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"Emotions in art Juvenile literature."
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Joan Mitchell paints a symphony
It's 1983, and American artist Joan Mitchell is in her studio outside Paris, transforming her emotions and memories into a symphony of colors and shapes. Inspired by her friend's description of an idyllic hidden valley in France, Mitchell creates 21 massive paintings--her Grande Vallée series--bursting with vibrant, energizing hues. But she doesn't paint the valley's flowers and meadows. She paints a feeling about them, creating a harmonious blend of drips, splashes, and brushstrokes in rainbow colors. When the paint dries, it's time to share her valley with the world. This picture book about an influential yet lesser-known American artist provides a snapshot of a creator who deserves as much acclaim as fellow abstract expressionists Jackson Pollock or Willem de Kooning. Author Lisa Rogers shares both the despair and delight Mitchell experienced throughout her career, while illustrator Stacy Innerst's artwork captures the movement and energy of Mitchell's work.
CHILDBOOK
Developing English Language Arts Teacher Candidates’ Social Perspective Taking
Teachers' social and cultural perspectives may differ greatly from those of their students and families. [...]SPT may be useful in helping teachers cultivate more well-rounded and informed cultural perspectives that acknowledge issues such as race and gender that permeate the lives and realities of diverse students. While literature \"focuses on the possible, inviting its readers to wonder about themselves,\" literature also encourages \"readers to put themselves in the place of people of many different kinds and to take on their experiences\" (Nussbaum, 1995, p. 5). [...]reading \"can have transformative influences on readers\" (Mar et al., 2011, p. 829). Young Adult Literature as a \"Transformative Experience\" Literature as a transformational experience has been explored by English teacher educators when preparing future teachers to consider new perspectives and to examine their own biases, particularly related to the young adults they will be teaching (Donovan & Weber, 2021; Falter & Kerkhoff, 2018; Glenn, 2012; Haddix & Price-Dennis, 2013; Lewis & Petrone, 2010; Petrone & Lewis, 2012). In their study of 12 TCs who read young adult literature with representations of disability, Donovan and Weber found that TCs drew on their own backgrounds and personal experiences rather than on critical perspectives that might disrupt harmful representations or bias. [...]additional research can contribute to how teacher educators can incorporate young adult literature so that TCs can perhaps alter established, familiar thought patterns and embrace different methods of considering the world around them.
Journal Article
Prison Arts Program Outcomes
The arts have been a presence in prisons for over a century; these programs have varied aims, from educational and skill development to social-emotional learning to reentry preparation. Despite the popularity of arts programs across the prison landscape, relatively few researchers have empirically studied the outcomes of participating in arts programs for incarcerated participants. This scoping review systematically reviews 25 studies, mostly from the United States, which report the various outcomes associated with prison arts programs. The outcome areas reported on, from most to least prevalent in this review, include social-emotional outcomes, educational and vocational outcomes, disciplinary outcomes, and community and policy outcomes.
Based on the research included in this scoping review, there is relatively strong support that participating in prison arts programs is linked to a constellation of social-emotional outcomes. While several studies used posttest-only designs or had small sample sizes, studies that used validated scales to measure social-emotional outcomes found statistically significant improvements in self-confidence, self-esteem, task completion, social competence, emotional stability and control and well-being, and decreased hopelessness and anger. There is sparser, yet still promising, evidence that participating in prison arts programming is linked to educational, vocational, disciplinary, community, and policy outcomes. Further empirical research in all outcomes areas is needed to better understand how incarcerated individuals, their families and communities, and prisons at large can most benefit from arts programming. Future research will benefit from intentional partnerships between researchers, incarcerated individuals, arts practitioners, and prison administrators in identifying desired outcomes and charting spheres of impact.
Journal Article
CHAPTER XXXIX
Next morning, it was a bright and cheerful sun that streamed in at Honor’s window, the rain had all passed away, and the air was mild and refreshing. Hastily dressing herself, Honor hurried to Mr. Rayne’s door to ascertain how he had passed the night, but as she reached it, she met Aunt Jean coming out, with her forefinger on her lip, and whispering “Sh— sh—” in such premature warning, that Honor looked bewildered as she enquired the cause.
“He is sleeping nicely now, run off, we must not disturb him, it is such ‘a natural little sleep,” Madame
Book Chapter
The Early Industrial Age II
Criticisms and fears about comic books appeared immediately following the popularity of this new medium. The rising voices against comic books came from parents, librarians, teachers, and others worried about the avid comic book reading of young children and adolescents. The rapid success of the superhero genre and the impressive rise in young readers quickly placed in the popular imagination an association of comic books with children. As Lovell Thompson wrote in theAtlantic Monthlyin 1941, “That’s what gets Kid-brother America to put up twelve million a year: twelve million in greasy small coins, warmed by dirty small palms;
Book Chapter
Active Readership
This chapter explores information issues related to the practice of reading. More specifically, the focus is on comics, detailing the transition of the comics reader from the passive consumer to an active participant in shaping both the future of the medium and a participatory reading culture.
The patterns of readership of comics in America since the end of the nineteenth century form a richly textured tapestry. In his bookComic Book Nation: The Transformation of Youth Culture in America,Brad Wright explains: “Few enduring expressions of American popular culture are so instantly recognizable and still so poorly understood as comic
Book Chapter
Vixens and Victims
“In an era where morals are undergoing a major upset, when actions which used to be kept under wraps are brought out into the open, ‘The Babysitter’ is daring and current as next week’s news,” read the publicity material for the hot new movie The Babysitter (1969).¹ The sexually provocative film about a liaison between a babysitter and her middle-aged boss featured Candy, who represented the “sexually active girl”—at least as adult males in the 1960s imagined her. Exaggerated fantasies about female adolescent sexuality in movies like this expressed new erotic possibilities for American men excited by the sexual
Book Chapter
Paul, the Horror Comics, and Dr. Wertham
My son Paul, who is eleven years old, belongs to the E.C. Fan-Addict club, a synthetic organization set up as a promotional device by the Entertaining Comics Group, publishers of Mad (“Tales Calculated to Drive You MAD—Humor in a Jugular Vein”), Panic (“This is No Comic Book, This is a PANIC—Humor in a Varicose Vein”), Tales from the Crypt, The Vault of Horror, Weird Science-Fantasy, Shock SuspenStories, Crime SuspenStories (“Jolting Tales of Tension in the E.C. Tradition”), and, I imagine, various other such periodicals. For his twenty-five-cent membership fee (soon to be raised to fifty cents), the E.C.
Book Chapter