Literacy - TE 842 Fall 1997

Eliot A. Singer
137 University
East Lansing, MI 48823
(517) 351-6139
singere@pilot.msu.edu
Mail Box: 509 Erickson

Fall 1997
Tuesdays 7:10-10:00
111 Erickson Hall
Michigan State University

What should reading instruction, in the narrow sense of helping children learn to ascertain meaning in a text, entail, given current thinking about overall literacy and language arts curriculum?

Let us begin with three premises, with which you should already be somewhat (or more than somewhat) familiar:

1) the social constructivist theory of learning—the idea that children (and adults) learn by interacting (especially talking) with other people (peers, teachers) around intellectually stimulating materials and ideas;

2) literature based reading instruction—the use of quality, authentic, whole, not "basalized," pieces of literature, with an emphasis on learning to read by reading and being read with, not on isolated skills drills (which does not preclude some use of skills-oriented activities);

3) an integrated language arts curriculum, that includes opportunities for reading, being read to, and looking at books, opportunities for authentic writing and the writing process, opportunities for talking about text, opportunities to engage in literary inquiry and response, opportunities to listen to and tell stories, opportunities to play with language, etc.

The most relevant of the recent IRA/NCTE "Standards for the English Language Arts" states: "Students shall apply a wide range of strategies to comprehend, interpret, evaluate, and appreciate texts. They draw on their prior experience, their interactions with other readers and writers, their knowledge of word meaning and of other texts, their word identification strategies, and their understanding of textual features (e.g., sound-letter correspondences, sentence structure, context, graphics)."

This standard focuses on comprehension (interpretation, evaluation, and appreciation are covered more thoroughly in other standards). So, too, does this course in "advanced reading methods." Still, we are importantly reminded that comprehension must always be articulated with literary inquiry and personal response, which in the Literacy Masters program get foregrounded in other courses.

Reading for comprehension involves trying to find out what something means. In elementary education, we are primarily concerned with written texts, but we must realize that most issues for comprehension, other than word identification and sentence discernment, apply also to heard and seen texts. Reading comprehension is a more restricted activity than interpretation, criticism, or personal response: the point is to discover an agreed upon "correct" meaning in a text. Interpretation deals with possible meanings for which an argument can be made, but never conclusively; criticism and personal response deal with evaluation and feeling. It is essential for children to recognize multiple interpretations, to inquire about literature in academically stimulating ways, and to respond at a personal level; we have every reason to believe such open-ended ways of engaging with text motivate an interest in books and otherwise facilitate active participation in the reading process. Nonetheless, we also have to be concerned that kids "get it," when there is something they need to "get." However much it may be fashionable in current philosophical meditations to claim that "all readings are misreadings," that there is never a "right answer" even with something as basic as identifying a word, as educators we need to insist that, although in some places what something means is open to argument and opinion, in other places meaning is fixed.

Think about the cover of Where the Wild Things Are. A possible interpretation (but not necessarily a "right answer") is that the absence of Max on the cover and in the title, together with his name being missing from the boat, suggests that the place where the wild things are is open for any child with imagination to visit. A personal response might be to wish to visit where the wild things are. A critical response might be to assert that the book encourages kids to escape from their problems in a fantasy world. All of these are perfectly legitimate points to make (I disagree with the last point, but there are those who would argue it). But, some things are not up for grabs: Max is not on the cover; he is not in the title; the boat does not have his name on it, and it is facing the same way as his "private boat." The more open-ended ways of talking about the cover and its implications all depend on getting the basic observations right.

In this advanced course, modeling our own experience on the three premises outlined earlier, we are going to spend most of our time talking together about the underlying elements of reading comprehension in relation to particular books, so we can explore in depth how to teach comprehension within a social constructivist, literature-based, integrated language arts context for the real world. We don’t need to read a lot of testimonials and research claims about effectiveness, and we don’t need to worry about all the approaches to reading that reject these premises (this is not a course on the history or politics of reading instruction).

We are also not doing "reading methods" in the old way of providing bunches of "how-to" activities. These are readily available in any number of introductory textbooks, in-services, teacher manuals, etc. The point is to understand the underlying elements, so we can critically evaluate activities and programs, which usually present themselves as magic formulae, and so we can develop our own, taking into consideration the various conflicting needs of the language arts curriculum and of our students.

Of course, throughout our discussions, questions of "how-to" put these elements of reading comprehension into action will always be on the table. We especially need to keep in mind various social, physical, and temporal organizations for the classroom that might best provide opportunities to work on (and assess) the various elements of reading comprehension. How do we organize how reading per se gets done (when, where, how, and by who do books get read)? How do we organize "talk about text" and other forms of response (e.g., writing, illustration, theater), with comprehension specifically in mind? How to we jump on and plan for "teachable moments" and "instructional detours" when we need to work on specific elements of reading, while still keeping reading and talking about good books our principle focus? How does reading comprehension fit into our broader language arts program?

A literature-based, elements of comprehension, approach to reading methods also enables us to move beyond the usual focus on beginning reading. Comprehension continues to be difficult at times for competent readers, even adults. How many of us can understand Finnegan’s Wake or King Lear or a piece of jargon-filled academic or legalistic writing without assistance? Many of the problems that confront beginning readers show up in new and different ways with more complex materials, and there are new obstacles to comprehension, even when we can figure out the words and sentences. Upper level comprehension is not simply a matter of building vocabulary. So, in the latter part of this course, we will be looking at such sophisticated elements of comprehension as irony, point of view, and metaphor.

By talking about books as our primary means for thinking about comprehension, we will try to approximate classroom practice. We will inevitably constantly be moving between comprehension and other aspects of "talking about text," with plenty of opportunities for instructional moments, especially since specific books have been chosen that lend themselves well to particular elements of comprehension. Ideally, this is also what we try to do when teaching children to read..

The problem of conveying meaning between author and reader through written text. Where does communication break down? What is hard to communicate? When is there a "right answer" to what something means? Meaning as the basis for reading. How does comprehension figure in a "literature-based reading/ integrated language arts program? How can we combine "the pleasure of the text" with necessities of instruction?

Read-aloud of Rudyard Kipling's "How the First Letter Was Written"; sending and interpreting pictograph messages; small group and whole class discussions of issues.

Before next class read P. David Pearson, "Reclaiming the Center" and Eliot Singer, "Teaching about the Nature of Writing Using Kipling's ‘How the First Letter Was Written’" (in packet)

"Talking about" and "reading with" as means for facilitating and assessing comprehension. The importance of "hearing." Looking to the specifics of a particular book to ascertain comprehension cruxes, obstacles, and instructional possibilities. How does "talking about" a book enable kids to understand it? When does "talking about" become a detour or create confusion? How does "talking about" provide opportunities for identifying difficulties and for instruction? What do you have to "get" to "get" a book? How should a teacher prepare for "talking about" by close examination of a book?

Small group readings from and talking about particular picture books/easy readers; small group and whole group discussion of issues.

Before class read Munro Leaf, The Story of Ferdinand and Eliot Singer, "Text Analysis and Comprehension: A Bull Story" and ""Literary Inquiry Model for Studying Genres" (in packet). Bring two picture books or easy readers to class, one of which you have looked closely at for comprehension concerns (use Eliot's mini-essay as a model). If you have more than one copy of these books, please bring enough for your small group or notify members of your group of what books you have chosen, so they can locate their own copies. (Please use these means for bringing in multiple copies throughout the term when we are sharing books).

How do the issues about "talking about text" and teacher’s close reading of a book for comprehension issues apply to novels? How do we deal with comprehension of books we read to kids that we don't expect them soon to be reading for themselves? What do you have to "get" to understand the Pooh books? How much do you have to "get" to enjoy the books? What might our expectations be for different grade levels?

Small group discussions of the Pooh books; small group and whole class discussion of issues.

Read the complete A. A. Milne, Winnie-the-Pooh and The House at Pooh Corners; keep notes on places you think the books raise interesting obstacles and instructional possibilities for comprehension.

How do we help our students "activate prior knowledge" to facilitate comprehension? What kinds of prior knowledge are necessary or helpful? When do good authors prey upon prior knowledge and expectations? How is prior knowledge different for story books than informational texts? To what extent are overt "activating prior knowledge routines" (e.g., KWL, story maps) helpful, and when do they become cloying or crutches? What kinds of personal responses (personal connections) to a book facilitate comprehension? To what extent is personal response used to motivate interest in a book, and to what extent does it aid in meaning? When is personal response a detour?

Small group readings of and discussions of picture books and tall tales around issues of prior knowledge and personal response; small group and whole group discussion of issues.

Read The True Story of the Three Little Pigs. Bring in 2 picture books for sharing, one a story book and one an informational book. (Follow usual procedures for trying to have multiple copies for sharing). Read Eliot Singer, "Old Lies" and "Teaching Literary Concepts/Tall Tales." Select students will take responsibility to look over references I will provide, seek other relevant materials, and share with class.

How and when do we help students make use of prior knowledge with a novel? How does personal response fit with other kinds of literary inquiry?

Small group discussion of Bridge to Terabithia, using "crib sheet" as warranted; small group and whole class discussion of issues.

Before class read Katharine Paterson, Bridge to Terabithia; keep a reading log of your responses and questions; bring "crib sheet" (in packet) to class, but DO NOT read before class.

What are the key "cognitive strategies for comprehension"? Why were they developed? How do they work? When do they need to be taught explicitly? How do we help kids internalize these strategies? When do "strategies" routines (e.g., asking kids to predict) interfere with internalization? When is it better to review instead of preview places where strategies could be used? How does strategies instruction differ for narrative vs. informational texts? How does overt strategies instruction facilitate or interfere with "the pleasure of the text," (e.g., predictability vs. "the hermeneutic code," summary vs. "noticing and fondling details")?

Read hand-out on cognitive strategies instruction; think about cognitive strategies in relation to previously considered novels and picture books, as well as your personal experiences with them. Select students will take responsibility to look over references I will provide, seek other relevant materials, and share with class. Also read email dialogue between David Pearson and Eliot Singer (and perhaps others) on cognitive strategies instruction (tentative).

What are the basic "concepts of print" necessary to begin reading? How do we help students learn these within a literature-based reading program? What is the role illustrations play in conveying meaning? How does this differ for alphabet books, picture books, and illustrated novels? What role does hearing a text play? What kinds of reading aloud (by whom, to whom) are valuable?

Small group and whole class discussion of how to teach "concepts of print"; small group examination of alphabet, picture, and illustrated books on issues of meaning conveyed through pictures; small group and whole group discussion of issues of meaning in pictures, including how to use pictures to facilitate comprehension of Eliot's "abdominal snowman poems."

Bring in a favorite alphabet book, at least 2 picture books (you can use previous ones), and a novel with some illustrations. Read Eliot Singer, Abdominal Snowman poems. Also bring back The Story of Ferdinand, The True Story of the Three Little Pigs, and the Pooh books.

How does word identification fit into "reading for meaning" and "literature based reading instruction"? How do we help kids continually monitor comprehension beyond the level of the word, as they focus on word identification? How do syntactic, semantic, and other context clues facilitate word identification? How do we instruct students about use of context clues? How do we build vocabulary and "sight word vocabulary"? When, during the course of reading, do we teach new words? Why are some easy words so hard? Which words need to be taught out of context?

Small group and whole class discussion of issues; in small groups, looking closely at specific books.

Read Eliot Singer, "Top Ten List on Word Recognition." Select students will take responsibility to look over references I will provide, seek other relevant materials, and share with class. Bring back Pooh books and picture books/easy readers.

What are the basic linguistic building blocks of words? What sound/spelling patterns are worth teaching? How do we teach sound/spelling patterns within "literature-based reading instruction"? How do words combine? When is it useful for kids to seek for compound words? What prefixes and suffixes are worth teaching? What are the important syntactic endings to nouns and verbs? How can we help kids distinguish meaningful word parts (morphemes) from similar groups of letters that have no independent meaning within a word?

Small group and whole group discussion of issues, with close examination of books for examples.

Select students will take responsibility to look over references I will provide, seek other relevant materials, and share with class. Round up the usual suspects (i.e., bring back relevant books). If there is strong interest, we will order Patricia Cunningham’s Phonics They Use.

When do things not mean what they say, and how do we help kids recognize non-literal meanings? Punning as a simple example of confusion between literal and non-literal meanings. How do we learn to recognize when a character or even an author is saying something we are not supposed to agree with? How do we recognize that one character's point of view is not necessarily "the truth"?

Small group discussions of Amelia Bedilia books, Morning Girl (with crib sheet), and previously used books of relevance; small group and whole class discussion of issues.

Read Peggy Parrish's Amelia Bedilia and Michael Dorris' Morning Girl. (Bring in but don't read "crib sheet").

How do we teach kids when something is being used metaphorically? To what extent are there "valid" interpretations of metaphors and metaphorical poems? What do we need to know to interpret poems?

Small group discussions of Brown Honey in Broomwheat Tea and A Visit to William Blake's Inn (with crib sheet); small group and whole class discussions of issues.

Read Joyce Thomas's Brown Honey in Broomwheat Tea and Nancy Willard's A Visit to William Blake's Inn. (Bring in but don't read "crib sheet"). Read Eliot Singer, "Teaching Literary Concepts" (metaphor as an example).

Small group discussions of Catherine, Called Birdy and irony in previously used picture books (e.g., Story of Ferdinand); small group and whole class discussion of issues.

What comprehension problems arise when we use original sources that have not been rewritten for ease of use in classrooms? How do we help kids understand and appreciate old usages and ways of speaking? How do we help kids "fill in the blanks" when authors assume prior knowledge?

Small group and whole group discussion of selected materials in packet and brought to class.

Read excerpts from Maude Kegg, Alexander Henry, Johann Kohl on Vision Quest, and Lewis and Clark. Watch Lewis and Clark series on PBS (coming in November).

What makes authentic materials from other cultures difficult to comprehend? How do we give kids access to the true "otherness" of stories from other cultures, without losing them?

Small group and whole class discussion of Ishi's Story of Lizard and Eliot Singer's translations and adaptations of Ojibway myths; discussion of issues.

Read Ishi's Story of Lizard, Eliot Singer, "Ethnopoetics and Comprehension"; Eliot Singer, selected Ojibway myths.

How do comprehension (right answer) and inquiry (open-ended) questions and discussions facilitate each other? How do we orchestrate and improvise comprehension and inquiry for an overall discussion of a complex book?

Small group and whole group discussion of The Wind in the Willows (using crib sheet); discussion of issues.

Read Kenneth Grahame's The Wind in the Willows (unabridged edition with Ernest Shepherd illustrations). (Bring in but don't read "crib sheet").

Write a detailed analysis of a picture book or early reader, noting crucial points kids have to "get," possible obstacles to comprehension, and opportunities for instructional detours.

Reflection on a Comprehension Teaching Experience in relation to a course topic (Due November 25, 15 points)

Write a brief, reflective essay (approximately 5 pages, 1250 words) in which you use class discussions and readings to illuminate an experience you have had teaching reading (good or bad).

With a partner, conduct and write up an extensive review of a major reading program (e.g., Reading Recovery, Book Club), critically detailing what claims it makes, who it is aimed at, what aspects of reading it covers, what it doesn’t cover, how well it deals with what it does try to cover, and how it fits into a broader language arts curriculum.

Evaluate yourself (on a self-evaluation form you will be provided) on attendance, quality of participation (including both listening and speaking), doing the reading, and seeking/sharing relevant materials and notes.

Note: Since I first started planning for this course, I intended mostly to use literature and talk, rather than reading academic articles, for what I hope are good pedagogical reasons. Recent legal decisions about copyright are making it difficult to put academic articles in a course packet, so I have dropped the few I had originally planned (except David Pearson’s, which is from his Web Cite). Instead, when we need information that I would otherwise excerpt from textbooks and articles in journals, such as Reading Teacher, we will resort to summary hand-outs (ones I prepare and ones you prepare) and sharing. As part of your class participation, you will be expected to do your part in bringing in relevant materials with which you are familiar, looking through issues of Michigan Reading Journal, Reading Teacher, etc., and writing summaries and reference lists, including of class discussions, to provide fellow students. We will have to decide as a group which teachable moments deserve to be documented in writing.