Rock-a-byes and spells, recipes and stories: an examination of reading instruction in the initial school years.

Rock-a-byes and spells, recipes and stories: an examination of reading instruction in the initial school years. Why a focus upon intertextuality Intertextuality is the shaping of texts' meanings by other texts. It can refer to an author’s borrowing and transformation of a prior text or to a reader’s referencing of one text in reading another. in early grade classrooms?Teacher mediation between children and written texts during lessonssuch as shared book experience is an established practice in the initialschool years. This mediation means that children do not work directlywith the written text, but rather with the spoken interactions aboutthose texts. Mediation is not only text driven but also framed by ateacher's pedagogic ped��a��gog��ic? also ped��a��gog��i��caladj.1. Of, relating to, or characteristic of pedagogy.2. Characterized by pedantic formality: a haughty, pedagogic manner. goals, beliefs and assumptions about childrenas literacy learners. Mediation is made complex, however, by thepresence of competing intertextual in��ter��tex��tu��al?adj.Relating to or deriving meaning from the interdependent ways in which texts stand in relation to each other.in agendas and reference frames whichteachers and children bring to the situation. Consider, for example, the following extract from a Kindergartenreading lesson focussing on Meg's Eggs (Nicoll & Pienkowski,1975), a picture book narrative about a witch, documented in ourclassroom observational research of reading instruction in the initialschool years (Harris, Winser & Trezise, 1994).T: Listen to this: `Lizards and newts, three loud hoots hoots?interj.Variant of hoot2. , green frogs' legs, three big eggs.' What does that soundlike? Cathy: Like a rock-a-bye. T: It doesn't sound likesomething that would put me to sleep. Edward: It's a spell. T:Good boy. What's a spell? A focus on intertextuality in the analysis of encounters like thisleads us to ask, `What are the intertextual agendas creating divergence divergenceIn mathematics, a differential operator applied to a three-dimensional vector-valued function. The result is a function that describes a rate of change. The divergence of a vector v is given by between the teacher and Cathy?' From the teacher'sperspective, she is enacting pedagogic goals to develop children'sunderstanding of procedural genres -- specifically, recipes. The spelltexts embedded Inserted into. See embedded system. in the narrative serve as a springboard to doing this. Cathy's frame of reference, on the other hand, may beunderstood in light of her home experiences which she revealed in afollow-up interview to this lesson. The focus of this interview wasCathy's textual experiences at home. Cathy talked about the rhyming rhymealso rime ?n.1. Correspondence of terminal sounds of words or of lines of verse.2. a. A poem or verse having a regular correspondence of sounds, especially at the ends of lines.b. books she read and listened to. She drew upon these resources when shesaid, `Like a rock-a-bye', likening lik��en?tr.v. lik��ened, lik��en��ing, lik��ensTo see, mention, or show as similar; compare.[Middle English liknen, from like, similar; see like2 the rhyming spell text inMeg's Eggs to nursery rhymes nursery rhymes,verses, generally brief and usually anonymous, for children. The best-known examples are in English and date mostly from the 17th cent. A popular type of rhyme is used in "counting-out" games, e.g., "Eenie, meenie, minie, mo. . Cathy talked about listening torhymes at bedtime bedtimeSleep disorders The time when one attempts to fall asleep–as distinguished from the time when one gets into bed , which seemed to further shape her association betweenthe teacher's question, `What does that sound like?' andlullaby rhymes. In the absence of a shared history of texts, children and teacheroften do not understand each other's intertextual intentions. Thisis made more difficult by competing and divergent frames of reference,especially when they come into play at the same instance, as in the caseabove. How teachers and children negotiate this web of intertextualityis of interest in this article, in terms of impact upon participation asliteracy learners at school. Conceptual framework For the concept in aesthetics and art criticism, see .A conceptual framework is used in research to outline possible courses of action or to present a preferred approach to a system analysis project. Psychoanalytical psy��cho��a��nal��y��sis?n. pl. psy��cho��a��nal��y��ses1. a. The method of psychological therapy originated by Sigmund Freud in which free association, dream interpretation, and analysis of resistance and transference are perspective of intertextualityAfter Kristeva (1984), `intertextuality' is used to signify themultiple ways in which a literary text echoes or is linked to othertexts. A text may be linked to other texts by open or covert citationsand allusions, or by the use of the formal features and content of anearlier text, or simply by the participation in a common stock ofliterary and linguistic conventions. From this perspective, language is seen to be personal andidiosyncratic id��i��o��syn��cra��sy?n. pl. id��i��o��syn��cra��sies1. A structural or behavioral characteristic peculiar to an individual or group.2. A physiological or temperamental peculiarity.3. (Kristeva, 1989: p. 265). Part of this is the phenomenonof condensation, that is, the use of extremely brief and meagre mea��geralso mea��gre ?adj.1. Deficient in quantity, fullness, or extent; scanty.2. Deficient in richness, fertility, or vigor; feeble: the meager soil of an eroded plain.3. utterances such as `like a rock-a-bye', and `duckville' below,derived from an earlier Year 1 study.Lenny reads at his table, assisted by an adult aide. He turns to apage in his book showing a family tree, with familial labels. He readseach label. When he comes to `nephew', he turns to the adultassisting and asks,L: What does this word say? P: `Nephew'. L: Duckville. P: Itsays `nephew'. L: Duckville. P: It says `nephew'. [pointing tothe word `nephew']. See, what sound does it start with? L: /n/. P: Uh-huh, /n/ for `nephew'. L: Yeah, andthat's like Huey, Dewey and Louie, and they live at Duckville with Donald Duck Donald Duckcantankerousness itself. [Comics: Horn, 216–217]See : IrascibilityDonald Duckfrustrated character jealous of Mickey Mouse. [Comics: Horn, 216–217]See : Jealousy and I watch them on television. Lenny did not necessarily seek a response to his cryptic cryp��ticn.1. Hidden or concealed.2. Tending to conceal or camouflage, as the coloring of an animal. `Duckville' which alluded to a broad body of `Donald Duck'texts. However, the adult, unfamiliar with these texts, and in theclassroom role of assisting a young reader, framed Lenny's responseas an aural aural/au��ral/ (aw��r'l)1. auditory (1).2. pertaining to an aura.au��ral?1adj.Relating to or perceived by the ear. miscue mis��cue?n.1. Games A stroke in billiards that misses or just brushes the ball because of a slip of the cue.2. A mistake.intr.v. mis��cued, mis��cu��ing, mis��cues1. and so emphasised the phonological pho��nol��o��gy?n. pl. pho��nol��o��gies1. The study of speech sounds in language or a language with reference to their distribution and patterning and to tacit rules governing pronunciation.2. features of theword `nephew'. In this, we see divergent frames of reference. Condensed con��dense?v. con��densed, con��dens��ing, con��dens��esv.tr.1. To reduce the volume or compass of.2. To make more concise; abridge or shorten.3. Physicsa. signs, like `Duckville' and like a`rock-a-bye', provide insight into the position of the speaker.This position in each case contrasted with the goals of the teacher.Each of these condensed utterances represents a point of connection tobroader meanings; their brevity BrevityAdonis’ gardenof short life. [Br. Lit.: I Henry IV]bubblessymbolic of transitoriness of life. [Art: Hall, 54]cherry faircherry orchards where fruit was briefly sold; symbolic of transience. stands in contrast with the range andwealth of the meanings they each represent. For example, Cathy'scryptic `like a rock-a-bye' simultaneously represents thoughtsabout rhyming, rhyming texts generally, a specific rhyming text, andencountering such texts at bed-time, which make up her frame ofreference at this particular instance. Frame of reference is animportant consideration in relation to teacher mediation of texts. Teacher mediation between texts and readersBloome and Egan-Robertson (1993) documented intertextuality inteacher-mediated talk about books in early grade classrooms, in terms ofconnections made among written texts in classrooms, and the socialprocesses whereby they are made. Using examples here from our previousextract on Meg's Eggs, these processes are: proposing anintertextual link (e.g. `What does that sound like?'); identifyingthe link (e.g. `Like a rock-a-bye'); recognising (or notrecognising) the link (e.g. `That doesn't sound like something thatwould put me to sleep'); and acknowledging and validating the link(e.g. `Good boy. What's a spell?'). Through these processes,the teacher grants (as with Edward) or withholds (as with Cathy)significance not only in regard to the relationships but to the childrenwho provide them. Thus the Bloome and Egan-Robertson study locatesreading instruction in the broader sociocultural so��ci��o��cul��tur��al?adj.Of or involving both social and cultural factors.soci��o��cul context of schoolingand to issues of equity and access -- who and how is validated, who andhow is not. However, the concept of intertextuality in their study is confined con��fine?v. con��fined, con��fin��ing, con��finesv.tr.1. To keep within bounds; restrict: Please confine your remarks to the issues at hand.See Synonyms at limit. to written texts. This article draws upon a broader conceptualisation (artificial intelligence) conceptualisation - The collection of objects, concepts and other entities that are assumed to exist in some area of interest and the relationships that hold among them. ,with a view of lesson as intertext, and a concern with reasons behindthe authorisation of exchanges. According to according toprep.1. As stated or indicated by; on the authority of: according to historians.2. In keeping with: according to instructions.3. Halliday and Hasan.... part of the environment for any text is a set of previous texts,texts that are taken for granted Adj. 1. taken for granted - evident without proof or argument; "an axiomatic truth"; "we hold these truths to be self-evident"axiomatic, self-evidentobvious - easily perceived by the senses or grasped by the mind; "obvious errors" as shared among those taking part ...Every lesson is built on the assumption of earlier lessons in whichtopics have been explored, concepts agreed upon Adj. 1. agreed upon - constituted or contracted by stipulation or agreement; "stipulatory obligations"stipulatorynoncontroversial, uncontroversial - not likely to arouse controversy and defined, but beyondthis there is a great deal of unspoken cross-reference of which everyoneis largely unaware. The greater power of the teacher in the classroom situationincreases the complexity of the intertextual venture for the child. Aswell as dealing with competing interpretations within a text (spoken,visual or written), the child at school is also required to interpretand negotiate the interpersonal struggle for control of the framingfocus. MacLachlan and Reid (1994: p. 109) argue that `different framingfactors are always operative in any text or cultural activity and ...bring power into play'. The teacher's greater power in theclassroom is relatively obvious: it is the teacher who will determinewho can speak, in relation to what, when and to whom, and who has theright to speak for others. Analysis of teacher-mediated talk about Meg's EggsDrawing on this conceptual framework of intertextuality, we will nowexamine a sequence of lessons during which a Kindergarten teachermediates between a written narrative text, Meg's Eggs, and thechildren in order to develop children's competences with proceduraltexts. This sequence is drawn from our longitudinal classroomobservational study In statistics, the goal of an observational study is to draw inferences about the possible effect of a treatment on subjects, where the assignment of subjects into a treated group versus a control group is outside the control of the investigator. of children in their first three years of school(Harris, Winser & Trezise, 1994). The sequence was documentedthrough fieldnotes and audiotaping, and tapes were transcribed. Thisparticular sequence has been selected because it reveals someintertextual complexities of reading lessons. Difficulties encounteredin these interactions are not described in order to reflect on teacheror child competence, but in order to understand their source andidentify ways of re-thinking them. The focal text as an intertextAfter Kristeva (1984), Meg's Eggs is linked to other texts inmultiple ways. It is part of the `Meg and Mog' series whichchronicles the comical com��i��cal?adj.1. Provoking mirth or amusement; funny.2. Of or relating to comedy.com misadventures of a witch called Meg, and hercompanions Mog the cat and Owl. The story's presentation of witches intertextually echoescomics and supernatural tales such as the traditional fairytale whereinthe witch is a threatening figure. While the text uses the iconic i��con��ic?adj.1. Of, relating to, or having the character of an icon.2. Having a conventional formulaic style. Used of certain memorial statues and busts. blackcauldron, broomstick, and silhouettes against moonlit moon��lit?adj.Lighted by moonlight.moonlitAdjectiveilluminated by the moonAdj. 1. skies, it offsetsthese by its comic-style presentation (e.g. speech bubbles and noise,effects), slapstick slapstickComedy characterized by broad humour, absurd situations, and vigorous, often violent action. It took its name from a paddlelike device, probably introduced by 16th-century commedia dell'arte troupes, that produced a resounding whack when one comic actor used it to images, and contrast of black with flat, vividcolours. The witch is constructed not as ugly and vile but as plain andincompetent, a character whose spells invariably in��var��i��a��ble?adj.Not changing or subject to change; constant.in��vari��a��bil go wrong. A complex set of relationships is found within the text, betweenthe main narrative verbal text, visual imagery, captions, speechbubbles, and noise effects. Adding to all this is the embedding 1. (mathematics) embedding - One instance of some mathematical object contained with in another instance, e.g. a group which is a subgroup.2. (theory) embedding - (domain theory) A complete partial order F in [X -> Y] is an embedding if of spelltexts within the main narrative (such as the example at the beginning ofthis article). It is the spell text which the teacher uses as aspringboard to talking about procedural texts in her mediation betweenMeg's Eggs and the children. The lesson as an intertextConstituting a spoken text, the series of lessons about Meg'sEggs can be seen to be based upon assumptions about the children'sfamiliarity with recipes, the visibility of these texts and theirgeneric structures in the home, and adults' participation inspecific cooking activities at home. The teacher introduced the Meg's Eggs narrative with a wholeclass discussion of the book's front cover. She then moved to aspecific focus on the title, seeking other `-eg' words. Childrenpromptly volunteered these, indicating the familiarity of this procedurein view of previous lessons along similar lines, and making theteacher's agenda at this point very accessible to the children. The teacher then read the text to the class. The following day,the teacher selected the `lizards and newts' spell to read to theclass, as shown at the beginning of this article. The teacher'squestion about this spell, `What does that sound like?', appearsopen-ended; however, there was one desired response compatible with theteacher's intertextual agenda of linking the spell to proceduraltexts. Rejecting Cathy's `Like a rock-a-bye' response, andtaking up Edward's response, `It's a spell', the teachermoved to the next step in her agenda.T: Good boy. What is a spell? Sarah: It's magic. T:What kind of people have spells? Matt: Witches and wizards. T:Yes, good boy. Witches and wizards make spells. [reading and showing the illustration] `Lizards and newts, three loud hoots, green frogs' legs, three bigeggs.' What does she make her spell in?Edward: Cauldron. Drawing on their intertextual knowledge about supernatural talesand how the question/answer sequences in lessons proceed, the childrenappeared to take up the teacher's agenda at this point. The teacherthen moved another step by proposing a link between Meg's spellsand recipes.T: What did Meg put into the pot? What do we call things we put into a pot to cook? Lachlan: Ingredients.T: Those things are called ingredients. Let's write it onthe board. [teacher points to the book] These are theingredients for Meg's spell. When the ingredients are writtendown, what is it called? Mummy might have a book full of these at home. It starts with the sound /r/. C: Recipe.Introduction of `ingredients' to this interaction sequencemarked the first explicit point of departure from narrative to recipe asprocedural text. The importance of this was signalled through theteacher's reiteration reiterationin eukaryotes, multiple copies of certain relatively short nucleotide sequences that are repeated from a few times to millions of times; three classes are defined, single copy, moderately reiterated and highly reiterated; some occur as inverted repeats. and scribing scribe?n.1. A public clerk or secretary, especially in ancient times.2. A professional copyist of manuscripts and documents.3. A writer or journalist.4. See scriber.v. of the response on the board,and pointing to the ingredients in the focal text. The following day, talk continued about Meg's Eggs andrecipes.T: We talked about witches' spells being similar to something your mum uses when she cooks. What did we say it was similar to? C: Recipes? T: Good boy. A witch's spell and arecipe are almost the same except Mum uses a recipe and cooks in a ...? C: Oven. T: In aoven or a pot, and witches use spells and they cook in a...? C: Pot, pot, cauldron! Cauldron. Very good./ Okay, well, I might do ... I'll do the spelling [scribing on board], /s/pell. C: /S/pell. T: OK. Aspell is what a witch uses and a witch uses a cauldron. [scribes Scribes is a text editor for GNOME that is simple, slim and sleek, and features no tabs, auto-completion and much more.Scribes is Free Software licensed under the terms of the GNU GPL. `cauldron' on boardl C: /c/ /old/-. TYou can't really sound out cauldron. It's a tricky word.It's one of those words you just have to know. All right, and Mum uses a recipe ... [scribes `recipe' on boardl C:/R/ee/see/pee/y/. Here, the teacher is drawing an analogy between witches, spellsand cauldrons on one hand, and mothers, recipes and ovens on the otherhand. This analogy carries implicit values about gender roles andactivities, issuing from broader gender discourses. The children do notexplicitly take up this analogy, as they instead focus on phonologicalfeatures of these words as they are scribed on the board (as they wereaccustomed to do in many previous lessons). Thus, the meanings suggestedby the analogy remained' unquestioned. The teacher then proposed and validated links to an earlieractivity, in order to recount the steps involved in making jelly.T: OK. All right, yesterday we made some jelly...What did we have todo first. Who can remember the first thing we did? Darren?D: We put the jelly crystals...T: In a...?D: In a jar, in a bowl.T: Good boy. We put the jelly crystals...did we put them in a bowl?C: No, poured.T: Good, we poured the jelly crystals in a bowl. Then what did we do?What was the second step we made? The second step? Jamie?Jamie: Boiling water, we tipped it into the jelly, jelly crystals.Darren: We poured...T: That's right, we poured the boiling water into the...Darren: Jelly crystals.T: Or into the bowl. Very good. Then what did we do? Renee?Renee: Stirred it up.T: We mixed the jelly crystals and the water. And the jelly crystals...?C: Vanished.C: Dissolved.T: They vanished, OK, they dissolved. Very good. They disappeared,they dissolved. What happened next? Marianne?Mary: We put the bowl to set.Gary: The mixture.T: Good girl. It was a good word that Gary came up with, wasn'tit, 'cause that's exactly what happened. In this section, talk focussed on participants like'bowl', 'jelly crystals', 'mixture' andingredients', and processes like 'dissolved' and'poured', which made up a lexicon relating to relating torelate prep → concernantrelating torelate prep → bez��glich +gen, mit Bezug auf +accprocedural steps-- a lexicon removed from that of the narrative text used to initiatethese lessons. Talk continued about cooking lasagne at home with the teacherfocussing on 'ingredients' and 'methods' as labels.Implicitly this may be understood in terms of her intertextual agendaembracing the structure of procedural texts; this agenda, however, hadnot yet been made explicit for the children:T: After that in my cookbook (programming) cookbook - (From amateur electronics and radio) A book of small code segments that the reader can use to do various magic things in programs.One current example is the "PostScript Language Tutorial and Cookbook" by Adobe Systems, Inc (Addison-Wesley, ISBN , I've got all the ingredients out,they're on the bench ... What does it tell me next? It told me whatI needed to make the lasagne. What does it tell me next? Lachlan?Lachlan: Um, how to cook it?T: Right, how to put it all together. How to make it or how to cookit. So it tells me how. Does anyone know what that part of the recipe iscalled?C: How to cook.T: It's got a special name and it starts with /m/./M/e/th /...C : /M/e/th/ , /m/th/ , mix.T: No, it might tell me to mix something but that's not what itis. I'll write it up and we'll see if you can sound it out.C: /M/eth/...T: Hands up if you know what it is. Lisa?Lisa: Metho?T: Not metho but method. The method, how to put all the ingredientstogether to cook my food. To cook the lasagne that I'm going tomake. The children appeared to be working with the teacher toapproximate her agenda, and to some degree revealed some tentativeunderstandings of thy processes involved. This may have been facilitatedby the growing distance between this talk and the narrative used as thespringboard. However, once the teacher brought Meg's Eggs back into focus,tension between at least two competing frames emerged. While the teacheroperated within a framework of procedural genre, the children'sresponses reflected their narrative frames, linking spell to story. Theuse of these different genres framed what the teacher and children said,producing divergence and ambiguity. The teacher's questions andcomments below could be construed as focussing on either the structureof the spell (as recipe), or on the content of the narrative: while theteacher intended the former, the children took up the latter, creatingtension.T: All right, do you think the spell would be the same?C: No.T: So if some, let's have a look, let's have a look at whatMeg did. OK, well, when Meg put all her ingredients together, [readingMeg's Eggs text], lizards and newts, three loud hoots, greenfrogs' legs, three big eggs'. What's this part of thespell? Cathy?Cathy: The ingredients.T: Good girl. That's the ingredients, that's what Meg usedand she made her spell. Tony, are you listening? And then [readingcaption in illustration next to three cracking eggs], 'Plink plonk (networking, abuse) plonk - (Possibly influenced by British slang "plonk" for cheap booze, or "plonker" for someone behaving stupidly; usually written "*plonk*") The sound a newbie makes as he falls to the bottom of a kill file. plunk'. What's happening there?Cathy: Three...T: No, what's happening? Edward? Edward: Eggs are coming out ofthe...T: But what's happened? What's happened? All theingredients have what? What have they done?C: She's got big ones!T: That's right, she's got huge ones because all theingredients have mixed together to make something...C: Big!T: To make something new and it wa big eggs. So what's happenedis all the ingredients have been put together and the method showed ushow to put them all to their and something new comes out of it. So aspell does work the same way. Having identified and validated the link between spell and recipe,the teacher introduced another intertextual link, between recipes andthe classroom text Monster Meals. Children's spontaneous responsesto the ingredients in these meals (e.g. 'Oh cool, yeah!','Oooooh, yuck yuck?1also yuk ?interj. SlangUsed to express rejection or strong disgust. !') revealed their engagement with the novelcontent Of this text. The teacher's questions, however, focussed onthe text in terms of its generic stages.T: What's all this, what has this story told us so far?It's told us what's gone into the meal, but what's that?They are the...C: Ingredients.T: Ingredients. [reading] In go the car doors'...C: Yum! This interaction was followed by a whole class construction of aspell. The teacher scribed children's ingredients, then moved tothe next stage of the procedural text:T: OK, we've got our ingredients. We've got how much weneed, now what do I need to write?C: Recipe.T: What do I need next in my spell? Gary? Gary: Um, ingredients.T: No, we've got the ingredients, what do I need to write innext? Michelle?Michelle: How to make it.T: I need to put how to make it. Where am I going to put all myingredients? Where am I going to put them all? Lisa?Lisa: In a cauldron.T: In a cauldron. So I need to tell the person[writing]'put' ...all the ingredients into a cauldron andstir...Well, what does it become now? It's not ingredients anymore.C: A spell.T: No, it's become a spell...When you put something into a bowland you mix it together it becomes a...?C: Method. [Note this child's link to the previous talk aboutmethods above]T: You're not thinking...When I put the ingredients into a bowland I mix the ingredients up it becomes a mix ...?C: Mixture.T: Now you're thinking. Before you were just picking words outof the air. [writing] Put all the ingredients into a cauldron and stirthe mixture.' It seemed the intertextual complexities of the lesson frustrated frus��trate?tr.v. frus��trat��ed, frus��trat��ing, frus��trates1. a. To prevent from accomplishing a purpose or fulfilling a desire; thwart: both teacher and children. Children were trying to use theirintertextual resources, such as words encountered in previous lessons,to address the teacher's questions. Given the collision ofintertextual frames of reference, anticipating and identifyingappropriate links became increasingly difficult. When narratives were brought back into focus, children'sresponses shifted to their content, and there was a semblance of harmonybetween the teacher's and children's frames of reference. Thisagain can be seen in the next phase of this sequence, when the childrenwere asked to write a spell as a procedural text.T: You are going to make up a spell.C: Wow!T: You have to pretend you are a witch or a wizard...You can make aspell for whatever it is you would like. And remember the ingredientscan be anything you like. Have four different ingredients.C: Ohhhhhh! Children's responses again show their enthusiastic engagementwith content. There remained an underlying discrepancy, however, betweenthe teacher's and children's intertextual frames of reference.Subsequent difficulties may be understood not in terms of teacher orchild competence but rather in terms of the intertextual minefieldteachers and children find themselves navigating when they engage intalk about texts. Intertextuality in the classroom -- minefield or goldmine? This sequence of lessons, which make up a continuous intertext,reveal different kinds of intertextual links. These are: intratextuallinks (e.g. between spells and the narrative in which they areembedded); links between texts (e.g. Meg's Eggs and other texts inthe series); links between texts and genres (e.g. between recipes andprocedural genres); and links between genres (e.g. between narrative andprocedural genres). This sequence also drew upon: previous lessons about graphologicaland phonological features of written language; previous activities suchas jelly making and cooking pancakes; recipe texts; discourses aboutgender-based roles and activities; and classroom management, interactionand evaluation discourses (e.g. tacitly tac��it?adj.1. Not spoken: indicated tacit approval by smiling and winking.2. a. shared formats for contributingand answering questions). The significance of a teacher's intertextual agenda lies inits instigation INSTIGATION. The act by which one incites another to do something, as to injure a third person, or to commit some crime or misdemeanor, to commence a suit or to prosecute a criminal. Vide Accomplice. of social processes whereby that agenda is enacted(after Bloome & Egan-Robertson, 1993). These processes, as we saw,are present in the running commentary a teacher provides; the questionsshe poses, and the reiteration, interpretation, written recording andevaluation of children's responses. In these processes the teachergave or withheld recognition and validation of children'scontributions according to how they approximated her agenda.Children's responses were thereby given different degrees ofsignificance. Children's access to intertextual possibilities in theMeg's Eggs lessons were constrained con��strain?tr.v. con��strained, con��strain��ing, con��strains1. To compel by physical, moral, or circumstantial force; oblige: felt constrained to object.See Synonyms at force.2. by the teacher'sintertextual agenda. By focussing, for example, upon links with recipesin cookbooks The following is a list of cookbooks, sorted alphabetically by author's surname. This is not a list of external links to commercial sites; please list only cookbooks here.This literature-related list is incomplete; you can help by [ expanding it]. , links with children's experiences with rhymes andwitch narratives were excluded. Children were seen to use theirintertextual resources to meet the teacher's intertextual agenda,but not always with success. Part of the difficulty in accessing the teacher's agenda wasits implicitness. In using a narrative text as a bridge to proceduraltexts, the teacher's agenda was not obvious, nor was it madeexplicit. This would suggest the need for unambiguous signals of what isframing the lesson at hand, and clear identification of congruence con��gru��ence?n.1. a. Agreement, harmony, conformity, or correspondence.b. An instance of this: "What an extraordinary congruence of genius and era" anddifference between text types. In considering focal texts as intertexts, other texts anddiscourses they have the potential to evoke needs to come into account.In using a particular text type as a bridge to another (e.g. narrativeto procedural texts), how the juxtaposition juxtaposition/jux��ta��po��si��tion/ (-pah-zish��un) apposition. jux��ta��po��si��tionn.The state of being placed or situated side by side. of the two texts may producefriction needs to be anticipated. Ambiguity is increased when the label'story' is used in imprecise im��pre��cise?adj.Not precise.impre��cisely adv. ways to refer to texts andchildren's writing generally. Children's efforts to approximate the teacher's agendawas at times disrupted by the spontaneous mobilisation of condensedsigns, such as 'like a rock-a-bye', which signalled otherintertextual frames coming into play. These are difficult to anticipate,by their very nature, but even so it would be appropriate to clarifyrather than dismiss such utterances. The intertextual complexities of reading lessons are many andvaried, and in constant motion, shifting in and out of focus. They mayprovide a source of insight for learners as connections are used andmade visible, but they may also lead to frustration when intertextualframes pass unrecognised or else collide col��lide?intr.v. col��lid��ed, col��lid��ing, col��lides1. To come together with violent, direct impact.2. , and acknowledgement andvalidation are withheld. There clearly is a strong need for greaterunderstanding of the intertextual complexities that shape and mobilisewhat is said and done in the name of reading instruction in the earlyschool years. REFERENCESBloome, D. & Egan-Robertson, A. (1993). The social constructionof intertextuality in classroom reading and writing lessons. ReadingResearch Quarterly, 28, 4. pp. 105-33.Halliday, M. & Hasan R. (1985). Language, Context and Text:Aspects Of language in a social semiotic semiotic/se��mi��ot��ic/ (se?me-ot��ik)1. pertaining to signs or symptoms.2. pathognomonic. perspective. Geelong, Victoria This article is about the Victorian city; the name may also refer to City of Geelong or Geelong city centre.Geelong is the second largest city in the state of Victoria, Australia and is the largest regional centre in the state. :Deakin University .*R1 refers to Academics' rankings in tables 3.1 - 3.7 in the report. R2 refers to Articles and Research rankings in tables 5.1 - 5.7. No. refers to the number of institutions compared with Deakin.. Press. pp. 47-8.Harris, P. (1992). Young children's perceptions of readingencounters in the early childhood classroom. In P. de Lacey lac��ey?adj.Variant of lacy. , A. Barlowand S. Walker (eds.), Young Children Learning: Perspectives on earlychildhood education. Sydney: UWS UWS University of Western SydneyUWS Upper West SideUWS University of Wales Swansea (Wales, UK)UWS University of Wisconsin-SuperiorUWS United We StandUWS Utah Watercolor SocietyUWS Undersea Warfare Systems Reprographic Services.Harris, P., Winser, W. & Trezise, J. (1994). The contribution ofintertextual features of reading instruction to success and failure inreading in the initial school years. Australian Research GrantSubmission, Faculty of Education, University of Wollongong HistoryThe University of Wollongong was founded in 1951 when a Division of the then New South Wales University of Technology (re-named the University of New South Wales in 1958) was established in Wollongong. , Wollongong,NSW NSWNew South WalesNoun 1. NSW - the agency that provides units to conduct unconventional and counter-guerilla warfareNaval Special Warfare .Kristeva, J. (1984). Revolution in Poetic Language. New York New York, state, United StatesNew York,Middle Atlantic state of the United States. It is bordered by Vermont, Massachusetts, Connecticut, and the Atlantic Ocean (E), New Jersey and Pennsylvania (S), Lakes Erie and Ontario and the Canadian province of :Columbia University Press Columbia University Press is an academic press based in New York City and affiliated with Columbia University. It is currently directed by James D. Jordan (2004-present) and publishes titles in the humanities and sciences, including the fields of literary and cultural studies, .Nicoll, H. & Pienkowski, J. (1975). Meg's Eggs.Harmondsworth, UK: Puffin Books.