I have two questions that I would like to post as "threads for discussion." As you post your responses to my questions (and to others' responses) feel free to separate your answers into two different posts.
THREAD 1: Two of our readings discuss the literary quality of intertexuality (Knickerbocker & Rycik, p. 202 and Moon, pp. 92-95). If you were trying to explain this quality to middle school and/or high school readers, what would you say? What examples of intertexuality would you use from either Monster or I Am Nujood?
THREAD 2: Lenters (2006) describes the importance of attending to issues of interest, identity, and agency when designing quality literacy instruction for adolescents. Do you think that MS/HS teachers would find the TBF books you read for Session 3 as able to meet any or all these qualifications? At the same, do you believe these TBF books will provide readers with the opportunity to reach the Mature Reading stage (Knickerbocker & Rycik, p. 198)?
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ReplyDeleteThread One: If I had to define the quality of intertexuality to middle or high school readers, I would state that it refers to the way a text is shaped by other texts. It is making connections between stories...& deepening our understanding and appreciation for a given text. This could not be achieved by reading the work alone.
ReplyDelete-"It's more than similarities in text feature, plot, or content... it's making links that are vibrant and personal" (Knicerbocker,202).
The Knickerbocker article states that if we are reading Richard Wright's Native Son (1940).. we can make this piece of adult literature more accessible with Walter Dean Myers' YA text Monster (2000).
However, Knickerbocker warns that "it may take more than one literature pairing to make the link compelling" (202). So he offers us... Robert Lipsyte's The Contender (1967) as a second work to deepen Wright's t
text*
ReplyDeleteThread 1: I agree with Meghan's explanation of intertextuality. Moon (1999) describes it as "the way texts of all kinds are bound by the broader reading and writing practices of a culture" (p. 93). Knickerbocker and Rycik (2002) explain this concept as the act of interpreting a text using aspects of another text that a person has read. I found it interesting that Knickerbocker and Rycik (2002) compare Native Son by Richard Wright to Monster, since I noticed the comparison when I read Monster last week. I think it is important to teach both books to students. The length and writing style of Native Son could intimidate many students and cause them to make judgments about the text. If students were also reading Monster and realized the common themes present in both texts, this could allow them to have a deeper understanding of Native Son. In addition, the aspects of criminal justice and race relations in this country that are addressed by both novels transcend the time that has passed between their publication dates. As a result, students are able to determine the relevance in reading Native Son in today's classroom. Teaching the intertextuality of these texts is valuable, as it is increasingly difficult for many students to understand the reasons why they are reading a "classic" text in school and how these themes can be applied to today's world (and other literary works).
ReplyDeleteThread 2: I believe that both of the TBF books I read this week would be considered to have interest, identity, and agency. Both Tricks by Ellen Hopkins and Hurricane by Terry Trueman provide interesting and engaging characters with complex emotions and life situations. It would be easy for students to identify with these characters and to desire to know how their stories end. In addition, the main character in Hurricane has a strong sense of his own identity and that of his hometown, but this is challenged by the hurricane that destroys his town. The characters in Tricks are all searching for their own identities and what it means to have their own identities in the modern world. As a result, many teens would be interested in reading about these characters' identity struggles as they attempt to form their own identities. In terms of agency, both novels appeal to teens' desire for a voice and for control over what they are reading. I think that many teens would be excited to read about characters who are around the same age and are dealing with the challenges (both social and environmental) of living in today's world. Reading these stories could build upon students' own sense of agency.
ReplyDeleteWhile both books may contribute to Knickerbocker and Rycik's (2002) Mature Reading stage, I think that Tricks would be more likely to foster this type of critical reading. I know that at many points throughout the novel, I was wishing I could speak to the characters and encourage them to make a different choice for their lives. The subject-matter discussed in Tricks can foster a more critical discussion of these characters' lives and their decisions, as well as the way Hopkins chooses to have all of their lives intersect. Additionally, the format of Tricks provides for an "aesthetic reading" as mentioned in Knickerbocker and Rycik (2002). Throughout the book, I was in awe of Hopkins' ability to format and arrange her writing to create an optimal reading (and sometimes multiple readings).
Thread One: I agree with Megan and Melissa's definition of intertextuality. Intertextuality intertwines texts and allows readers to make and see connections between texts. It allows readers to use texts to make connections to a larger concept or idea.
ReplyDeleteIn my undergraduate English course, I was taught to teach students a main text and develop a unit around that main text, but then to also have other different pieces of literature, poetry, newspaper articles, etc. to help students understand the main text. Knickerbocker and Rycik use the example of using young adult literature and connecting it to adult literature. They state, like Megan said in her earlier thread, that “it is more than noting similarities in text feature, plot, or content. The process involves making links that are vibrant and personal” (Knickerbocker & Rycik, p. 202). Intertextuality involves making personal connections between the texts, not just surface level connections.
Thread One:
ReplyDeleteAs already said, intertextuality is learning a certain text through other texts. It allows like Heather said to make connections, especially if its a text written in a style that students struggle with or do not have prior background knowledge about.
I could not say this to my students but I could say we are going to read two books one is Shakespeare's Hamlet the other is a modern day version of it, compare and contrast the two. I think I would use the method of modeling in order to show what Intertextuality is.
I am not sure what other book are out there for Monster, but I could see using the book over a textbook in a social studies class during a justice system lesson.
Thread Two: This week, I read Melissa Kantor's "If I have a wicked stepmother, where is my prince" & Terry Trueman's "Cruise Control". Both of these books in my opinion, can be classified as having both identity & interest.
ReplyDeleteI believe that both texts are very applicable to students lives. Kantor does an excellent job portraying the frustrations and struggles that step-families often face. The text itself was very cute and even though it is related to the Cinderella fairytale, it was a very relatable story.
I think Trueman's text really gets at the heart of truly accepting others that are different. Many students may know or have relatives that have disabilities like Shawn... and may be able to relate to the struggles of his family.
In addition, I think both of these texts have incredibly interesting characters with engaging plots &life situations. I think students would be drawn to these characters... and develop a personal interest in reading this material.
In my opinion, Kantor's text lends better to a critical reading, while, Trueman's text is more of a syntopical reading.
I remember several points throughout Kantor's text.. when I found myself getting very frustrated with characters... I wanted to "argue back" at the book & tell the characters to think twice about what they were about to do.
However, with Trueman's text.. Since, he writes two companion books.. kids are able to gain a complete portrait of Shawn's family & how they deal with his disability.
Thread 1 Post:
ReplyDeleteI think it is really important not to overlook the intertexual qualities of "language" and "generic" relationships that can occur between texts.
As Moon says, ""intertexual links can have the effect of 'naturalizing' certain ways of thinking and acting" (p. 94).
When I think about the book Monster, for example, even if I hadn't read Native Son (which I have and I think is an incredible selection to use to teach students about the "formal and allusory" intertexuality of texts) I would still think we could AND SHOULD carefully consider the word monster itself.
I would certainly want to develop a lesson at the start of my unit with MS or HS students who would be reading Monster which would focus on these questions:
What general connotations come to mind when hearing this word, Monster?
How are teens who commit crimes characterized in our local D&C?
What is a "naturalized description" of African American youth in our community? How do the "texts of the community" influence our reading of Monster?
Thread 2:
ReplyDeleteThe two book that I read this week Maybe Something and Violet on the Runway I see as more enjoyment books then using them in a critical environment. The plots are more of an escape from reality and putting yourself in someone else's world and I think this fits in with what Lenters is trying to say. "whereas for other choices relate to purpose of interest and enjoyment.."(Lenters, 2006, p.138).
I think the point that Lenters is trying to get across in her article is that we need to add the enjoyment factor back into classrooms. I can remember reading "classics" and wanting to literally fork my eyes out. I did not understand the language nor did it relate to my life. When I read books like Violet on the Runway I am able to see myself as the main character and picture a world that she is living in. This is what I am interested in and I can form part of my identity from them.
I am interested to hear from anyone who is an English teacher what they think. I agree with both Knickerbocker and Lenters that we need to add YA into our English classroom, I am just wondering if it is possible in NYS and with their standards?
Thread Two: This week I read Terry Truman’s Cruise Control and Ally Carter’s I'd Tell You I Love You, But Then I'd Have to Kill You. Like Megan said with her books, I also believe that my books have identity and interest, which Lenters (2006) describes in his article.
ReplyDeleteAs stated in my blog Ally Carter addresses the whole teenage self discovery through through her main character, Cammie. Carter does a great job dealing with the issue of identity and how one comes to terms with his or her identity. Truman also deals with the issue of identity with his main character Paul. Both authors tackle identity with their readers and are able to keep it interesting. Carter and Truman make their characters relatable and as a result, readers are able to find similarities with the characters. This allows readers to make a growth of their own, and maybe find their own identity.
I believe that these TBF books will provide readers with the opportunity to reach the Mature Reading stage (Knickerbocker & Rycik, p. 198). As stated before in my previous thread, Knickerbocker and Rycik use the example of using young adult literature and connecting it to adult literature. They state that “it is more than noting similarities in text feature, plot, or content. The process involves making links that are vibrant and personal” (Knickerbocker & Rycik, p. 202). If readers are able to make connections with a piece of YA literature, then hopefully when they read a piece of adult literature, they can reflect back to the YA book, and draw on those experiences to help them better understand the adult literature they are reading.