By Diane Mavers
Children’s daily drawing and writing are paradoxical: charmingly enticing, but doubtless unremarkable of their ordinariness. This booklet takes a really shut examine what passes by way of principally ignored at domestic and at school: copying, texts fleetingly current then long past, an image drawn after the valued paintings of writing has been accomplished. reading positive aspects of children’s textual content making which are often passed over as a result of their very ordinariness, or disregarded as blunders simply because they're incorrect or missing, the ebook examines beneficial properties reminiscent of shading, association and different types of shorthand, and uncovers an depth of attempt within the making of that means. In decisively transferring the focal point clear of insufficiency to what young children can do and to the ‘work’ they put money into the texts they make, the lens taken right here unearths resourcefulness and purposiveness. The unremarkable seems to be amazing. This has the main profound implications for what occurs in school, and past.
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Additional info for Children's Drawing and Writing: The Remarkable in the Unremarkable
When writing is remade as writing or drawing as drawing the source and destination modes are shared. Possibilities for redesign within the mode—or ‘intramodal redesign’—are available. The ‘copier’ may choose to make adjustments within the resource ‘set’, such as changing tense, substituting one punctuation mark for another, reorienting directionality or reorganizing arrangement. For example, in copying from the board in a science lesson on osmosis (see Chapter 3), Davonte substituted ‘My results’ for ‘My reserloution (resolution)’.
In part, this depends what it is that is being drawn: the changing location of a body from one place to another, a constantly altering visual phenomenon, the unfolding of a sequence of episodic shifts in an event, and so on. The drawing might be an equivalent of a freeze frame, such as the bent limbs and torso of walking, running, bending or catching (Goodnow, 1977: 142–148; Lowenfeld, 1939: 158, 162), or jumping with the person vertically distanced from the ground line (Lowenfeld and Brittain, 1987: 277).
Where the copy is in many respects closely identical to the original, a large proportion of signifiers is shared. These material forms can be tracked, shown and described. Tracing meaning is more slippery. g. a word, a punctuation mark, a shape, positioning), the meaning that has been made of and with it may be difficult to recover, even irrecoverable. It is this that makes copying worrying for educators. Once inscriptional forms are established and children have sufficient resources to write and draw with some degree of independence, a concern with copying is that form may be re-produced without sufficient engagement with subject matter.