Mathematics in children’s books

These notes grew out of classroom discussions of children's books.

Talking books for children's home use in a minority Indigenous Australian language context

Members of the Kunibidji community are the traditional owners of the lands and seas around Maningrida, a remote community in Northern Australia. Most of the 200 members of the Kunibidji Community speak Ndjebbana as their first language. This study reports on the complexities of transforming technology to provide Kunibídji children with access to digital texts at home. The printed Ndjebbana texts that were kept at school were transformed to Ndjebbana talking books displayed on touch screen computers in the children's homes. Some results of the children's interaction around these touch screens are presented as well as some quantitative results of the computer viewing in the homes. The processes of rejecting technological determinism, upholding linguistic human rights of speakers of minority languages and viewing technology as practice rather than a set of artefacts are discussed in this paper. The results of this study highlight the need for speakers of minority Indigenous Australian languages to have access to texts in their threatened languages on technologies at home.

Books of the year - poetry collections

Brief review of poetry collections published in 2012

International students in Australia: read ten thousand volumes of books and walk ten thousand miles

A number of international students, predominately from Asian countries, are present in universities in the UK, United States, and Australia. There is little research exploring their experiences as they negotiate the disciplinary requirements of their courses. This paper investigates students' agency as they write their first assignment for their Master's of Teaching English to Speakers of Other Languages course and the academics who teach them. Talk around texts and the positioning theory are used to analyse the data. It is argued that the students demonstrate strategic agency, which allows them to better understand the academic requirements of their disciplines. The analysis reveals the complexities involved in international students' adaptation to disciplinary discourse and the implications for teaching and learning in higher education.

Made in New Zealand: place and enchantment in Margaret Mahy's picture books

Margaret Mahy published over a hundred picture books from A Lion in the Meadow in 1969 to a cluster of posthumous texts. This article considers the extent to which Mahy’s picture books can be said to have been “made in New Zealand,” given that most have been illustrated by artists from other countries, particularly Britain. Mahy’s picture book narratives are, I argue, informed by values, assumptions and orientations toward the natural world which subtly but unmistakably locate protagonists in New Zealand, even when the books’ illustrations reflect British, American or Canadian geographic and cultural settings. In this sense Mahy’s picture books are transnational products, traversing national and cultural boundaries.

Two trees: Australian artists' books to Afghanistan and back

Two Trees documents an artists' books collaboration between 14 Australian women artists and women in Afghanistan who were learning literacy. The collaboration resulted in 36 concertina books of images, withDari and Pashto hand written texts.The books are held in the State Library of Queensland's artists' books collection. Two Trees includes includes an introduction by Barbara Kameniar, and texts by Malalai Joya, Gali Weiss, Matthias Thomczak and Latifa Ahmady.

Unfolding projects: Afghan and Australian artist’s books collaborations

In August 2009 an email was circulated to a number of Australian women artists with an offer to participate in a project of dialogue with women in Afghanistan. The project grew as a response to the dire situation of many women in Afghanistan, particularly in relation to education; many women are illiterate because they were and often still are, forbidden, restricted, or discouraged from attending school. By April 2010, 53 artists’ books by 14 women artists from various parts of Australia were delivered to Afghanistan, thereby beginning a process of creative collaboration between women situated in different places, cultures, and languages, attempting a productive connection through image and text. Each artist had created a small series of concertinas of imagery consistent with her current studio practice, which were then delivered to Afghanistan and distributed amongst women participating in literacy education. The women were asked to relate to the images by writing their own words directly within. The general intent was for the concertinas to be sent back to Australia, then bound and exhibited to raise public awareness, and possibly sold to raise funds. The artistic intent, however, was not the fundraising aspect as much as to take part in a process of support and dialogue with women in Afghanistan. It was a manoeuvre that said 'you are not alone'. The aim was to mobilise a conversation of sorts through the visuality and materiality of the artist’s book, despite the limitations of cultural, experiential, and physical distance. Just over six months from their delivery to Afghanistan, 36 of the 53 books returned to Australia, each marked with handwritten stories and poems in Dari and Pashto. This paper discusses the processes and considerations involved in the project, and the partnership formed with SAWA-Australia (Support Association for the Women of Afghanistan).