WRITING AS A COLLABORATIVE DIALOGIC PROCESS: EXPLICIT TEACHING OF INTERTEXTUALITY IN LITERATURE

1. WRITING AS A COLLABORATIVE DIALOGIC PROCESS: EXPLICIT TEACHING OF INTERTEXTUALITY IN LITERATURE Issue is NOT about struggling writers BUT the resources afforded to students through carefully crafted curricula and professional development support Purpose of this talk is to explore how critical language teachers, in the context of a professional development initiative, can foster students awareness of language as a dynamic resource for use in different social and academic contextsIssue is NOT about struggling writers BUT the resources afforded to students through carefully crafted curricula and professional development support Purpose of this talk is to explore how critical language teachers, in the context of a professional development initiative, can foster students awareness of language as a dynamic resource for use in different social and academic contexts

2. Research Context High-Stakes School Reform and rapid demographic shifts in K-12 schools A federally-funded Master�s program in the context of a professional development alliance (ACCELA) (see Gebhard, Willett, Jimenez & Rivera, in press, 2010) Julia Ronstadt�s 5th grade urban elementary classroom Focal bilingual students: Miguel Paran and Bernardo Regalado Within the current US climate of high stake testing, accountability policies such as No Child Left Behind (NCLB), and an erosion of support for bilingual education (e.g. Massachusetts, 2002), overwhelmed �mainstream� urban school teachers are expected to deliver mandated curricula to an increasing number of linguistically and culturally diverse students (US Census, 2005). 2/3 of city children are African American and Latino. Limited financial resources compound problems for non dominant students in urban districts (Darling-Hammond, 2004). In 2003, for example, the year this research study began, 44% of those designated as �Hispanic� and 82% of �Limited English Proficient� students failed the 8th grade Massachusetts English Language Arts state test at Willow Middle School. In contrast, only 7% of the overall percentage of students in the state failed the test (Massachusetts Department of Education, 2004). Within the current US climate of high stake testing, accountability policies such as No Child Left Behind (NCLB), and an erosion of support for bilingual education (e.g. Massachusetts, 2002), overwhelmed �mainstream� urban school teachers are expected to deliver mandated curricula to an increasing number of linguistically and culturally diverse students (US Census, 2005). 2/3 of city children are African American and Latino. Limited financial resources compound problems for non dominant students in urban districts (Darling-Hammond, 2004). In 2003, for example, the year this research study began, 44% of those designated as �Hispanic� and 82% of �Limited English Proficient� students failed the 8th grade Massachusetts English Language Arts state test at Willow Middle School. In contrast, only 7% of the overall percentage of students in the state failed the test (Massachusetts Department of Education, 2004).

3. Conceptual Framework Text as web of intertexts woven together from prior texts and interactions to communicate for specific audience and purpose (e.g., Bakhtin, 1981) Literature as dialogic register that foregrounds and plays with highly complex lexico grammatical patterns (e.g.,Fowler, 1988; Simpson, 1997; Toolan, 1988) Second, as Wertsch (2006) points out, language acquisition involves not only the learning of sentence-level and rhetorical accuracy, but also involves being socialized into the heterogeneous coflux of the various speech genres that belong to generalized collective dialogue. Inherent in this view of dialogic socialization is a move way from rigidly homogenous notions of genre. Based on a dialogic view of discourse as always populated with other utterances and texts, text and oral discourse is seen as a mosaic of semiotic resources informed by intertextual connections to self, other texts, and societal concerns. Julia�s understanding of text as a mosaic of resources, for example, was used to foster students� understanding of the inherent dialogism of language (Kristeva, 1980; Keene & Zimmermann, xxxx). Dialogic foundation of this approach is grounded in Bakhtinian view of how linguistic practices are shaped both by prior discourse and inherent addressivity of discourse. Carter and McCarthy (2004) and Kramsch and Kramsch (2000) contend that an exploration of the continuum of literariness, from everyday jokes to books of poetry, can be used as a tool in teaching critical language awareness in educational settings. For example, by exploring how everyday language shares similar elements of creativity with ?iterary texts,? students learn to respond to literature with a less rigid distinction between what is ?iterature? and what is not. In other words, it demystifies and indeed deconstructs the canonical distinction between the ?iterary? and ?on-literary.? Secondly, a metalinguistic awareness of how jokes and other daily interactions work through a foregrounding of word play can support students� own literary and linguistic playfulness. As Kramsch and Kramsch (2000) state: The time has come ? to show how crucial this poetic dimension is to language learners, to language teachers, and to the linguistic individuals that we all are. (Kramsch & Kramsch, 2000, p.570) Understanding of language creativity can begin early in elementary school, according to researchers in the field. Eckhoff (1983), for example, found that second-grade children�s writing used more complex linguistic structures in their writing when they read higher-level texts with complex language patterns. Likewise, Meek (1988) found a direct correlation between the language patterning children adopt and the patterning in the texts they read. Similarly, Williams (1996, 2001) in his research with 6 year olds found that children enjoyed and responded more positively to texts with highly patterned language than those written in simplified prose. Indeed, when Williams worked with a group of young children who were having difficulty understanding how to create a narrative with a resolution, he found that the books they read were badly written. For Williams (1998, 2000) and Unsworth (2002) linguistic play is part of children�s everyday textual practices, especially at early ages, and can be used through explicit scaffolding as the stepping stone to an understanding of language as a pliable resource. To conclude, research in this literature review underlines how literature can play a crucial role in helping students develop an awareness of how patterns of meaning in texts construct point of view, particular views of reality, and texture. It can also highlight the integral relationship of text and context. As Hasan (1971) states about the reading of literature: Consistency of foregrounding and thematically motivated use of language patterns ensures a reader�s sensitivity to even apparently ordinary phenomena in language, which might elsewhere go unnoticed (Hasan, 1971, p.311) Second, as Wertsch (2006) points out, language acquisition involves not only the learning of sentence-level and rhetorical accuracy, but also involves being socialized into the heterogeneous coflux of the various speech genres that belong to generalized collective dialogue. Inherent in this view of dialogic socialization is a move way from rigidly homogenous notions of genre. Based on a dialogic view of discourse as always populated with other utterances and texts, text and oral discourse is seen as a mosaic of semiotic resources informed by intertextual connections to self, other texts, and societal concerns. Julia�s understanding of text as a mosaic of resources, for example, was used to foster students� understanding of the inherent dialogism of language (Kristeva, 1980; Keene & Zimmermann, xxxx). Dialogic foundation of this approach is grounded in Bakhtinian view of how linguistic practices are shaped both by prior discourse and inherent addressivity of discourse. My study is undertaken from a critical socio cultural standpoint. From this perspective culture is a �domain of struggle� (Kincheloe & McLaren, 2003) in a societal hierarchical ordering of discourse communities, which renders some cultural groups dominant and others more marginalized (Chouliaraki & Fairclough, 1997; Foucault 1980; Gee 1996) In schools and other institutions, race, class and gender often become the operating constructs that lead to a division of the �normal� versus the �substandard� groups in discursive and social practices (Bloome and Clarke, 2004; Sharp, 1980). The hidden curriculum: needs to be made visible -- through an explicit unpacking of the For example in low income urban areas, culturally and linguistically diverse students are predominantly constructed as failing readers and �at risk� by state and district assessments within the current climate of high accountability (Gee, 1999). However, from a critical perspective, hegemonic control is never fully established as it is always contested by the tactics of �subordinate� social groups (de Certeau, 1984). It is within the interstices, the in between, of several discourses that human agents can resist the normative order. Socio historical context Institutional context Classroom practices Text Figure 1.2: Text and Context Through the broken lines among outer and inner circles Figure 1.2 highlights how the relationship of text to local and institutional context is a dynamic social process: the individual text production shapes the context and is shaped by the context (Bakhtin, 1981; Giddens, 1991; Halliday, 2004). Change possible through the Second, as Wertsch (2006) points out, language acquisition involves not only the learning of sentence-level and rhetorical accuracy, but also involves being socialized into the heterogeneous coflux of the various speech genres that belong to generalized collective dialogue. Inherent in this view of dialogic socialization is a move way from rigidly homogenous notions of genre. Based on a dialogic view of discourse as always populated with other utterances and texts, text and oral discourse is seen as a mosaic of semiotic resources informed by intertextual connections to self, other texts, and societal concerns. Julia�s understanding of text as a mosaic of resources, for example, was used to foster students� understanding of the inherent dialogism of language (Kristeva, 1980; Keene & Zimmermann, xxxx). Dialogic foundation of this approach is grounded in Bakhtinian view of how linguistic practices are shaped both by prior discourse and inherent addressivity of discourse. Carter and McCarthy (2004) and Kramsch and Kramsch (2000) contend that an exploration of the continuum of literariness, from everyday jokes to books of poetry, can be used as a tool in teaching critical language awareness in educational settings. For example, by exploring how everyday language shares similar elements of creativity with ?iterary texts,? students learn to respond to literature with a less rigid distinction between what is ?iterature? and what is not. In other words, it demystifies and indeed deconstructs the canonical distinction between the ?iterary? and ?on-literary.? Secondly, a metalinguistic awareness of how jokes and other daily interactions work through a foregrounding of word play can support students� own literary and linguistic playfulness. As Kramsch and Kramsch (2000) state: The time has come ? to show how crucial this poetic dimension is to language learners, to language teachers, and to the linguistic individuals that we all are. (Kramsch & Kramsch, 2000, p.570) Understanding of language creativity can begin early in elementary school, according to researchers in the field. Eckhoff (1983), for example, found that second-grade children�s writing used more complex linguistic structures in their writing when they read higher-level texts with complex language patterns. Likewise, Meek (1988) found a direct correlation between the language patterning children adopt and the patterning in the texts they read. Similarly, Williams (1996, 2001) in his research with 6 year olds found that children enjoyed and responded more positively to texts with highly patterned language than those written in simplified prose. Indeed, when Williams worked with a group of young children who were having difficulty understanding how to create a narrative with a resolution, he found that the books they read were badly written. For Williams (1998, 2000) and Unsworth (2002) linguistic play is part of children�s everyday textual practices, especially at early ages, and can be used through explicit scaffolding as the stepping stone to an understanding of language as a pliable resource. To conclude, research in this literature review underlines how literature can play a crucial role in helping students develop an awareness of how patterns of meaning in texts construct point of view, particular views of reality, and texture. It can also highlight the integral relationship of text and context. As Hasan (1971) states about the reading of literature: Consistency of foregrounding and thematically motivated use of language patterns ensures a reader�s sensitivity to even apparently ordinary phenomena in language, which might elsewhere go unnoticed (Hasan, 1971, p.311) Second, as Wertsch (2006) points out, language acquisition involves not only the learning of sentence-level and rhetorical accuracy, but also involves being socialized into the heterogeneous coflux of the various speech genres that belong to generalized collective dialogue. Inherent in this view of dialogic socialization is a move way from rigidly homogenous notions of genre. Based on a dialogic view of discourse as always populated with other utterances and texts, text and oral discourse is seen as a mosaic of semiotic resources informed by intertextual connections to self, other texts, and societal concerns. Julia�s understanding of text as a mosaic of resources, for example, was used to foster students� understanding of the inherent dialogism of language (Kristeva, 1980; Keene & Zimmermann, xxxx). Dialogic foundation of this approach is grounded in Bakhtinian view of how linguistic practices are shaped both by prior discourse and inherent addressivity of discourse. My study is undertaken from a critical socio cultural standpoint. From this perspective culture is a �domain of struggle� (Kincheloe & McLaren, 2003) in a societal hierarchical ordering of discourse communities, which renders some cultural groups dominant and others more marginalized (Chouliaraki & Fairclough, 1997; Foucault 1980; Gee 1996) In schools and other institutions, race, class and gender often become the operating constructs that lead to a division of the �normal� versus the �substandard� groups in discursive and social practices (Bloome and Clarke, 2004; Sharp, 1980). The hidden curriculum: needs to be made visible -- through an explicit unpacking of the For example in low income urban areas, culturally and linguistically diverse students are predominantly constructed as failing readers and �at risk� by state and district assessments within the current climate of high accountability (Gee, 1999). However, from a critical perspective, hegemonic control is never fully established as it is always contested by the tactics of �subordinate� social groups (de Certeau, 1984). It is within the interstices, the in between, of several discourses that human agents can resist the normative order. Socio historical context Institutional context Classroom practices Text Figure 1.2: Text and Context Through the broken lines among outer and inner circles Figure 1.2 highlights how the relationship of text to local and institutional context is a dynamic social process: the individual text production shapes the context and is shaped by the context (Bakhtin, 1981; Giddens, 1991; Halliday, 2004). Change possible through the

4. Research Question In the context of a professional development initiative, how did a teacher�s explicit use of intertextuality support language minority students: In learning how to use expanded set of semiotic resources in their literary and personal narratives?

5. Methodology Data Collection: October 2004-April 2005. Video and Audio tapes of Reading/Writing block; field notes, student and classroom texts; Julia�s ACCELA course work; participant interviews Data Analysis: Classroom discourse analysis of intertextual patterns in literary interactions (e.g., Bloome & Egan Robertson, 1993; Shuart Faris & Bloome, 2004) Analysis of patterns of transitivity, lexical cohesion and appraisal in students� written texts and literary source texts (Halliday & Matthiesen, 2004) Informed by this study�s theoretical framework, intertextuality was used as an analytic tool to explore connections among focal students� writing, classroom interactions, and source literary texts (e.g., see Bakhtin, 1981; Bloome & Egan-Robertson, 1993; Bloome, Carter, Christian, Otto, & Shuart-Faris, 2005; Kamberelis & Scott, 1992). The first stage of this analysis used interactional sociolinguistics (e.g., noting of contextualization cues and lexical choices) to analyze Bernardo�s oral interactions with Julia and other students during literacy events over the course of the curricular intervention and to identify how they interacted around literary activities (bringing in self/ other text/ societal intertexts and how they were positioned and positioned themselves through these intertexts. I re-transcribed all classroom interactions and applied transcription conventions that highlighted the interlocutors� lexical choices, paralinguistic cues, and non verbal actions during classroom literacy events (Bloome, Carter, Christian, & Otto, 2005; Gumperz, 1982). This analysis helped identify how Bernardo responded to different aspects of Julia�s literacy events. The second stage of analysis included a coding of Bernardo�s references to source literary texts in classroom activities and a subsequent thematic analysis of these literary sources to identify sections that Bernardo had borrowed in writing his literary narrative and in drawing his pictures (an intertextual process that was explicitly encouraged by Julia). The third phrase of analysis involved an SFL analysis of Bernardo�s drafts of his literary narrative, his other academic texts, and intertextual source material. The micro linguistic analysis was used for two reasons: to explore how Bernardo�s patterns of language in his writing changed over time and how he intertextually appropriated literary and other classroom resources. Specifically, I analyzed patterns of lexical chaining; and appraisal and modality (Eggins, 2004; Halliday & Matthiesen, 2004; Martin & Rose, 2003; Thompson, 1996). Below is a brief description of their functions: Lexical chaining or word clustering occurs when two lexical items or more belong to the same super-category: for example, chains of nouns and verbs cohesively relate to categories such as characters, setting, or attributes in narrative texts (Eggins, 2004). Appraisal and modality can be analyzed to see how the text develops attitudinal stance toward the audience and subject matter (Martin & Rose, 2003). For example, Bernardo explicitly inscribed emotion into one of his essays through verbs of affect: �I love rainy days.� Although in the classroom Informed by this study�s theoretical framework, intertextuality was used as an analytic tool to explore connections among focal students� writing, classroom interactions, and source literary texts (e.g., see Bakhtin, 1981; Bloome & Egan-Robertson, 1993; Bloome, Carter, Christian, Otto, & Shuart-Faris, 2005; Kamberelis & Scott, 1992). The first stage of this analysis used interactional sociolinguistics (e.g., noting of contextualization cues and lexical choices) to analyze Bernardo�s oral interactions with Julia and other students during literacy events over the course of the curricular intervention and to identify how they interacted around literary activities (bringing in self/ other text/ societal intertexts and how they were positioned and positioned themselves through these intertexts. I re-transcribed all classroom interactions and applied transcription conventions that highlighted the interlocutors� lexical choices, paralinguistic cues, and non verbal actions during classroom literacy events (Bloome, Carter, Christian, & Otto, 2005; Gumperz, 1982). This analysis helped identify how Bernardo responded to different aspects of Julia�s literacy events. The second stage of analysis included a coding of Bernardo�s references to source literary texts in classroom activities and a subsequent thematic analysis of these literary sources to identify sections that Bernardo had borrowed in writing his literary narrative and in drawing his pictures (an intertextual process that was explicitly encouraged by Julia). The third phrase of analysis involved an SFL analysis of Bernardo�s drafts of his literary narrative, his other academic texts, and intertextual source material. The micro linguistic analysis was used for two reasons: to explore how Bernardo�s patterns of language in his writing changed over time and how he intertextually appropriated literary and other classroom resources. Specifically, I analyzed patterns of lexical chaining; and appraisal and modality (Eggins, 2004; Halliday & Matthiesen, 2004; Martin & Rose, 2003; Thompson, 1996). Below is a brief description of their functions: Lexical chaining or word clustering occurs when two lexical items or more belong to the same super-category: for example, chains of nouns and verbs cohesively relate to categories such as characters, setting, or attributes in narrative texts (Eggins, 2004). Appraisal and modality can be analyzed to see how the text develops attitudinal stance toward the audience and subject matter (Martin & Rose, 2003). For example, Bernardo explicitly inscribed emotion into one of his essays through verbs of affect: �I love rainy days.� Although in the classroom

6. Patterns of Meaning in Maniac Magee Spinelli (1990, p.1) They say he was born in a dump They say his stomach was a cereal box and his heart a sofa spring They say he kept an eight-inch cockroach on a leash and that rats stood guard over him while he slept. They say if you knew he was coming and you sprinkled salt on the ground and he ran over it, within two or three blocks he would be as slow as everybody else They say. Lexical cohesion: Hyperbolic connections between super category (e.g. Maniac) with sub categories (cereal box, sofa spring, rats, dump, salt) that highlight myths built around Maniac. Unrealistic expectancy connections of processes and participants (e.g. ran over: salt; kept: eight inch cockroach) Literary texture: Rhythmical increase in use of hyberbole in consecutive paragraphs and repetition of lexical chains (they say) (Instruction: Used in independent reading, and analysis of language of literature) -- (Instruction: Used in independent reading, and analysis of language of literature) --

7. JULIA�S EXPLICIT TEACHING OF INTERTEXTUALITY Intertextual Resources: Chapter and picture books (e.g., Felita, Maniac Magee, Roll of Thunder, When I feel angry) Writer�s Tools: Effective openings, dialogue, similes, narrative structure, inference Own texts on �bothersome� issues and interviews with 2nd grade audience Also use of narrative plan Joanne�s 5th Grade Unit Purpose of Unit: Understand how to shape narratives for a particular audience and social purpose Writing process Sense of Audience Reading processMini lessons Scaffolding Free write on What bothers me? Narrative plan of bookFirst draft of book Second draft of bookFinal published copy Sharing of what bothers me with 5th grade peersSharing with 2nd grade to share about bothersome issuesInterview of 2nd grade buddy about books and issues Peer and teacher feedback on 1st and 2nd draft Giving and reading aloud of book to 2nd graders Independent and guided reading of (Felita, Mohr, 1979) Independent and guided reading of Maniac Magee, Spinelli, 1990)Independent reading of choice of other novels (i.e. Tuck Every lasting, Babbitt, 1975; Charlotte�s Web, White,1999) Independent analysis and model reading of picture books (i.e. The Empty Pot, Demi, 1990)Effective openers Group discussion and individual work sheets on favorite openers Similes Drawing of mind pictures of similes; jigsaw puzzlesDialogue Collective picture book making (with direct speech and description); Show/ tell Group analysis of excerpts from Maniac Magee and student selected texts Conjunctions Use of new conjunctions in writing up description of What bothers me? Character Development Group discussion on Spinelli and his use of characters End Product : Picture BookScaffolding: systematic use of tools that mediated the students� understanding of literature Joanne Conjunctions: Teaching of grammar through a tapping into students� interest and knowledge of literature they have read. Co construction of sentences with use of these texts Similes: pointing in diagram to starting point (reading), mini lesson (critical discussion on simile) and then went to investigative centers This same process used with Effective openings (tool sheets and citation use) Dialogue (use of direct speech to reveal participants�), authentic audience, tapping into their social issues (started with reading of Maniac, writing of their own, listing their issues, sharing them with 2nd graders etc) Also use of narrative plan Joanne�s 5th Grade Unit Purpose of Unit: Understand how to shape narratives for a particular audience and social purpose Writing process Sense of Audience Reading processMini lessons Scaffolding Free write on What bothers me? Narrative plan of bookFirst draft of book Second draft of bookFinal published copy Sharing of what bothers me with 5th grade peersSharing with 2nd grade to share about bothersome issuesInterview of 2nd grade buddy about books and issues Peer and teacher feedback on 1st and 2nd draft Giving and reading aloud of book to 2nd graders Independent and guided reading of (Felita, Mohr, 1979) Independent and guided reading of Maniac Magee, Spinelli, 1990)Independent reading of choice of other novels (i.e. Tuck Every lasting, Babbitt, 1975; Charlotte�s Web, White,1999) Independent analysis and model reading of picture books (i.e. The Empty Pot, Demi, 1990)Effective openers Group discussion and individual work sheets on favorite openers Similes Drawing of mind pictures of similes; jigsaw puzzlesDialogue Collective picture book making (with direct speech and description); Show/ tell Group analysis of excerpts from Maniac Magee and student selected texts Conjunctions Use of new conjunctions in writing up description of What bothers me? Character Development Group discussion on Spinelli and his use of characters End Product : Picture BookScaffolding: systematic use of tools that mediated the students� understanding of literature Joanne Conjunctions: Teaching of grammar through a tapping into students� interest and knowledge of literature they have read. Co construction of sentences with use of these texts Similes: pointing in diagram to starting point (reading), mini lesson (critical discussion on simile) and then went to investigative centers This same process used with Effective openings (tool sheets and citation use) Dialogue (use of direct speech to reveal participants�), authentic audience, tapping into their social issues (started with reading of Maniac, writing of their own, listing their issues, sharing them with 2nd graders etc)

8. Students As Literary Authors A key feature in Julia�s writing approach was her constant positioning of students as literary authors. In whole class and group activities, the students were encouraged to see how their life experiences and favorite literary materials could be used for authorial purposes. She also had them play dice games where they brainstormed on how they would open, develop and end their narratives and use source texts. In the short clip above, Julia asks students to not just see themselves as authors but to position them as Spinelli - to look at the novel and see how they would respond to it.. Etc Getting them to look at literature as a mosaic of resources// autobiographical essays by Spinelli and Ralph Fletcher/ in this particular instance they are looking at how Spinelli came up with the langauge and what would be his readership�A key feature in Julia�s writing approach was her constant positioning of students as literary authors. In whole class and group activities, the students were encouraged to see how their life experiences and favorite literary materials could be used for authorial purposes. She also had them play dice games where they brainstormed on how they would open, develop and end their narratives and use source texts. In the short clip above, Julia asks students to not just see themselves as authors but to position them as Spinelli - to look at the novel and see how they would respond to it.. Etc Getting them to look at literature as a mosaic of resources// autobiographical essays by Spinelli and Ralph Fletcher/ in this particular instance they are looking at how Spinelli came up with the langauge and what would be his readership�

9. Authors as Scavenger Hunters Miguel: �Our coach had a great mind for science, but he was a total goose-egg when it came to baseball.� Julia: Hmm. And why was that an effective opener for you? Miguel: Because my main character, she�s going to Esselbrook, and she doesn�t know anything about the school Julia: Ah hah. So you might be able to change that sentence a little way to fit your story. Cool. Toilet Paper Tigers(Korman, 1993, p.1). Positioning of self as humorous/ likes humorous texts etc Positioning of self as humorous/ likes humorous texts etc

10. Building of the Field Miguel populates his final narrative with participants from Esselbrook Academy website Text plays with names of teachers, characters, and real tensions in Fuentes Elementary(e.g. name of bully: Ronstadt; name of headmaster: Questadt) The use of website (long hours spent browsing it - ditiching of earlier plan to write about a child learning to ride a biclce -- creation of parallel universe -The use of website (long hours spent browsing it - ditiching of earlier plan to write about a child learning to ride a biclce -- creation of parallel universe -

11. Building of Cohesion in Text Miguel�s final literary narrative echoes and plays with patterns of meaning from Charlotte�s Web and Spinelli�s (1990) Maniac Magee Text shows lexical cohesion in discrete sequences but lacks literary texture Handout: show the highlighted texts Handout: show the highlighted texts

12. The architectural design room is very long and narrow. However, the walls are covered in blueprints of kitchen designs. The classroom smelled of freshly cut-down wood. The class is decades old but seems as if it was built yesterday. It smelled of the perspiration of children working hard, and kids traveling from room to room. Also it smells of carpet that is dusty with mud and snow. The dorm is large with gleaming clouds surrounding the chimney. It smelled of lead and of carpet shampoo. The stairs up to the dorms were like a journey to space. If after every class day you walk up those stairs to your dorm room for an entire year, you will walk up Mount Everest twice. Talk about drafting/ peer collaboration/ how this text came about (important part of process). Here we can see that Miguel has used the E.B. White text to build up the description of the design room and the dorm. He replaces the old/ musty/ happy appraisal words with his own set. He pictures the school in the midst of winter and in the country. In his description of the dorm, he also uses a simile that links into to Harry Potter type of language (he effectively uses the �journey to space� to indicate the distance to the dorms and then moves into a very Spinelli use of language to highlight this long journey again; what is interesting is that in the other sequences patterns of analysis reveal that the teacher acts as main actor/doer and protagonist is the passive receiver / Talk about drafting/ peer collaboration/ how this text came about (important part of process). Here we can see that Miguel has used the E.B. White text to build up the description of the design room and the dorm. He replaces the old/ musty/ happy appraisal words with his own set. He pictures the school in the midst of winter and in the country. In his description of the dorm, he also uses a simile that links into to Harry Potter type of language (he effectively uses the �journey to space� to indicate the distance to the dorms and then moves into a very Spinelli use of language to highlight this long journey again; what is interesting is that in the other sequences patterns of analysis reveal that the teacher acts as main actor/doer and protagonist is the passive receiver /

13. Echoing Spinelli in Other Texts Prompt: You have looked at variety of openers that authors have written to invite the reader to read. Choose any opener from literature that you like. Use it as your own opener and continue writing. Invent the continuation of the story. Be creative. Be bold. Be brave. Be you! They say he had no parents, they say he couldn�t speak. They say he had no brain, they say he ran faster than a 2 ton bullet train. They say he could run around the world 100 times in one minute. So they say Reflective essay on novel (lexical repetition, hyperbole) What Miguel also started to do in other writing assigments was to play with patterns from the texts -- for example in a reflective composition he played with the patterns -- Another way that Julia encouraged students to play with literaturre was by textual transformation exercises and also by looking and analyzing their favorite novels to see why and what resonated.. The class often seemed like a creative writing workshop where students would run off to show and read examples of effective langauge (show versus tell; strong openers etc) What Miguel also started to do in other writing assigments was to play with patterns from the texts -- for example in a reflective composition he played with the patterns -- Another way that Julia encouraged students to play with literaturre was by textual transformation exercises and also by looking and analyzing their favorite novels to see why and what resonated.. The class often seemed like a creative writing workshop where students would run off to show and read examples of effective langauge (show versus tell; strong openers etc)

14. Bernardo�s Intertextual Resources On meds/ distracted but when they were introduced to 2nd grade partners for reading/ mentoring purposes, Bernado chose the student with very difficult behavioral issues and began reading to him/ and with him books on emotions/ In one response to the Moser text above Bernardo wrote: I never knew people get in trouble for low self esteem. This idea provided him with the core idea for his story book: He needed a lot of help writing his narrative but he used this key idea and wrote about a troubled 2nd grader who was always acting out and was very isolated but gradually he realized that it was not a way to make friends. In an interview with a newspaper at a publishing party Bernardo said: Mirroring of 2nd grader�s social issues (and own) for ideational content Structure and interpersonal patternings in picture books (e.g., Cornelia�s Spelman, When I feel Angry) On meds/ distracted but when they were introduced to 2nd grade partners for reading/ mentoring purposes, Bernado chose the student with very difficult behavioral issues and began reading to him/ and with him books on emotions/ In one response to the Moser text above Bernardo wrote: I never knew people get in trouble for low self esteem. This idea provided him with the core idea for his story book: He needed a lot of help writing his narrative but he used this key idea and wrote about a troubled 2nd grader who was always acting out and was very isolated but gradually he realized that it was not a way to make friends. In an interview with a newspaper at a publishing party Bernardo said: Mirroring of 2nd grader�s social issues (and own) for ideational content Structure and interpersonal patternings in picture books (e.g., Cornelia�s Spelman, When I feel Angry)

15. Julia told the students early on in the curricular unit that she wanted them to use illustrations or photos to accompany their literary narratives because they were writing for 2nd graders: Julia: You�re going to want to write something wonderful to one of those 2nd-grade children because it is going to be a gift for them and we are going to make it look like a real picture book with real illustrations (FN, January 28, 2005) Researchers point to the importance of using picture books as tools for second language learners and young children to help them understand the complex nature of written narratives (e.g., Astorga, 1999; Dyson, 2003; Toolan, 1988; Unsworth, 2001). In an extended classroom activity, Julia used photocopied pictures from Levitin�s (1996) A Piece of Home to get the students thinking about how illustrators and writers juxtapose images and text. Analysis of Bernardo�s multimodal page that he wrote for this activity showed how the image of a mother and son helped scaffold his understanding of what lexical chains to use in his written description. Indeed, throughout the curricular unit, visual texts were very important resources for Bernardo in his writing process. When faced with the task of creating a narrative plan, Bernardo began not with a verbal text but with two images of a school and of a boy laughing at others, two visual texts that became the germinating seeds for his multimodal story about a protagonist who �gets into trouble on purpose� so he can make friends. Indeed, to create his final literary book, Bernardo adapted both images and a story line from picture books he had read to his second grade partner. The figure below highlights the similarities of shading and of stance of the angry main characters in three multimodal texts, one in a picture book by Spelman (2000) and the other two by Bernardo, one for a poster he created with his 2nd-grade partner and the other for his narrative. Julia told the students early on in the curricular unit that she wanted them to use illustrations or photos to accompany their literary narratives because they were writing for 2nd graders: Julia: You�re going to want to write something wonderful to one of those 2nd-grade children because it is going to be a gift for them and we are going to make it look like a real picture book with real illustrations (FN, January 28, 2005) Researchers point to the importance of using picture books as tools for second language learners and young children to help them understand the complex nature of written narratives (e.g., Astorga, 1999; Dyson, 2003; Toolan, 1988; Unsworth, 2001). In an extended classroom activity, Julia used photocopied pictures from Levitin�s (1996) A Piece of Home to get the students thinking about how illustrators and writers juxtapose images and text. Analysis of Bernardo�s multimodal page that he wrote for this activity showed how the image of a mother and son helped scaffold his understanding of what lexical chains to use in his written description. Indeed, throughout the curricular unit, visual texts were very important resources for Bernardo in his writing process. When faced with the task of creating a narrative plan, Bernardo began not with a verbal text but with two images of a school and of a boy laughing at others, two visual texts that became the germinating seeds for his multimodal story about a protagonist who �gets into trouble on purpose� so he can make friends. Indeed, to create his final literary book, Bernardo adapted both images and a story line from picture books he had read to his second grade partner. The figure below highlights the similarities of shading and of stance of the angry main characters in three multimodal texts, one in a picture book by Spelman (2000) and the other two by Bernardo, one for a poster he created with his 2nd-grade partner and the other for his narrative.

16. Lexical Cohesion He pulled the soap bag, broke open the soap dispenser, and took the handle, which was as hard as a rock. He threw it at the mirror. It cracked. He turned on all the faucets squesed the soap out of the bag and threw the handle at the light. Now the bathroom was damp and very dark. In terms of transitivity, Julia provides him with a particular taxonomy of lexical relations (soap dispenser, handle, mirror) and expectancy in the processes (e.g., break: soap dispenser; mirror: crack). In his intratextual continuation of the story Bernardo amplifies this particular lexical and verbal taxonomy (turn on: faucets; squeeze: soap bag: throw: handle) to accentuate Mitchell�s willful destruction in the bathroom. His next phase successfully integrates the evaluation sequence from his first draft into this draft: After he came out the bathroom, you could see that the anger was frying in Mitchell�s head like your mother making fried eggs in the morning. Mitchell wanted REVENGE. So he thought in his head, �Maby after school when the bus driver dropped (drops) all the kids off, I could beat him up and I will be popular and I will get some friends. At this point Julia again helps him with the transition to the next phase of the complicating action by using a temporal marker and short description of Mitchell getting off the school bus. Structurally, with this explicit intratextual scaffolding from Julia, Bernardo successfully develops the rest of the narrative with the end of the complicating action, a clear resolution to Mitchell�s internal conflict, and an evaluative coda. In terms of transitivity, Julia provides him with a particular taxonomy of lexical relations (soap dispenser, handle, mirror) and expectancy in the processes (e.g., break: soap dispenser; mirror: crack). In his intratextual continuation of the story Bernardo amplifies this particular lexical and verbal taxonomy (turn on: faucets; squeeze: soap bag: throw: handle) to accentuate Mitchell�s willful destruction in the bathroom. His next phase successfully integrates the evaluation sequence from his first draft into this draft: After he came out the bathroom, you could see that the anger was frying in Mitchell�s head like your mother making fried eggs in the morning. Mitchell wanted REVENGE. So he thought in his head, �Maby after school when the bus driver dropped (drops) all the kids off, I could beat him up and I will be popular and I will get some friends. At this point Julia again helps him with the transition to the next phase of the complicating action by using a temporal marker and short description of Mitchell getting off the school bus. Structurally, with this explicit intratextual scaffolding from Julia, Bernardo successfully develops the rest of the narrative with the end of the complicating action, a clear resolution to Mitchell�s internal conflict, and an evaluative coda.

17. Expanded Set of Linguistic Resources in Other Texts October 2004 A Special Friend My mom is nice because she helps me on my homework and like on my spelling. And on my science about the human body and bones. She also helps me on my math and sometimes on my geografy. Also on my mutaplucation tables too. And about angles. March 2005 What I do on Rainy Days When I�m bored of playing video games I go outside to play in the rain. The reason why I go outside is because I love rainy days. I play tag, hide-and-go seek. But my most favorite thing to do in the rain is climbing up trees. Then I look at the sky. � To me the thunder sounds like a T Rex screeching its lungs off. In this paragraph Bernardo uses several interconnected subcategories to highlight what he does in the rain. This expanded lexical chain differs dramatically from his use of several unconnected ideas in his earlier writing in the academic year and echoes the descriptions he uses in his final literary narrative. In addition, Bernardo�s use of figurative language in this essay allows him to imply the narrator�s emotional stance toward the subject matter instead of explicitly stating it. He uses, for example, an innovative simile to underline the noise of the thunder outside: �To me the thunder sounds like a T Rex screeching it�s lungs off.� Also, the text has a distinct coda, or concluding statement, that serves as a cohesive tie in the essay (Hasan, 1989): the concluding evaluative comment about why he gets beaten in board games refers anaphorically to the three previous paragraphs. Overall, analysis of Bernardo�s third essay for the district shows that he uses similar linguistic resources to those used in his literary narrative. Although these similarities do not point categorically to any causal connection between Julia�s instruction in literature and the shifts in Bernardo�s academic writing in district assessments, they highlight the fact that over the course of five months Bernardo developed a better understanding of what lexical resources and structures he needed to use when writing for the district and when writing a literary narrative. Below, for example, is a table that shows the changes in thematic cohesion in his first and third district essay. Although the essays use the same number of theme repetition (where the same point of departure or a co reference is used in subsequent clauses), his March essay shows a frequent use of the zigzagging linear progression that is used more often in advanced academic texts while his earlier one displays none (Martin & Rose, 2004). Category Text 1Text 3Iterative theme progression77Linear progression 010In this paragraph Bernardo uses several interconnected subcategories to highlight what he does in the rain. This expanded lexical chain differs dramatically from his use of several unconnected ideas in his earlier writing in the academic year and echoes the descriptions he uses in his final literary narrative. In addition, Bernardo�s use of figurative language in this essay allows him to imply the narrator�s emotional stance toward the subject matter instead of explicitly stating it. He uses, for example, an innovative simile to underline the noise of the thunder outside: �To me the thunder sounds like a T Rex screeching it�s lungs off.� Also, the text has a distinct coda, or concluding statement, that serves as a cohesive tie in the essay (Hasan, 1989): the concluding evaluative comment about why he gets beaten in board games refers anaphorically to the three previous paragraphs. Overall, analysis of Bernardo�s third essay for the district shows that he uses similar linguistic resources to those used in his literary narrative. Although these similarities do not point categorically to any causal connection between Julia�s instruction in literature and the shifts in Bernardo�s academic writing in district assessments, they highlight the fact that over the course of five months Bernardo developed a better understanding of what lexical resources and structures he needed to use when writing for the district and when writing a literary narrative. Below, for example, is a table that shows the changes in thematic cohesion in his first and third district essay. Although the essays use the same number of theme repetition (where the same point of departure or a co reference is used in subsequent clauses), his March essay shows a frequent use of the zigzagging linear progression that is used more often in advanced academic texts while his earlier one displays none (Martin & Rose, 2004). Category Text 1Text 3Iterative theme progression77Linear progression 010

18. Summary of Findings Students used and played with connections to own world (e.g., social concerns, relationships) Students borrowed and played with patterns of meaning from source texts in discrete sequences of text In Miguel�s case, pattern of transitivity constructed a passive rather than active protagonist (only once is she the actor of material process); foregrounding of particular patterns in orientation not continued in other sequences Over the course of five months clear expansion in use of appropriate linguistic choices in Bernardo�s assessment writing. Very little change in use of resources in Miguel�s writing Other students Other students

19. Possible Implications Explicit focus on intertextuality positions students as agentive text makers Teacher�s Use of Literary Register allows students to notice and appropriate patterns of appraisal and cohesion Approach could include meta language and explicit teaching of how specific patterns of transitivity inform character development, setting and orientation of narratives (e.g., Fowler, 1986; Simpson, 1997; Toolan, 1988; Williams, 2000)