Accompanying workbook not available in digital format / Both empirical and anecdotal evidence indicates that visual communication1 design practices implemented by designers with full colour vision often disadvantage, and sometimes endanger, colour-blind people. The thesis The Machine postulates that colour-blind people – comprising approximately 8% of males and 0.5% of females (Lewis et al., 1990) – are marginalized by such practices. It argues that this group could benefit from a design strategy that enhances the communicative potential and visibility of colour. The proposed strategy involves embedding pattern into potentially confusing colours such as red and green. The embedded pattern would function for colour-blind people as an additional clue to the identity of these colours. The thesis contends that while colour alone can be confusing for colour-blind people, patterned colour could offer a solution with a wide range of possible applications. The research aims of The Machine include: developing a system of patterned colour; creating a wordless picture book that demonstrates the effectiveness of the system; constructing a narrative around the condition of red-green colourblindness; and employing visual rhetoric2 to increase awareness of and sensitivity to colour-blindness among those with full colour vision. The design of the thesis is supported by research in a number of interrelated areas. These include the history of pattern post-1850, particularly in Western culture; precedents for patterned colour; and visual rhetoric in story-telling. The research also incorporates an analysis of the defining characteristics of ten late twentieth-century and early twenty-first-century wordless picture books. The thesis is further supported by applied research into patterned colour and visual rhetoric. The Machine aims to benefit colour-blind people, a significant minority group whose visual needs are currently inadequately met. In addition, it proposes broadening the cultural role and significance of pattern. Moreover, by incorporating informative elements usually associated with pedagogic material, it aspires to extend the boundaries of the fantasy picture book genre. 1 Visual communication (n): communication that relies on vision (Wordnet, 2006). 2 Visual rhetoric: the use of visual techniques, such as the creation of visually ‘engaging’ characters, as a means of persuading a target audience

Accompanying workbook not available in digital format / Both empirical and anecdotal evidence indicates that visual communication1 design practices implemented by designers with full colour vision often disadvantage, and sometimes endanger, colour-blind people. The thesis The Machine postulates that colour-blind people – comprising approximately 8% of males and 0.5% of females (Lewis et al., 1990) – are marginalized by such practices. It argues that this group could benefit from a design strategy that enhances the communicative potential and visibility of colour. The proposed strategy involves embedding pattern into potentially confusing colours such as red and green. The embedded pattern would function for colour-blind people as an additional clue to the identity of these colours. The thesis contends that while colour alone can be confusing for colour-blind people, patterned colour could offer a solution with a wide range of possible applications. The research aims of The Machine include: developing a system of patterned colour; creating a wordless picture book that demonstrates the effectiveness of the system; constructing a narrative around the condition of red-green colourblindness; and employing visual rhetoric2 to increase awareness of and sensitivity to colour-blindness among those with full colour vision. The design of the thesis is supported by research in a number of interrelated areas. These include the history of pattern post-1850, particularly in Western culture; precedents for patterned colour; and visual rhetoric in story-telling. The research also incorporates an analysis of the defining characteristics of ten late twentieth-century and early twenty-first-century wordless picture books. The thesis is further supported by applied research into patterned colour and visual rhetoric. The Machine aims to benefit colour-blind people, a significant minority group whose visual needs are currently inadequately met. In addition, it proposes broadening the cultural role and significance of pattern. Moreover, by incorporating informative elements usually associated with pedagogic material, it aspires to extend the boundaries of the fantasy picture book genre. 1 Visual communication (n): communication that relies on vision (Wordnet, 2006). 2 Visual rhetoric: the use of visual techniques, such as the creation of visually ‘engaging’ characters, as a means of persuading a target audience

This study, situated in classroom practice and grounded in pedagogic wakefulness (Clandinin and Connelly, 2000), explores the nature of young children’s sense of voice as indicated through sustained interactions and representations of experiences with picturebook literature. The naturalistic research site was a grade one classroom setting in a large urban school. Student engagement and interactions with read-aloud events and responses to literature through multi-modal representations perpetuated meaning making and personal relevance. Coding procedures exemplified the nature of young children’s sense of voice as falling into two broad conceptual categories: (1) Situated Nature and (2) Experiential Nature. The Situated Nature of young children’s sense of voice revealed developmental, exploratory, and social sites of student engagement to literature. The Experiential Nature of young children’s sense of voice described three specificities of narrativity in their responses to picturebook literature: Young children’s multi-modal responses were interpreted as representative of Self- Narrativity, Interpretive-Narrativity, and Aesthetic-Narrativity. The findings contribute to a reconceptualized literacy curriculum which illuminates personal, social, and cultural identities, especially young children’s awareness of their individual sense of voice, developed through picturebook literature in primary classrooms. / xii, 151 leaves : col. ill. ; 29 cm.

This thesis examines the influence of life experiences and personally significant texts on the formation of an individual’s personal and professional identity. Through autoethnographic exploration, the author explores the experiences and texts that have constituted his personal curriculum, shaped the way he views the world around him, and informed the role he hopes to embody as an educator. The author argues that by sharing our stories and analyzing the cultural artifacts we have connected with over a lifetime, we become more cognizant about and better equipped to take responsibility for the people we are in the process of becoming. The sharing and exploration of our lived curricular experiences, he suggests, may cause students to invest more heavily in their education and potentially foster more widely representative and meaningful school cultures. / Graduate / 0727 / 0399 / 0401 / travisrichey@hotmail.com

Accompanying workbook not available in digital format / Both empirical and anecdotal evidence indicates that visual communication1 design practices implemented by designers with full colour vision often disadvantage, and sometimes endanger, colour-blind people. The thesis The Machine postulates that colour-blind people – comprising approximately 8% of males and 0.5% of females (Lewis et al., 1990) – are marginalized by such practices. It argues that this group could benefit from a design strategy that enhances the communicative potential and visibility of colour. The proposed strategy involves embedding pattern into potentially confusing colours such as red and green. The embedded pattern would function for colour-blind people as an additional clue to the identity of these colours. The thesis contends that while colour alone can be confusing for colour-blind people, patterned colour could offer a solution with a wide range of possible applications. The research aims of The Machine include: developing a system of patterned colour; creating a wordless picture book that demonstrates the effectiveness of the system; constructing a narrative around the condition of red-green colourblindness; and employing visual rhetoric2 to increase awareness of and sensitivity to colour-blindness among those with full colour vision. The design of the thesis is supported by research in a number of interrelated areas. These include the history of pattern post-1850, particularly in Western culture; precedents for patterned colour; and visual rhetoric in story-telling. The research also incorporates an analysis of the defining characteristics of ten late twentieth-century and early twenty-first-century wordless picture books. The thesis is further supported by applied research into patterned colour and visual rhetoric. The Machine aims to benefit colour-blind people, a significant minority group whose visual needs are currently inadequately met. In addition, it proposes broadening the cultural role and significance of pattern. Moreover, by incorporating informative elements usually associated with pedagogic material, it aspires to extend the boundaries of the fantasy picture book genre. 1 Visual communication (n): communication that relies on vision (Wordnet, 2006). 2 Visual rhetoric: the use of visual techniques, such as the creation of visually ‘engaging’ characters, as a means of persuading a target audience

Picturebooks with characters that have an intellectual disability provides an opportunity for children with and without disabilities of their own to identify with the story. The study examines a selection of five contemporary Swedish picturebooks for children that features characters with an intellectual disability. This study explores how ideologies of normalisation and inclusion influence the way these characters are presented and represented in text and imagery. Drawing from critical discourse analysis the aim of this text is to show if power relations in the story can provide different subject positions for the reading child to take. The results of the analysis show authentic and varied portrayals of characters with intellectual disability. There were two different kind of discourses on normality evident in the picture books: A child like everyone else and different like everyone else. The discourse of a child like everyone else means a perspective where the character with an intellectual disability is portrayed without a focus on the disability. This results in a normalization of the presence of a person with an intellectual disability but neglects to portray the specific experiences that character may have when it comes to their disability. The discourse of being different like everyone else gives a perspective on intellectual disability where difference is normal and part of everyday life. This perspective portrays disability and diversity as part of a normality.

Contemporary children’s books, particularly picture books, show an increasing tendency towards complexity and sophistication. There is, however, some resistance to this tendency in the children’s book world. This thesis therefore critically analyses complexity and sophistication in three picture books - chosen because they represent particularly high numbers of the most common complexities and sophistications - in order to determine whether or not such resistance is appropriate. The study defines picture books as fictional, illustrated books in which pictures and design are vehicles for meaning, where text and art are integral aspects of an interdependent relationship. It thus examines words, the roles of words and pictures and their interactions, linear progression, time and page-breaks, rhythm, design, colour, medium, style, line, regularity, balance, framing, shot, point of view, gaze, visual weight, position, shape, size, light, background, symbol, pictorial analogy, visual games, nonsense, intervisuality, intravisuality, leitmotif and counterpoint. The sophisticated structure, polyphony, visual nonsense and allusion of Anthony Browne’s Voices in the Park allow deep, complex examinations of its characters’ psychologies, making marginalized groups visible and critiquing stereotypes of class, gender, family structure and unemployment. Its sophistications and complexities thus enable Browne’s book to satisfy significant priorities in the children’s book world, because it avoids overt didacticism, respects “literary” values and is socially aware. The sophisticated structure, visual nonsense, multidimensionality and multivoicedness of David McKee’s I Hate My Teddy Bear raise problems of narrative and focalizer, overtly inscribe inconsistency, vagueness and uncertainty, and determinedly resist resolution. McKee’s book thus refuses to imply a clear reader role, and situates readers firmly outside itself, where subjection to any one interaction with, response to or idea within it becomes impossible. This stimulates child readers’ creative thought, and distributes power between adult writers and child readers unusually equitably, thus offering children the respect and power of literary and ideological self-determination in a safe, restricted area of fiction. John Burningham’s Granpa neglects many of the conventions of writing and storytelling, so that readers face the multiplexity of its form and structure, the emergence of its linear narrative from apparent stasis into irresolution and ambiguity, and its difficult themes and psychological content, with very little guidance in their reading beyond frequently confusing formal signals. This is difficult for adult readers, who have learnt to expect certain conventions from stories, and to use them to interpret and predict what they read. It may, however, be particularly easy for child readers, because it does not force them to read in ways that are still foreign to and thus possibly difficult for them. It may even be less threatening to children and antagonistic to children’s culture than most children’s books, because it does not socialize children into the alien adult culture concomitant with conventional reading. Together, these analyses reveal that complex, sophisticated children’s books may function in a variety of ways. The children’s book world should thus rather evaluate them individually than reject the entire genre. / Dissertation (MA (English))--University of Pretoria, 2005. / English / unrestricted

本研究旨呈現繪本在文化工業的運作中，當涉及多元家庭繪本─特別是同性婚姻主題時，成人及幼兒雙方會展現何種相互作用的權力關係。 研究者使用民族誌的研究方法深入田野，記錄成人及幼兒對繪本的想法與行動。本研究關注「產製端」─成人的兒童觀及意識形態如何影響產製行動，以半結構式訪談蒐集產製者的想法；並關心「閱聽端」─幼兒作為主動的閱聽者將如何詮釋文本，以綜合參與式觀察及半結構式訪談來蒐集兒童的行動與言說。透過雙方的回應，探究文化工業中多元的行動樣貌。 主要有四項結論如下： 1.審視社會的集體焦慮：創作者的積極作為與幼兒的主動詮釋 不同於多數焦慮的成人，有一群產製者對閱聽眾如何詮釋文本抱持樂觀態度，運用各式策略開創此類主題「可見的」社會空間。另一方面，過去被認為需要保護的幼兒，談論的內容也遠比成人預想的還要複雜和成熟。當成人願意放下成見，採互為對等的態度與幼兒進行談論時，能夠創造更多可能性，降低社會的集體焦慮。 2.兒童沒有想像中脆弱：詮釋必然發生在脈絡之中 幼兒的詮釋具多種樣態，他們藉由舊經驗發展出柔軟與堅實的視角，在分享歷程中直率地表達自己的想法，也不輕易受他人訊息洗腦，有別於「成人集團」庸人自擾的想像。因為影響幼兒回應的因素複雜，所以詮釋勢必動態展現在脈絡之中，藉由持續討論這些議題，才能構築兒童的詮釋樣貌。 3.以創造機會取代告知：傳遞應避免不平等的再製 產製者不斷強調，成人重要的行動核心是以創造機會取代告知，在行動中尤需留意自身的態度，避免淪為再製不平等的另一種操弄手段。 4.矛盾與率直的拉鋸戰：主動的施為者vs.被動的載體 產製及閱聽兩端真實樣貌與行動的對照，交織出文化工業中的無限活力。文化工業的運作關係應延伸至「主動施為者」與「被動載體」的拉鋸戰，成人群體間的差異會產生不同行動，幼兒也並非永遠是被動的承受者，雙方產生相互的連帶影響。唯有透過認清運作邏輯，才能夠看清產製結構並思考己身的行動。 研究者認為成人及幼兒的相處，最重要的關鍵是回歸雙方的「尊重」。由於過去仍普遍忽略兒童的聲音，因此特別需要學者投入與兒童相關的實證研究。若能增加成人對幼兒的理解，並降低自身的矛盾，相信兩者的互動關係必定能有所轉化，創造更多新的可能性。 / Related to the experience of reading, the power relationship between adults and children is unequal, because generally, children are passively received the information from adults. Adults use their own viewpoints to shape children and make decisions for them. In the context of the operation of cultural industries, this study wants to understand how the adults produce the childhood images based on their viewpoints, and to explore how the children response to the pre-selected picture books about same-sex marriage. One of the objectives of this research is to point out the logic of production about picture books, especially controversial issues, such as same-sex marriage. The other objective is to remind adults that children’s personal opinions and their original personality should be valued. In particular, children are usually stronger than we think in common sense. This study uses ethnographic methods, including gathering the natural response from children’s narratives and face-to-face interview with children. In addition, this study also interviews some relevant workers related to picture books production and marketing. The result will show the logic of producing the picture books, and also show the discrepancy between the children’s real reaction and what adults traditionally anticipate, helping adults to set aside their own values and really look at how the young children think. There are four main findings from this study as follows: 1.Examine the collective anxiety of society: Different from the anxious adults in the society, those who related to picture books production show positive action. The interpretation made by children is also more complex than adults expected. 2.Children are not fragile as adult's imagination: The children are stronger and more mature than we expected when it comes to talking about same-sex marriage. The interpretation must take place in the context, because it is built by a number of factors. 3.To create opportunities and not to instill knowledge: The adults should be aware of actions to avoid making another system of inequality. 4.The “tug-of-war” between contradictory person and straightforward person: The adults and the children are playing “active giver” and “passive carrier” at the same times, and creating infinite vitality of the operation in the cultural industry. This study hopes that adults will in turn rethink their social roles, attitudes and methods of education and teaching, by, for example, respecting and listening to children more than prescribing their behavior and thinking. The research aims to provide evidence that kindergarten children are mature enough to learn about homosexuality and to transform Taiwan’s value system to be more open attitude about same-sex marriage.

The portrayals of mothers and fathers in children's literature as companions, disciplinarians, caregivers, nurturers, and providers were documented in this research. The impact of time of publication, sex of author, award-winning status of book, best-selling status of book, race of characters, and sex of characters upon each of the five parental roles was assessed using descriptive statistics, cross-tabulation, and multinomial logistic regression techniques. A survey instrument developed for this study was completed for each of the 300 books randomly selected from the list of easy/picture books in the Children's Catalog (H.W. Wilson Company, 2001). To ensure all time periods were represented, the list was stratified by decades before sampling. It was expected that parental role portrayals would become more egalitarian and less traditional in each successive time period of publication. Male authors were expected to portray more egalitarian parental roles, and the race and sex of the young characters were not expected to influence parental portrayals. Award-winning books were expected to represent more egalitarian parental roles. Books that achieved the Publisher's Weekly all-time best-selling status were expected to portray parents in less egalitarian roles. Secondary analyses explored the prevalence of mothers' occupations, parental incompetence, and dangerous, solo child adventures. While the time of publication affected role portrayals, the evidence was unclear as to whether the changing roles represented greater egalitarianism. The race and the sex of the young characters significantly affected parental role portrayals, but the sex of the author did not influence these portrayals. While award winning and bestselling texts portrayed parents differently than books that did not achieve such honors, most did not provide enough information to adequately assess parenting roles. Half of the mothers who worked in the texts worked in conjunction with their husbands rather than independent of them. Over 10 % of mothers and fathers acted incompetently. The time of publication and the sex of the author was associated with the prevalence of solo, dangerous, child adventures. Subsequent implications and recommendations suggest the inclusion of stronger parental characters in children's books. Many of the parents are portrayed as inactive, incompetent, or neglectful. The concern is that children are exposed to these picture book portrayals during the primary years of identity acquisition.

Many studies have shown that an overwhelming number of classroom teachers are encountering increasing diversity issues in both the content of what they teach and among the students they are teaching The purpose of this project is to provide elementary teachers with a resource of multicultural literature that can be integrated into any curriculum, whether it is Language Arts, Social Studies, or story time.