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The Great Globe and All Who It Inherit : Narrative and Dialogue in Story-telling with Halliday, Vygotsky, and Shakespeare /
"Every storyteller soon discovers the difference between putting a story inside children and trying to extract it with comprehension questions and putting children inside a story and having them act it out. Teachers may experience this as a difference in "difficulty", or in the level...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Rotterdam, The Netherlands :
Sense Publishers,
[2014]
|
| Colección: | Imagination and praxis ;
v. 3. |
| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Kellogg, David, |e author |4 aut | |
| 245 | 1 | 4 | |a The Great Globe and All Who It Inherit : |b Narrative and Dialogue in Story-telling with Halliday, Vygotsky, and Shakespeare / |c David Kellogg. |
| 264 | 1 | |a Rotterdam, The Netherlands : |b Sense Publishers, |c [2014] | |
| 264 | 4 | |c ©2014 | |
| 300 | |a 1 online resource (ix, 358 pages) : |b illustrations (some color), portraits | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
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| 347 | |a text file | ||
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| 490 | 1 | |a Imagination and praxis: criticality and creativity in education and educational research ; |v volume 3 | |
| 504 | |a Includes bibliographical references and index. | ||
| 505 | 0 | 0 | |g Chapter 1. |t Story and Play. "What's It All About Then?" Five Stories, Two Plays, Three Wise Men. Rote, Role, Rule: a Too Simple Theory of Development. A Too Simple Theory of Genre: Story and Play. The Next Chapter: Giving and Getting -- |g Chapter 2. |t Giving and Getting. Halliday: Three Strata and Three Speech Functions. Vygotsky: the Rickshaw Puller and the Tram-Driver. Genre: When Do Fables Become Fabulous?. The Next Chapter: Where and When -- |g Chapter 3. |t Where and When. Halliday: Construing Circumstances, Participants, and Processes. Vygotsky: Buridan's Ass and the Development of Decision Making. Genre: the Prosaic Fable and the Poetic One. The Next Chapter: Who and What -- |g Chapter 4. |t Who and What. Halliday: Managing Exchanges and Making Questions. Vygotsky: Feeling, Thinking, Saying, and Doing. Genre: From Epic to Novel. The Next Chapter: How and Why -- |g Chapter 5. |t How and Why. Halliday: Arranging Themes and Ordering Information. Vygotsky: Theme and Given Disappear. Genre: From Novel to Play. The Next Chapter: Parent and Child. |
| 505 | 8 | 0 | |g Chapter 6. |t the Pronouncing Parent and the Questioning Child. Halliday: Prosody and Dialogy. Vygotsky: the "Genetic" Law. Shakespeare's Contradictions. Next Chapter: the Character and the Player. Scene One. Scene Two -- |g Chapter 7. |t the Projecting Character and the Performing Player. Halliday: Taxis, Projection and Expansion. Vygotsky: Why Thoughts Are Quotable and Feelings Are Not. Shakespeare: From Interpersonal Terror to Intra-Mental Horror. Next Chapter: Speaker and Self. Scene One. Scene Two. Scene Three. Scene Four -- |g Chapter 8. |t the Deciding Speaker and the Doubting Self. Halliday: Elaborating "To Be Or Not to Be". Vygotsky: Mapping Learning--And Development. Shakespeare: Is Hamlet Mad Or Just Melancholic?. Next Chapter: Thriller and Tragedy. Scene Four. Scene Five -- |g Chapter 9. |t the Action Thriller and the Actual Tragedy. Halliday: Extension, Enhancement and Projection. Vygotsky: Instinct, Habit, Intelligence and Free Will. Shakespeare: In Praise of Bowdlerization. Next Chapter: Clown and King. Scene One. Scene Two. |
| 505 | 8 | 0 | |g Chapter 10. |t the Delving Clown and the Dying King. Halliday: Cursing, Swearing and Other Forms of Lexical Cohesion. Vygotsky: Monodrama Or Melodrama?. Shakespeare: "Had I But Time ... I Could Tell You ... But Let It Be.". Next Chapter: Shipwreck and Enchanted Isle -- |g Chapter 11. |t the Shipwreck of Creativity and the Isle of Imagination. Halliday: Repetition, Synonymy and Hyponymy. Vygotsky: Imagination and Creativity. Shakespeare: Unities and Symmetries. Next Chapter: the Globe and Its Heir -- |g Chapter 12. |t the Great Globe and Its Heir. Halliday: Hyponymy, Meronymy and Collocation. Vygotsky: Everyday Concepts and Academic Concepts. Shakespeare: Metaphor and Metonym. Next Chapter: Conspiracies and Ordeal -- |g Chapter 13. |t the Nest of Conspiracy and the Ordeal of Reflection. Halliday: What's In a Nominal Group?. Vygotsky: Concrete Complexes and Abstract Concepts. Shakespeare: Quibbles, Redundancies and Suspense. Next Chapter: the Music of Politeness and the Mooncalf of Primitivity. |
| 505 | 8 | 0 | |g Chapter 14. |t the Music of Politeness and the Mooncalf of Primitivity. Halliday: What's In a Verb Group?. Vygotsky: the Child As Cultural Primitive. Shakespeare: the Discovery of Sex and the Invention of Love. The Next Chapter: Man and Maid -- |g Chapter 15. |t the Sensuous Man and the Signifying Maid. Halliday: What's In An Adverbial Group?. Vygotsky: Sense, Signification and Memory. Shakespeare: Sensuous Speech and Standardized Language. The Next Chapter: Play and Story -- |g Chapter 16. |t Play and Story. "So What Was That All About Then?" Narrative and Dialogue. A More Complex Theory of Development: Narrative From Dialogue. A More Complex Theory of Genre: Dialogue From Narrative -- |g Appendix. |
| 520 | |a "Every storyteller soon discovers the difference between putting a story inside children and trying to extract it with comprehension questions and putting children inside a story and having them act it out. Teachers may experience this as a difference in "difficulty", or in the level of motivation and enthusiasm, or even in the engagement of creativity and imagination, and leave it at that. This book explores the divide more critically and analytically, finding symmetrical and even complementary problems and affordances with both approaches. First, we examine what teachers actually say and do in each approach, using the systemic-functional grammar of M.A.K. Halliday. Secondly, we explore the differences developmentally, using the cultural-historical psychology of L.S. Vygotsky. Thirdly, we explain the differences we find in texts by considering the history of genres from the fable through the plays of Shakespeare. "Inside" and "Outside" the story turn out to be two very different modes of experiencing--the one reflective and narrativizing and the other participatory and dialogic. These two modes of experience prove to be equally valuable, and even mutually necessary, but only in the long run--different approaches are necessary at different moments in the lesson, different points in development, and even different times in human history. In the final analysis, though, this distinction is meaningless to children and to their teachers unless it is of practical use. Each chapter employs only the most advanced technology ever developed for making sense of human experience, namely thinking and talking--though not necessarily in that order. So every story has a specific narrative to tell, a concrete set of dialogues to try, and above all a practicable time and a practical space for children, their teachers, and even their teachers' teachers, to talk and to think."--Publisher's description | ||
| 588 | 0 | |a Online resource; title from PDF title page (SpringerLink, viewed June 17, 2016). | |
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| 776 | 0 | 8 | |i Print version: |a Kellogg, David. |t Great Globe and all who it inherit. |d Rotterdam ; Boston : Sense Publishers, ©2014 |z 9462097232 |w (OCoLC)890251917 |
| 830 | 0 | |a Imagination and praxis ; |v v. 3. | |
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