The effect of direct instruction in story grammar using deep processing on the reading and writing achievement of second-graders

The purpose of this study was to investigate the effects of direct instruction in story grammar on the reading and writing achievement of second graders. Three aspects of story grammar (character, setting, and plot) were taught with direct instruction using the concept development technique of deep processing. Deep processing which included (a) visualization (the drawing of pictures), (b) verbalization (the writing of sentences), (c) the attachment of physical sensations, and (d) the attachment of emotions to concepts was used to help students make mental connections necessary for recall and application of character, setting, and plot when constructing meaning in reading and writing.^ Four existing classrooms consisting of seventy-seven second-grade students were randomly assigned to two treatments, experimental and comparison. Both groups were pretested and posttested for reading achievement using the Gates-MacGinitie Reading Tests. Pretest and posttest writing samples were collected and evaluated. Writing achievement was measured using (a) a primary trait scoring scale (an adapted version of the Glazer Narrative Composition Scale) and (b) an holistic scoring scale by R. J. Pritchard. ANCOVAs were performed on the posttests adjusted for the pretests to determine whether or not the methods differed. There was no significant improvement in reading after the eleven-day experimental period for either group; nor did the two groups differ. There was significant improvement in writing for the experimental group over the comparison group. Pretreatment and posttreatment interviews were selectively collected to evaluate qualitatively if the students were able to identify and manipulate elements of story grammar and to determine patterns in metacognitive processing. Interviews provided evidence that most students in the experimental group gained while most students in the comparison group did not gain in their ability to manipulate, with understanding, the concepts of character, setting, and plot. ^

A visual critical ethnography of youth develoment in a Rio de Janeiro favela

Favelas are Brazilian informal housing settlements that are areas of concentrated poverty. In Rio de Janeiro, favelas are perceived as areas of heightened criminal activity and violence, and residents experience discrimination, and little access to quality education and employment opportunities. In this context, hundreds of non-formal educational arts and leisure programs work to build the self-esteem and identity of youth in Rio's favelas as a way of preventing the youth from negative local influences. The Morrinho organization, located in the Pereira da Silva favela in Rio, uses art as a way for the local male youth to communicate their lived reality. This study used a visual critical ethnographic methodology to describe the way in which the Morrinho participants interpret living in a favela. Seventeen semi-structured interviews with young men aged 15 to 29, the feature-length documentary film on the organization, 206 researcher produced documentary style photographs of the Morrinho artwork, and the researcher's field notes were analyzed. Truth claims, ways of seeing as communicated through words and actions, were induced through a cyclical process of reconstructive horizon analysis that incorporated the societal context and critical theory. The participants communicated their concerns about life in a favela; however, they did not describe their societal positions in terms of complete marginalization. They named multiple benefits of living in Pereira da Silva, discussed positive and negative experiences in school, and described ways they circumvented discrimination. Morrinho as an organization was described as an enthralling game and a social project that benefited dozens of local youth. Character development was a valuable result of participation at Morrinho. The Morrinho artwork communicates a nuanced vision of both benevolent and violent social actors, and counters the overwhelmingly negative dominant characterization of Rio de Janeiro's favelas. This study has implications for an inclusive critical pedagogy and the use of art as a means to facilitate a transformative education. Further research is recommended to explore terminology used to refer to favelas, and perceptions that favela residents have of their experiences in public education.

The Fullness of time

THE FULLNESS OF TIME is a novel about the quest for identity that transcends the limitations of moral duty, social status, and cultural conventions. Set in Tarpon Springs, Florida, in 1969, it is the story of Victor Lucas, a young Greek immigrant forced to go to war in Vietnam in another man's place in order to save the woman he loves. He must survive the war to return and reclaim his love and his rightful place in society. Based on the archetypal hero's quest as articulated by Joseph Campbell, the narrative is told from the limited third-person perspective of the main character. Though the journey is particular to Tarpon Springs in the 1960s, it echoes the human struggle and triumph in the wanderings of Ulysses. The novel's influences include Thomas Hardy's The Mayor of Casterbridge, but is also thematically related to contemporary works exploring cultural turbulence and upheaval.

Human disturbance and forest diversity in the Tansa Valley, India

We assessed the diversity of woody plants at 15 forested sites in the Tansa Valley of Thane District, in Maharashtra, India. The fewest species (11) were seen at a degraded mangrove site near the river mouth, and the greatest number (150) in the rich semi-evergreen forest on Tungar Hill. For all sites there were 141 tree, 25 shrub and 15 liana species, a total of 181 species. Excluding the mangrove site, which had no species in common with the other 14 sites, we analyzed the species distributions in detail. 2 These sites ranged in area from 4 to 30 km each, had woody floras of 89 6 6 species, and varied in intensity of human impact. Despite a history of exploitation and substantial reduction in biomass from firewood collecting, set fires and illicit tree felling, considerable plant diversity remains in the area.We found a modest increase in species richness in transects away from two villages. We observed the exploitation of the forest by the principal users, primarily of the Warli Tribe. They exploited a wide variety of forest resources (92 species), for medicines, foods, construction materials, household goods, manure and other purposes. They collected 15 items for sale. By far the single most important item collected was firewood, which dramatically reduced forest biomass within 2 km of villages. The species distributions in these forest remnants are strongly nested, mostly due to varying degrees of disturbance at individual sites. The high species diversity on Tungar Hill is most likely a relict of the earlier character of forests throughout much of the valley. It merits the highest priorities for preservation, as a refuge for Western Ghat species at the northern limits of their distributions.

Dulce Maria Loynaz' Jardin: Subversive tropological discourse

The purpose of this dissertation is to analyze how the tropes or figurative discourse in Loynaz’s novel, Jardín, becomes a means by which she involves the reader within a text that subverts socio-cultural conventions. Through textual analysis, it explains how the poet communicates her views of the world as a conflictive space where existence is the will to live, life being a human construction like a garden, and a woman’s decision –often frustrated by men– to seek self-realization.^ By tracing some critical studies focused on polarities allegedly present in Jardín, such as: poetry/prose, lyric poetry/novel, word/silence, life/death, character novel/space novel, civilization/barbarism, posmodernismo/vanguardismo, and femininity/feminism, this essay explores Loynaz’s esthetic and ideological codes to demonstrate how opposition can be seen in her novel as part of her arrangement of an artistic philosophy.^ This research refers to three main sources: the semiotician Umberto Eco’s notion of the text’s indeterminacy as an opera aperta, reception theory, and Mikhail Bakhtin’s concept of dialogism. By applying these theories to the analysis of this novel, I seek to show Loynaz’s literary modus (tropological language) and ideological dictum , which correlate oppositions and transform them as a point of departure to reconsider civilized life. The poet is presented as an esthetic force that compels the reader to question some false values, by creating an implicit but intelligent dialogue between him/her and a lyrical text. To describe such literary procedure, I coin in this study the term dialirismo (dialyricism). ^ My essay is centered on the tropes through which Loynaz creates her dialyrical text. By focusing on metaphor, symbol, synecdoche, and metonymy, I examine Jardín as a convergence of the following conceptual aspects: intertextuality, primitivism, and feminist discourse. I argue that Loynaz’s novel is a creative response to the literary tradition, as well as a proposal to understand writing –and reading– as an open, interactive process in search not only of artistic values but also of critical knowledge.^ This exploration shows how the novelist faces a so-called civilized world through the eyes of her fictional character, Bárbara, who confronts patriarchal discourse. It celebrates Loynaz’s poetic representation of this inquisitive woman, in her fenced garden, as a human being who can see, above and beyond an iron curtain, the possibility to overcome an aggressive male-centered civilization.^