of Women Martin Kuester1* ABSTRACT Following Linda Hutcheon’sdefinition of parody as “repetition with a differ- ence”, this essay exposes how a contemporary Canadian novel parodically responds to 1234567890():,; seminal Early Modern English pre-texts. Eric McCormack is not only a Canadian post- modernist (and postcolonial) writer born in Scotland but also a specialist in Early Modern English literature and thus an ideal representative of the intertextual situation of Canadian writing between literary tradition and the challenges of postmodern/postcolonial writing. The essay interprets McCormack’s sexual gothic novel First Blast of the Trumpet Against the Monstrous Regiment of Women discussing the way in which a literal or even literalist—rather than metaphorical—interpretation of literary and religious texts of the Early Modern period can make an important and sometimes harrowing difference in the lives of somewhat unsophisticated literary characters. McCormack’s ominously named character Andrew Halfnight literally interprets religious and literary texts he sees as signposts and guidelines of his personal behavior, thus showing how a literal interpretation of “canonical” texts limits the character’s ability to lead a self-determined happy life. The texts he refers to include the pamphlet The First Blast of the Trumpet Against the Monstrous Regiment of Women by Scottish reformer John Knox, Robert Burton’s Anatomy of Melancholy and John Milton’s Paradise Lost, and these subtexts are more than challenged through their intertextual transfer into erotic or perhaps even pornographic contexts which probably would have shocked the Early Modern authors (although, for example, Milton was at least not unwilling or unable to include ero- ticism in his work).