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Contemporary literacy skills, in general, and interpretative and critical reading skills in the history classroom in particular, may be enhanced by the mobilization, in the classroom, of historical fiction (graphic novels, novels, TV series, movies, video games, etc.). From an original theorized proposition (dialectical reading), a learning unit based on multimodal and historical literacy and historical thinking, has been designed and tested (development research). Results of the first trial of a graphic fiction prototype are presented and discussed. They suggest that sixth graders can really engage into dialectical reading (interpretative & critical reading), but under the explicit condition of a strong guided dialogue by the teacher.
Keywords: littératie, histoire, fiction historique, bandes dessinées, primaire, literacy, reading-history, historical fiction, graphic novels, elementary school, Alfabetización, historia, ficción histórica, cómics, primaria
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Participer au développement de la pensée critique et de l'esprit critique constitue une visée qui occupe de plus en plus d'importance dans le monde de l'éducation. Ce mémoire s'intéresse au développement de la pensée critique dans les cours d'histoire au collégial et, parmi les moyens susceptibles d'être utilisés à cette fin, étudie la bande dessinée à caractère historique. Il présente et commente, au regard de la pensée critique, les principales utilisations didactiques possibles de la bande dessinée à caractère historique en classe d'histoire. Celles-ci se divisent en deux grandes catégories, soit créer une bande dessinée et analyser une bande dessinée. Ensuite, il élabore une situation d'apprentissage spécifique dans l'optique du développement de la pensée critique des cégépiens en histoire. Enfin, il illustre cette situation d'apprentissage …
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In 2014, Zviane self-published Ping-Pong, an introspective essay dealing with the connections between various artistic practices. Once the first run was sold out, publisher Pow Pow offered to reissue the work, but the publisher's house format, larger than the original strip, was problematic. To occupy excess space on each page, the author chose to comment on her strip and to ask other artists from Quebec and France to do the same, thus creating a “dialogue between [herself] in 2014 and [herself] in 2015,” as well as a “shared thinking space where everyone keeps the conversation going” (p. 8 and flap). This practice demonstrates the difficulty of remaining consistent when producing an essay, a form which, as Pascal Riendeau observes, “expresses a thought and deploys a subjectivity, but […] a thought in motion, that does not fear incompleteness” (Méditation et vision de l'essai, 2012, p. 11). Self-reflection and self-questioning, brought about by dialogue with others and the effect of time on the author's own thinking, are the core of Ping-Pong, and this article analyzes how these elements are articulated within both text and drawings.
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The Cold War period is often thought of as a period of non-porosity between West and East. However, cultural objects discovered before the establishment of socialist governments continue to circulate. Based on the work of Czech author Kája Saudek, we propose to study how American comic strips were adapted, reworked and transformed in communist Czechoslovakia in the 1960s. Saudek collaborated on a classic of Czech popular cinema, Kdo chce zabít Jessii? (Who Wants to Kill Jessie?), directed by Václav Vorlíček. At the same time, he worked on a more personal project, the graphic novel Muriel a andělé (Muriel and the Angels) written by Miloš Macourek and inspired by the French comic strip Barbarella. This article looks back at the atypical work of a monument of Czech comics, at the crossroads of various influences in a world split in two blocs.
Keywords: Tchécoslovaquie, comics, intermédialité, science-fiction, guerre froide, Czechoslovakia, comics, intermediality, science fiction, Cold War
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The progress of grammatical theory over the course of the twentieth century has had an impact on the most recent elementary (2001) and secondary (1995, 2004) French language-arts programs. Changes of this kind naturally don't occur without some degree of strain for practising teachers, student teachers, and pupils in French class. Teaching and learning on syntax, which the new approach brings to the forefront, has proven to be especially sensitive. This article reports on a development-research project in instructional methods in writing intended to support teachers and pupils in their exploration of the sentence. The analytic method developed and tested as part of the project relies on literary material that is especially attractive for pupils but rarely deployed in the classroom, namely the comic strip.
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