Documentos de Académico
Documentos de Profesional
Documentos de Cultura
Modern fantasy is about beings, places and events not occurring in the real world. Identifiable authors create extraordinary characters and worlds which challenge and expand our sense of the norm. Fantasy is rooted in folklore but the stories are not handed down orally as in traditional folklore. These stories have strong themes, traditions, and structures which are established in ancient myths and legends. However, the stories are shaped through the vision and style choices of the author rather than in oral tradition, which is rooted in cultural belief and told by the storyteller. (p.207-208)
Galda, L., Cullinan, B. E., & Sipe, L. R. (2010). Literature and the child. Belmont, CA: Wadsworth/Cengage Learning, p. 207-208.
stories must always meet criteria for excellence in narrative fiction effective settings are detailed and believable within the context of the story themes are meaningful, challenging the reader to ask questions and think about life writing is rich and structures, syntax and word choices are clear story events are imaginative, and logically consistent within the story world characters are multidimensional, with consistent and logical behavior
Galda, L., Cullinan, B. E., & Sipe, L. R. (2010). Literature and the child. Belmont, CA: Wadsworth/Cengage Learning, p. 209.
Types of Fantasy
Animal
miniature beings and worlds highlight the human desire and needs magical objects, characters or events appear The Borrowers by Mary Norton
Literary Lore
the writer imitates the traditional qualities of ancient folklore The Stinky Rapunzel's Cheese Manby Revenge by Jon Scieszka Shannon Hale characters meet challenges that seem endless and unbeatable characters are portrayed having inner and outer struggles, but the goodness of the character prevails (good vs.evil)
Quest Tales
All titles listed are in TRC collection. Galda, L., Cullinan, B. E., & Sipe, L. R. (2010). Literature and the child. Belmont, CA: Wadsworth/Cengage Learning, p. 213-216.
http://dordt.libguides.com/content.php?pid=87860&sid=735931
Defining Folklore
Folklore or traditional literature began as stories and poems retold through the generations by storytellers. These stories were used in entertaining, explaining the world, and by passing down cultural values and beliefs. Unlike modern fantasy, the original authors are unknown and variations of the stories occurred through the retelling. However, many of these stories survived over the centuries, resulting in several types of folklore such as; nursery rhymes, folktales, fables, hero tales, myths, and folk songs, Today, all of these forms provide a variety of enrichment to our literary knowledge. (p.175)
Galda, L., Cullinan, B. E., & Sipe, L. R. (2010). Literature and the child. Belmont, CA: Wadsworth/Cengage Learning, p. 175.
Nursery Rhymes
My Very First Mother Mother Goosee Goose Picture Puzzles edited by Iona by Will Hillenbrand Opie
Folktales
The Complete Tales of Uncle Remus Nursery Tales Around by Joel the WorldRetold by Chandler Judy Sierra
Fables
Myths
Pourquoi Stories
Why Mosquitoes Buzz in People's Why the Possum's Earsby Verna Tale is Bare by James Aardema Connolly
Hero Tales/Epics/Legends
Folk Songs
rhyme and rhythm set to music From Sea to Shining Sea Arroz con Leche by Lulu Durell
by Amy Cohn
The Stinky Cheese Man and Other Fairly Stupid Tales by Jon Scieszka
Titles listed are in TRC collection. Galda, L., Cullinan, B. E., & Sipe, L. R. (2010). Literature and the child. Belmont, CA: Wadsworth/Cengage Learning, p. 182-198.
Types of Folktales
repeat actions and refrains in sequence include rhyming and rhythm The Cazuela That There Was An Old the Farm Maiden Lady Who Stirred Swallowed a Fly by Samantha R. by Simms Taback Vamos
Cumulative Tales
Noodlehead Tales
silly humans, stupid characters Epossomondas by Collen Salley The Fisherman and His Wife by Isadora Duncan
Fairy Tales
Tall Tales
All titles listed are in TRC collection. Galda, L., Cullinan, B. E., & Sipe, L. R. (2010). Literature and the child. Belmont, CA: Wadsworth/Cengage Learning, p. 185-188.
Variations of Folktales Definition: Variants of folklore are retold stories in which the same basic story is retold without changing the integrity of the story. The story may be told by different authors portraying different cultural versions, which reflect characters within a particular culture and setting. A*B*C*D*E*F*G*H*I*J*K*L*M*N*O*P*Q*R*S*T*U*V*W*X*Y*Z
Beauty and the Beast Beauty by Robin McKinley Beauty and the Beast retold by Marianna Mayer Beauty and the Beast retold by Jan Brett
Chicken Little
Cinderella by Charles Perrault and translated by Diane Goode Cinderella by San Jose Cinderella by Judy Sierra Cendrillon: A Carribean Cinderella by Robert San Souci Domitila: A Cinderella Tale from the Mexican Traditionby Jewell Coburn
Cinderella
The Egyptian Cinderella by Shirley Climo Fair, Brown & Trembling: An Irish Cinderella Story by Jude Daly Glass Slipper, Gold Sandal: A Worldwide Cinderella by Paul Fleischman The Golden Sandal: A Middle Eastern Cinderella by Rebecca Hickox The Irish Cinderlad by Shirley Climo Kongi & Potgi: a Cinderella Story from Korea by Oki S, Han Martina the Beautiful Cockroach: A Cuban FolktaleRetold by Carmen Deedy Mufaro's Beautiful Beautiful Daughters: An African Taleby John Steptoe Raisel's Riddle by Silverman, Erica The Rough-Faced Girl by Rafe Martin The Turkey Girl: A Zuni Cinderella by Penny Pollock Vasilissa the Beautiful: a Russian Folktale by Elizabeth Winthrop The Way Meat Loves Salt: A Cinderella Tale from the Jewish Tradition by Nina Jaffe Yeh-Shen: A Cinderella Story from China by Ai-Ling Louie
The Fisherman and His Wife by Margot Zemach The Fisherman and His Wife by The Brothers Grimm The Fisherman and His Wife Retold by Rachel Isadora
Journey Cake, Ho! by Robert McCloskey The Gingerbread Boy by Richard Egielski
Goldilocks and the Three Bears by James Marshall The Three Snow Bears by Jan Brett Dusty Locks and the Three Bears by Susan Lowell
Jack and the Bean Stalk retold by John Howe Jack the Giant-Killer retold by Beatrice de Reigniers Jack and the Beanstalk by Steven Kellogg Jack and the Bean Tree retold by Gail Haley
The Little Red Hen by Paul Galdone The Little Red Hen by Jerry Pinkney The Red Hen by Rebecca and Ed Emberley
Little Red Riding Hood by Trina Schart Hyman Petite Rouge: A Cajun Red Riding Hood by Mike Artell Little Red Riding Hood by John Goodall Red Riding Hood: Retold in Verse by Beatrice
De Regniers
Little Red Riding Hood retold by Charles Perrault Lon Po Po: A Red Riding Hood Story from China by Ed Young Red Riding Hood retold by James Marshall Pretty Salma: A Little Red Riding Hood Story from Africaby Niki Daly Auntie Tiger by Laurence Yep
The Mitten
Puss in Boots
Puss in Boots retold by Lincoln Kirstein Puss in Boots by Paul Galdone Puss in Boots by Charles Perrault, translated by Malcolm Arthur
Rapunzel
Rapunzel retold by Barbara Rogasky Rapunzel retold by Paul O. Zelinsky Petronsinella: A Neapolitan Rapunzel by Diane Stanley
Robin Hood and His Merry Men by Sara Sterling The Merry Adentures of Robin Hood by Howard Pyle Robin of Sherwood by Michael Morpurgo The Adventures of Robin Hood by Marcia Williams
Robin Hood
Rumpelstiltskin
Duffy and the Devil by Harve Zemach The Girl Who Spun Gold by Virginia Hamilton
The Sleeping Beauty retold by Trina Schart Hyman Sleeping Beauty by Peter Seymour The Sleeping Beauty by Charles Perrault
Snow White
Snow White by Grimm. translated by Paul Heins Snow-White and the Seven Dwarfs translated by Randall Jarrell
Stone Soup
The Story of Little Back Sambo by Helen Bannerman The Story of Little Babaji by Helen Bannerman
The Three Billy Goats Gruff by Paul Galdone Billy Goats Gruff by Susan Hellard
The Three Little Pigs by James Marshall The Three Pigs by David Wiesner The Three Sillies by Kathryn Hewitt The 3 Little Dassies by Jan Brett The Three Little Pigs by Paul Galdone
The Really Groovy Story of the Tortoise and the Hare by Kristyn Crow
Fractured Fairy Tales and Other Spoofs Definition: A fractured tale is a folktale taken from the oral tradition and retold to find unexpected humor in the way it portrays the characters, by using a different vernacular, by plot deviations and twists to alter the original story. The changes may be in characterization, points of view, plots, sequel, and settings. A*B*C*D*E*F*G*H*I*J*K*L*M*N*O*P*Q*R*S*T*U*V*W*X*Y*Z
Boy Who Cried Wolf The Wolf Who Cried Boy by Bob Hartman Never Cry Woof!: a Dog-U-Drama by Jane Wattenberg
Cinderella Bella At Midnight by Diane Stanley Splinters by Kevin Sylvester Cinder-Elly by Frances Minters Chickerella by Mary Jane Auch Dinorella: A Prehistoric Fairy Tale by Pamela Edwards The Paper Bag Princess by Robert Munsch Ugh! by Arthur Yorinks Cinderella's Rat by Susan Meddaugh Ella Enchanted by Gail Carson Levine Wolf! by Becky Bloom
The Emperor's New Clothes The Principal's New Clothes by Stepanie Calmenson
The Fisherman and His Wife Pizza For Breakfast by Maryann Kovalski Luba and the Wren by Patricia Polacco
The Gingerbread Man Gingerbread Baby by Jan Brett The Gingerbread Cowboy by Janet Squires
Goldilocks and the Three Bears Deep in the Forest by Brinton Turkle Somebody and the Three Blairs by Marilyn Tolhurst Rubia and the Three Osos by Melissa Sweet
Jack and the BeanStalk Jim and the Beanstalk by Raymond Briggs Kate and the Beanstalk by Mary Pope Osborne The Giant and the Beanstalk by Diane Stanley
The Little Red Hen With Love, Little Red Hen by Alma Flor Ada The Little Red Hen (Makes a Pizza) Retold by Philemon Sturges Out of the Egg by Tina Matthews
Little Red Riding Hood Little Red Cowboy Hat by Susan Lowell Ruby by Michael Emberley Into the Forest by Anthony Browne Carmine: A Little More Red by Melissa Sweet Betsy Red Hoodie by Gail Carson Levine
Rapunzel Rapunzel's Revenge by Shannon Hale (graphic format) Raounzel: A Groovy Fairy Tale Retold by Lynn Roberts
Robin Hood Outlaw: The Legend of Robin Hood by Tony Lee (graphic format)
The Sleeping Beauty Sleeping Ugly by Jane Yolen Snoring Beauty by Bruce Hale
Snow White and the Seven Dwarfs Snow White in New York by Fiona French
Stone Soup Cactus Soup by Eric Kimmel Bone Button Borscht by Aubrey Davis Fandango Stew by David Davis
The Story of Little Black Sambo Sam and the Tigers... by Julius Lester
Three Billy Goats Gruff The Three Silly Billies by Margie Palatini The Three Bully Goats by Leslie Kimmelman
The Three Little Pigs The True Story of the Three Little Pigs by Jon Scieszka Where's the Big Bad Wolf by Eileen Christelow The Three Little Javelinas by Susan Lowell The Three Pigs by David Wiesner The Three Little Pigs by Steven Kellogg The Three Little Wolves and the Big Bad Pig by Eugene Trivizas
Tortoise and the Hare Really Groovy Story of the Tortoise & The Hare by Kristyn Crow
Collections of Fractured Tales Red Ridin' in the Hood: And Other Cuentos by Patricia Santos Marcantonio Squids Will Be Squids: Fresh Morals, Beastly Fables by Jon Scieszka The Stinky Cheese Man and other Fairly Stupid Tales by Jon Scieszka There's A Wolf at the Door by Zoe Alley An Undone Fairy Tale by Ian Lendler Fairytale News by Colin & Jacqui Hawkins Once Upon a Time, the End: Asleep in 60 Seconds by Geoffrey Kloske Dear Peter Rabbit by Alma Flor Ada
http://dordt.libguides.com/content.php?pid=87860&sid=735933
Defining Nonfiction
Nonfiction and informational books provide information and facts about any topic, and this distinguishes these books from fiction books. In nonfiction, facts and concepts are presented by the author, which should be truthful, verifiable and easy to understand. In fiction writing, the storyline is the most prevalent feature in the book. The information in nonfiction books is presented in a variety of interesting formats such as; picture/concept books, photo essays, nature identification books, experiment and activity manuals, books derived from original documentation and journals, and reference books and periodicals. Nonfiction books also cover a diversity of topics in all subject areas. (p. 304-305)
Galda, L., Cullinan, B. E., & Sipe, L. R. (2010). Literature and the child. Belmont, CA: Wadsworth/Cengage Learning, p. 304-305.
Qualities in Nonfiction
facts must be complete and current stereotypes should be avoided scope should be appropriate for the subject and intended audience documentation of author's resources and expertise Quest for the Tree Kangaroo by Sy Montgomery
Accuracy
ideas are clearly developed and logically presented author demonstrates relationships between Team Moon by the facts and between Catherine Thimmesh facts and theories The Race To Save the Lord God Birdby Phillip Hoose
Organization
format should be attractive, complementing the text illustrations should be appropriate and Eyewitness strategically placed Booksby Dorling illustrations should Kindersley illuminate the concepts and facts
Design
Style
the prose should be interesting, revealing the author's enthusiasm for the subject
Shipwreck at the language should the Bottom of stimulate the reader's the Worldby interest in the subject Jennifer Armstrong
All titles listed are in TRC collection. Galda, L., Cullinan, B. E., & Sipe, L. R. (2010). Literature and the child. Belmont, CA: Wadsworth/Cengage Learning, p. 306-309.
Subjects in Nonfiction
The Arts
Language
I'm and Won't, They're and Don't What Are Contractions? by Brian Cleary
Literature
Pass It Down: Five Picture Book Families Make Their Mark by Leonard Marcus
Mathematics
Science
Social Studies
All titles listed are in TRC collection. Galda, L., Cullinan, B. E., & Sipe, L. R. (2010). Literature and the child. Belmont, CA: Wadsworth/Cengage Learning, p. 310-318.
http://dordt.libguides.com/content.php?pid=87860&sid=735923
depict and vividly present key events that influenced the subject's life plots must blend the factual background with the story Martin's Big Words by Doreen Rappaport
Setting/Plot
Portrayal of Subject
subject's character is well developed author avoids stereotypes When Marian Sang by Pam Munoz
Style
language should reflect the authenticity of the subject and the times Becoming Billie Holiday by Carol Boston Weatherford
Theme
the unifying theme must have a universal application and appeal Lincoln Shot by Barry Denenberg
Illustrations
illustrations help visualize time and place illustrations help illuminate the character of the subject Life and Death of Adolf Hitler by James Cross Giblin
Biographical Subjects
SUBJECTS:
EXAMPLES:
Political and Military Leaders The Boy Named FDR by Kathleen Krull
Adventurers and Explorers Antarctic Journal by Jennifer Dewey Manfish: A Story of Jacques Cousteau by J. Berne
Artists/Authors
TRC Author Biographies Booklist
All titles listed are in TRC collection. Galda, L., Cullinan, B. E., & Sipe, L. R. (2010). Literature and the child. Belmont, CA: Wadsworth/Cengage Learning, p. 292-298.
http://dordt.libguides.com/content.php?pid=87860&sid=735963
Setting
authentic and consistent with historical evidence helps make stories real A Single Shard by Linda Sue Park Alchemy and Meggy Swann by Karen Cushman
Characterization
Rose Blancheby
Robert Innocenti
WilliamsGarcia
developed through facts and the narrative Elijah of Buxton by Paul Curtis Out of the Dust by Karen Hesse
authentic dialogue and word choices characterization and mood should reflect time and place Riot by Walter Dean Myers
Style
must support and enhance the story historically accurate, reflecting an understanding of the story
Illustrations
Titles listed are in TRC collection Galda, L., Cullinan, B. E., & Sipe, L. R. (2010). Literature and the child. Belmont, CA: Wadsworth/Cengage Learning, p.257-259.
Historical Timeline
Prehistoric/Ancient Times
Middle Ages
Crispin: The Cross of The Midwife's Leadby Avi Apprentice by Karen Cushman
Renaissance/Exploration
Colonial/Revolutionary War
World War I
Great Depression
World War II
Vietnam War
Galda, L., Cullinan, B. E., & Sipe, L. R. (2010). Literature and the child. Belmont, CA: Wadsworth/Cengage Learning, p. 263-275.
http://dordt.libguides.com/content.php?pid=87860&sid=735958
Science fiction is concerned with the impact of present-day scientific possibilities in the world of the future. These stories are created around problems and events that would not happen except for the scientific content. They include scientific discoveries, space travel, life on planets and futuristic visions. Science fiction, like fantasy, is also rooted in folklore but the stories are not handed down orally as in traditional folklore. These stories have strong themes, traditions, and structures which are established in ancient myths and legends. However, the stories are shaped through the vision and style choices of the author rather than in oral tradition, which is rooted in cultural belief and told by the storyteller. (p.207-208)
Galda, L., Cullinan, B. E., & Sipe, L. R. (2010). Literature and the child. Belmont, CA: Wadsworth/Cengage Learning, p. 207-208.
stories must always meet criteria for excellence in narrative fiction effective settings are detailed and believable within the context of the story themes are meaningful, challenging the reader to ask questions and think about life writing is rich and structures, syntax and word choices are clear story events are imaginative, and logically consistent within the story world characters are multidimensional, with consistent and logical behavior
Galda, L., Cullinan, B. E., & Sipe, L. R. (2010). Literature and the child. Belmont, CA: Wadsworth/Cengage Learning, p. 209.
Mind Control
mind control, telepathy, ESP, communication through time and space The Giver by Lois Lowry
examines future life and considers individual commitment and ethical behavior Among the Hidden by Margaret Haddix
Survival
both gloomy and hopeful views of the future The House of the Holes by Louis Scorpion by Sachar Nancy Farmer
All titles listed in TRC collection. Galda, L., Cullinan, B. E., & Sipe, L. R. (2010). Literature and the child. Belmont, CA: Wadsworth/Cengage Learning, p. 219-221.
http://dordt.libguides.com/content.php?pid=87860&sid=827376
Typically, Children's books are classified by the following genre: Picture Books. Children's books that provide a "visual experience" - telling a story with pictures. There may or may not be text with the book. The content of the book, however, can be fully explained or illustrated with pictures. Note that picture books do not even need to tell stories - they might illustrate letters of the alphabet or numbers. A picture book may even tell a story entirely with illustrations. Many times, these books are published in a small size, something that children can actually hold in their small hands - these books are called hand-books. (Note that "hand-books" are not a genre, but are a format for a book.) There are fun books for young, non-reading children to play with. Often, they can tell the story based on the illustrations, pretending to "read" the book. Picture Story Books. Children's books that contain pictures or illustrations that complement the story, often mirroring the plot. Both the text and the illustrations are important to the development of the story. The pictures are the "eye-candy" that get people's attention, but the text is also needed to complete the story. In well-written picture books, the 2 work together in a seamless fashion. As we read and enjoy the book, we don't even think about which is more important, the illustrations or the text. Often, the pictures are what set the mood or allow us to anticipate what will happen next. Traditional Literature. Stories that are passed down from generation to generation, changing slowly over time are called traditional literature. In many ways, this is what makes them so fascinating - they provide a link between the past and the future. The stories, while retaining much of their original flavor and content have to evolve in subtle ways to remain meaningful in different eras. Traditional literature is a great starting point to introduce children to the concept of a story and introduce them to different types of stories or genres. and We can further break traditional literature down as: Folktales. These feature common folks, such as peasants, and commonplace events. There maybe be some "make-believe" elements, like talking animals, but the stories, overall, sound logical - even realistic. Folk tales seek to explain things about life, nature, or the human condition. Fairy Tales. Also called "magic stories," these are filled with dreamlike possibility. Fairy tales feature magical and enchanted forces. They always have a "happily ever after" ending, where good is rewarded and evil is punished. Fables. Short stories, in verse or prose, with an moral ending. These types of stories are credited Aesop (6th century BC), who told tales of animals and other inanimate objects that teach lessons about life. Legends. While based in history, these stories embellish the life of a real person. The facts and adventures of the person are exaggerated, making the individual famous for their deeds. Myths. Some stories have to be told as related tales to be meaningful. Myths portray themselves as representing a distant past. They contain common themes and characters, often "gods." Myths attempt to explain the beginning of the world, natural phenomena, the relationships between the gods and humans, and the origins of civilization. Myths, like legends, are stories told as though they were true. Historical Fiction. These are stories that are written to portray a time period or convey information about a specific time period or an historical event. Authors use historical fiction to
create drama and interest based on real events in people's lives. The characters may be real, based on real people, or entirely made up. In many ways, these types of books can be more powerful teaching tools than nonfiction, especially for children. Often, historical fiction presents history from the point of view of young participants. There are few contemporary accounts of how children have experienced and participated in history - children's historical fiction attempts to help readers see how history affects people of the same age. When these books are written for young readers, they are called chapter books because they expand the concept of a story by presenting a tale in segments, each building on the last and leading to a final resolution (Note that "hand-books" are not a genre, but are a format for a book). Children's historical fiction features youth a playing an important, participatory role in history. Modern Fantasy. This broad genre is probably easier to define by example or by what it is NOT. The stories are contemporary or are nondescript as to when they occur. They are imaginative tales require young readers to accept elements and story lines that clearly cannot be true - readers must suspend disbelief. The stories may be based on animals that talk, elements of science fiction, supernatural or horror, or combinations of these elements. When written for young readers, these books are calledchapter books - a format that breaks a story into sequential chapters that move towards a final resolution. "Charlottes Web," "Winnie the Pooh," "Alice in Wonderland", "Willie Wonka and the Chocolate Factory," and "The Wizard of Oz" are all examples of modern fantasy written for young readers up to 12 years old. Realistic Fiction. Books that are written for today's youths, representing contemporary times, based on real-world situations are called realistic fictions. Similar to historical fiction, except these stories are based on current events. They feature children as their main characters and often allow young readers to "experience" different settings, cultures, and situations than what is the norm for their lifestyle. Children's realistic fiction features main characters of approximately the age (or slightly older than) the book's intended audience. The books present a "real-world" problem or challenge and show how a young person solves that problem. By nature, children's realistic fiction is positive and upbeat, show young readers how they too can conquer their problems. When written for young readers (up to 12 years old), these books are called chapter books (a format, not a genre) Non-fiction or Informational Books. Books that are designed to help readers learn more about real things. They provide young readers information without the literary devises common to fiction. They can be a challenging genre for children because a given presentation about the real-world has to assume something about a reader's abilities, understanding or interests. The challenge is to match high interest topics with appropriate reading levels and background knowledge. For example, may children are interested in jets and rockets, but few are ready to read "rocket science." In schools, these books have traditionally been used for academic study and research projects. Today, more and more librarians are recognizing the value of ALL reading - both fiction and nonfiction. Perhaps the best way to reach out to "unmotivated readers" is to find a high-interest topic and a book that matches that young reader's abilities and understanding. Many reading specialists and librarians believe that we do not promote enough non-fiction to young readers. Studies tend to show that many children that are not interested in fiction will become motivated readers if introduced to appropriate nonfiction - this is especially true of non-majority youth. Biography. A form of non-fiction that is based on the life of a person. Children enjoy reading stories about other people - biographies and form an effective "bridge" between storytelling and nonfiction - after all - everyone's life is a story! Because biographies are almost always published about notable people in notable fields, biographies are often used to introduce children to the concept of nonfiction. Biographies can also be extremely motivating - young children love to dream about what they will be when they grow up. The lives of
famous, important people let children see how the process of growing up shapes the opportunities, choices, and challenges people face in life. Poetry and Drama. Poems and drama are important genres that introduce children to verse, prose, rhythm, rhyme, writing styles, literary devices, symbolism, analogies, and metaphors. From a librarian's point of view, they are important because the they are written at different reading levels so that a young reader's interests can be matched with text that is consistent with their abilities. This is especially important for "reluctant readers" that may read below their age group. The simple language used in some poems and drama can be appreciated by readers of varying abilities, providing a context to teach a variety of language arts skills. http://www.breitlinks.com/my_libmedia/children's_genres.htm