‘Twas brilliant, and the slimy trees
Did glow and glisten in the sun;
All foggy were the dark grottos,
And the branches outstretched.

“Beware the Jabberwock, my son!
The jaws that bite, the claws that catch!
Beware the Jubjub bird and shun
The furious Bandersnatch!”

He took his deadly sword in hand:
Long time the fearsome foe he sought-
So rested he by the Tumtum tree,
And stood awhile in thought.

And, as in painful thought he stood,
The Jabberwock, with eyes of flame,
Came bursting through the thickset wood,
And grumbled as it came!

One, two! One, two! And through and through
The deadly blade went snicker-snack!
He left it dead, and with its head
He went galumphing back.

“And hast thou slain the Jabberwock?
Come to my arms, my beamish boy!
O joyous day! Hoorah! Hooray!
He chuckled in his joy.

‘Twas brilliant, and the slimy trees
Did glow and glisten in the sun;
All foggy were the dark grottos,
And the branches outstretched.

1. Translations are different because the nonsensical language allows each person to create their own meaning. When reading the poem in its original form, you create meanings for the made-up words and create visuals in your mind that can then translate back into real words.
2. My translation doesn’t chance the meaning of the poem. The real words, which I kept the same, maintain the storyline. The differences between the actual poem and my translation affect the mood of the story. The original words don’t make sense and give the poem a creepy tone. When the words make sense, I think the poem loses that quality.
3. I really like that fact that words can be changed and translated and the storyline of the poem still remains in tact. But I really do prefer the original poem because of its mystery.
4. I think that prior vocabulary knowledge has a huge impact on translation of this poem. Certain nonsensical words have similar syllables or letter arrangements of real words. For me, those words had obvious translations. For instance, “frabgious” instantly looked like “joyous” because of the ending and the context of the sentence.

Creative Pedagogies

GRANT, A., HUTCHISON, K., HORNSBY, D., & BROOKE, S. (2008, May). Creative pedagogies: Art-full reading and writing. English Teaching: Practice & Critique, 7(1), 57-72. Retrieved January 30, 2009, from Education Research Complete database.

This paper reports on a small-scale research inquiry, designed to support teachers in a Melbourne primary school to bring together the arts, reading and writing in their classrooms in ways that create possibilities for "art-full" teaching and learning. The principal, concerned by underperformance on State literacy tests of the school's largely working-class and NESB population, requested David Hornsby and other members of the project team from the Education Faculty at La Trobe University to offer whole-school professional development. The focus was on developing oral language as a foundation for literacy learning, enacting Britton's claim that "reading and writing float on a sea of talk". The project team introduced the teachers to a range of innovative classroom practices for using visual and performance arts, literature, music and crafts. Drawing on video, interviews and writing samples, a number of teachers worked collaboratively with the research team to develop case studies of individual students with a range of literacy aptitudes and social skills. A key research question was: "What do children take from their engagement in arts-based activities into reading of literary texts, and potentially into writing from the perspective of another character?" In this paper we ponder this from three vantage points: by outlining the informing principles in our research project; confirming insights from current interdisciplinary work about children learning to see, do, act and say in play; and analysing the research data from the initial phase. [ABSTRACT FROM AUTHOR]

New Media Literacies

1. Appropriation
2. Play
3. Distributed Cognition
4. Visualization
5. Transmedia Negotiation
6. Multitasking
7. Networking
8. Collective Intelligence
9. Negotiation
10. Simulation
11. Performance
12. Judgment

I can see all of the new media literacy skills fitting into the art classroom in some way. It was very difficult to put them in order from most to least important, because many of them are similar or overlap other terms. When ranking the skills, I found that ones which incorporated experimentation and exploration to be more relevant in the art classroom. I then chose skills that would encourage students to develop concepts and read into other artwork on a conceptual level. I also looked for skills that would require students to interact with each other and their environment.

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