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# by 힌토끼 | 2017/10/15 18:01 | 트랙백 | 덧글(0)

나의 명원 화실 콜롬비아 판 Mi taller de pintura

BABEL

Autor: Suzy Lee

16,5 x 21 cm

54 páginas

Tapa dura

9789588954431

2017

# by 힌토끼 | 2017/10/12 09:34 | 그림책 | 트랙백 | 덧글(0)

Lines--The classroom Bookshelf

The Classroom Bookshelf School Library Journal

Lines

October 2, 2017 by Grace Enriquez

Book Review

Suzy Lee, acclaimed illustrator and virtuoso of the wordless picturebook, delivers another spectacular visual masterpiece in her latest book, Lines. A young girl revels in the freedom and creativity of ice skating in solitude on a frozen pond. Depicted with sparse detail and a minimal palette, the girl’s red winter cap and mittens and the elaborate lines she carves into the pond surface are the primary eye-catchers of each double-page spread. And what lines they are! Created by the young skater’s majestic leaps and twirls, the titular lines loop and straighten, alternating between thin graceful contours and thick, powerful formations. All seems an enthralling display of skill and purpose…until the skater abruptly tumbles and crashes. Suddenly another take on this story appears, as Lee zooms out from the skating scene to reveal a crumpled piece of paper and an artist’s discarded pencil and eraser. But neither the skater nor the artist are ready to call it quits, and once the paper is smoothened out, the determination and positive mindset of both reveal an even more amazing event to witness. A tale about the creative process and expression, Lines belongs on every classroom bookshelf for students and teachers to read and explore over and over again.

Teaching Ideas and Invitations

Introduction to Figure Skating. Use Lines as a way to introduce students to the sport of figure skating and perhaps as preparation for the upcoming 2018 Winter Olympics in South Korea. What do they already know about figure skating? How is it similar to and different from other forms of skating? Use the websites listed in Further Explorations below to help students learn the terminology associated with the sport. Using the terms, have students look closely at each page in the book and describe specifically what the young girl is doing as she leaps, twirls, and jumps across the pages.

Picture Books about the Writing Process. Include Lines in a solar system text set of picture books about the writing process. What do students notice across the books? What stage(s) of the writing process are explored in each book? What kinds of writing challenges are explored? How does the writer approach them and overcome them? Are there common experiences among writers? How do their own experiences as young writers compare and contrast with the characters in these books? Ideas are All Around, by Philip C. Stead, Little Red Writing, by Joan Holub; Thank You Miss Doover, by Robin Pulver; The Best Story, by Eileen Spinelli; Ralph Tells a Story, by Abby Hanlon; and More Bears!, by Kenn Nesbitt.

Lines as Metaphors. The notion of the line is a common motif in children’s literature. To this end, lines often represent the act and process of creation. Gather a text set of books that use line as a motif, such has Harold and the Purple Crayon, by Crockett Johnson; Line That Wiggle, by Candace Whitman; The Line, by Paula Bossio; A Line Can Be, by Laura Ljungkvist; Bear Hunt, by Anthony Browne; Art, by Patrick McDonnell; Bad Day at Riverbend, by Chris Van Allsburg; Scribble, by Deborah Freedman; and, of course, Lines, by Suzy Lee. Have students study the ways in which lines are created, manipulated, stopped, and changed. How are these lines extensions of the characters who create them? How do these lines take on a life of their own? What else could these lines represent? Provide students with a variety of artistic tools, and allow them to create their own lines, experimenting with various media and possibilities for what the lines can turn into and represent in their lives.

Lines and Possibilities. Provide students with a variety of artistic tools, and allow them to create their own lines, experimenting with various media and possibilities for what the lines can turn into and represent in their lives. Allow them to create all kinds of lines—looping lines, continuous lines, dotted lines—and to fill in the white space with colors, patterns, and textures of their own choosing. Have them explain their choices via oral, written, or multimedia presentation.

The Creative Process. Have students research the processes that Suzy Lee and other children’s authors and illustrators go through to create their art. What do themes stand out from their findings about how authors approach their inspiration, setbacks, and revision? How do their processes differ? How do those processes compare and contrast with what other artists, engineers, and craftspeople go through (e.g., songwriters, playwrights, architects, photographers, interior decorators, fashion designers, sculptors, etc.)? Have students select some of what they’ve learned to be the “creative mantras” for the classroom. Post those mantras around the room to inspire students and remind them that they are in the company of many, many creative people in the world as they go through their own creative processes.

Oral Storytelling and Wordless Picturebooks. Wordless picture books are terrific tools for helping children develop their oral language and emergent reading skills. Have pairs of students sit side by side, and encourage them to walk through the illustrations and tell the stories of what is happening on each page to each other. They can take turns with each page, or take turns telling an entire story. Other wordless pictures you might want to share with them or use to model oral storytelling for the whole class are Molly Idle’s Flora and the Flamingo, Barbara Lehman’s The Secret Box, and Chris Raschka’s A Ball for Daisy. You may want to audiorecord their storytelling and provide the recordings at your classroom listening center for students to listen to and compare what their classmates say about the stories.

Learning about Perseverance. What does it mean to persevere? Young students might be new to this concept, and so they may have little experience with perseverance. However, they most likely have faced challenges and setbacks that frustrated them. Ask them to identify times when they have been frustrated or upset because they couldn’t (yet) do something they really wanted to do. List these moments on a chart for the class to see. Then have students interview a variety of people—family members, school faculty and staff, coaches, neighbors, etc.—about a time when they persevered through a challenge. If students are able to, have them audiorecord these stories (if conducting the interviews in school, using school iPads or other technology would work). Listen to these stories in small groups or as a class, identifying common themes, outlooks, and approaches in the stories so they can begin to construct a definition of perseverance.

Growth Mindset and Dynamic Learning Frame. Through the events that transpire, Lines conveys some of the key tenets of growth mindset development, such as perseverance, multiple perspectives, and flexible thinking. Use Lines to spark discussion about what these concepts mean and how they can apply to all aspects of their lives. Push them to think beyond how those concepts apply to themselves and can help foster a more socially just and kind world, moving toward a dynamic learning frame, which is a growth mindset incorporated with civil engagement and social thinking and responsibility. Create a text set of other picture books that foster these outlooks and ways of thinking, such as Beautiful Oops! by Barney Saltzberg; The Most Magnificent Thing, by Ashley Spires,; Ish, by Peter H. Reynolds; What Do You Do With a Problem?, by Kobi Yamada ; and The Book of Mistakes, by Corinna Luyken, For more information on growth mindsets and dynamic learning frames, see the websites listed below in Further Explorations. For an example of how children’s literature can foster these discussions in the classroom, see this article co-authored by Grace.

Visual Literacy. Since the story of Lines is told entirely through pictures, help students develop their skills at reading and analyzing visual images. Review artistic principles, such as color, line, light and shadow, and texture with students to support their visual literacy skills. Teach about symbolism and motif, too. Teach students how to closely read an image, using these skills to construct deeper meanings. Project a variety of images for students to observe and discuss, increasing the complexity of each image to scaffold students’ learning.

End Papers. The astute reader will know that more and more, stories begin not on the first page after the title page, but on the end pages of a book. In fact, the end pages of Lines offers some important clues and context as to what is really going on behind the story, as well as what may happen in the end. With students, study the end pages of Lines, as well as the end pages other books they have recently read. What do they all have in common? What differs? What information about the book, the illustrations, and the author/illustrator do the end papers provide that isn’t apparent in the main text? What value does this information have to different readers of the book? Have students create end papers for a piece they have already written, considering the answers to the questions above.

Suzy Lee Author/Illustrator Study. Gather a collection of Suzy Lee’s work and biographical information, including interviews and videos. Read through her books (both the ones she wrote and illustrated, as well as the ones she only illustrated) as a class, noting similarities and differences across the books’ formats and styles. What styles, media, and techniques does she employ? What themes or symbols do they see across his illustrations? Ask your students to identify patterns in setting, theme, character, and plot across the books. Based on students’ inquiries, observations, and analyses, compile a list of lessons about storytelling and illustratin gained from this study and invite your students to try out some of the techniques you have discussed in their own work. See the titles listed below as a starting point for gathering information.

Further Explorations

Online Resources

Suzy Lee’s website

http://www.suzyleebooks.com

Interview with Suzy Lee

http://www.letstalkpicturebooks.com/2017/08/lets-talk-illustrators-35-suzy-lee.html

Articles about Suzy Lee

http://blaine.org/sevenimpossiblethings/?p=1410

Websites about Figure Skating

International Skating Union

http://www.isu.org/figure-skating

S. Figure Skating Association

http://www.usfsa.org

A GIF Guide to Figure Skaters’ Jumps at the Olympics

https://www.theatlantic.com/entertainment/archive/2014/02/gif-guide-figure-skaters-jumps-olympics/357723/

10 Words

http://blog.oxforddictionaries.com/2014/02/10-words-need-know-figure-skating/

Dynamic Learning Frame and Growth Mindset Resources

Peter Johnston – Classroom Talk: Learning, Thinking, and Classroom Communities

http://twu.firstclassconferences.com/Johnston_Classroom%20Talk.pdf

https://www.youtube.com/watch?v=AOFWlkE0JHE

Edutopia Lesson Plans

https://www.edutopia.org/article/growth-mindset-resources

Books

Beaty, A. (2013). Rosie Revere, engineer. New York: Harry N. Abrams.

Bossio, P. (2013). The line. Kids Can Press.

Jackson, R. (2017). This beautiful day. Ill. by S. Lee. New York: Atheneum.

Jeffers, O. (2004). How to catch a star. New York: Philomel.

Lee, S. (2008). Wave. San Francisco, CA: Chronicle Books.

Lee, S. (2010). Mirror. Seven Footer Press.

Lee, S. (2010). Shadow. San Francisco, CA: Chronicle Books.

Ljungkvist, L. (2015). A line can be. POW!

Luyken, C. (2017). The book about mistakes. New York: Dial.

Reynolds, P. H. (2003). The dot. Somerville, MA: Candlewick Press.

Reynolds, P. H. (2004). Ish. Somerville, MA: Candlewick Press.

Reynolds, P. H. (2012). Sky color. Somerville, MA: Candlewick Press.

Saltzberg, B. (2010). Beautiful oops! New York: Workman Publishing.

Spires, A. (2014). The most magnificent thing. Toronto, ONT: Kids Can Press.

Spires, A. (2017). The thing Lou couldn’t do. Toronto, ONT: Kids Can Press.

Yamada, K. (2014). What do you do with an idea? Compendium.

Yamada, K. (2016). What do you do with a problem? Compendium.

# by 힌토끼 | 2017/10/09 12:21 | 그림책 | 트랙백 | 덧글(0)

NYT 한강 기고문

너무도 공감되는 글. 가슴이 아프다.

While the U.S. Talks of War, South Korea Shudders

There is no war scenario that ends in victory.

By HAN KANG OCT. 7, 2017

SEOUL, South Korea — I cannot turn my thoughts from the news article I happened to see a few days ago. A man in his 70s accidentally dropped two thick wads of cash in the street. Two people who happened upon this bundle of money and shared it between them were caught by the police, made to give up the money and charged with theft.

Up until here, it is still an ordinary story. But there was a special reason this man was carrying so much cash on him. “I’m worried that a war might be coming,” he told the police, “so I’d just taken my savings out of the bank and was on my way home.” He said that it was money he had saved — a little bit each month — for four years, intended to send his grandchildren to college. Since the Korean War broke out in 1950, war would have been the enduring experience of this man’s adolescence. I imagine what he would have been feeling, a man who has lived an ordinary middle-class life ever since, on his way to the bank to take out his savings. The terror, the unease, the impotence, the nervousness.

Unlike that man, I belong to the generation that never experienced the Korean War. Crossing the border to the North was already impossible before I was born, and even now it is forbidden for Southerners to meet or have contact with Northerners. For those of us of the postwar generation, the country known as North Korea is at times felt as a kind of surreal entity. Of course, rationally, I and other Southerners are aware that Pyongyang is only two hours by car from Seoul and that the war is not over but still only at a cease-fire. I know it exists in reality, not as a delusion or mirage, though the only way to check up on this is through maps and the news.

But as a fellow writer who is of a similar age to me once said, the DMZ at times feels like the ocean. As though we live not on a peninsula but on an island. And as this peculiar situation has continued for 60 years, South Koreans have reluctantly become accustomed to a taut and contradictory sensation of indifference and tension.

Now and then, foreigners report that South Koreans have a mysterious attitude toward North Korea. Even as the rest of the world watches the North in fear, South Koreans appear unusually calm. Even as the North tests nuclear weapons, even amid reports of a possible pre-emptive strike on North Korea by the United States, the schools, hospitals, bookshops, florists, theaters and cafes in the South all open their doors at the usual time. Small children climb into yellow school buses and wave at their parents through the windows; older students step into the buses in their uniforms, their hair still wet from washing; and lovers head to cafes carrying flowers and cake.

And yet, does this calm prove that South Koreans really are as indifferent as we might seem? Has everyone really managed to transcend the fear of war? No, it is not so. Rather, the tension and terror that have accumulated for decades have burrowed deep inside us and show themselves in brief flashes even in humdrum conversation. Especially over the past few months, we have witnessed this tension gradually increasing, on the news day after day, and inside our own nervousness. People began to find out where the nearest air-raid shelter from their home and office is. Ahead of Chuseok, our harvest festival, some people even prepared gifts for their family — not the usual box of fruit, but “survival backpacks,” filled with a flashlight, a radio, medicine, biscuits. In train stations and airports, each time there is a news broadcast related to war, people gather in front of the television, watching the screen with tense faces. That’s how things are with us. We are worried. We are afraid of the direct possibility of North Korea, just over the border, testing a nuclear weapon again and of a radiation leak. We are afraid of a gradually escalating war of words becoming war in reality. Because there are days we still want to see arrive. Because there are loved ones beside us. Because there are 50 million people living in the south part of this peninsula, and the fact that there are 700,000 kindergartners among them is not a mere number to us.

One reason, even in these extreme circumstances, South Koreans are struggling to maintain a careful calm and equilibrium is that we feel more concretely than the rest of the world the existence of North Korea, too. Because we naturally distinguish between dictatorships and those who suffer under them, we try to respond to circumstances holistically, going beyond the dichotomy of good and evil. For whose sake is war waged? This type of longstanding question is staring us straight in the face right now, as a vividly felt actuality.

In researching my novel “Human Acts,” which deals with the 1980 Gwangju Uprising, when the military dictatorship turned to the armed forces to suppress student protests against martial law, I had to widen the field to include documents related not only to Gwangju but also to World War II, the Spanish Civil War, Bosnia and the massacres of Native Americans. Because what I ultimately wanted to focus on was not one particular time and place but the face of universal humanity that is revealed in the history of this world. I wanted to ask what it is that makes human beings harm others so brutally, and how we ought to understand those who never lose hold of their humanity in the face of violence. I wanted to grope toward a bridge spanning the yawning chasm between savagery and dignity. One of the many things I realized during my research is that in all wars and massacres there is a critical point at which human beings perceive certain other human beings as “subhuman” — because they have a different nationality, ethnicity, religion, ideology. This realization, too, came at the same time: The last line of defense by which human beings can remain human is the complete and true perception of another’s suffering, which wins out over all of these biases. And the fact that actual, practical volition and action, which goes beyond simple compassion for the suffering of others, is demanded of us at every moment.

The Korean War was a proxy war enacted on the Korean Peninsula by neighboring great powers. Millions of people were butchered over those three brutal years, and the former national territory was utterly destroyed. Only relatively recently has it come to light that in this tragic process were several instances of the American Army, officially our allies, massacring South Korean citizens. In the most well-known of these, the No Gun Ri Massacre, American soldiers drove hundreds of citizens, mainly women and children, under a stone bridge, then shot at them from both sides for several days, killing most of them. Why did it have to be like this? If they did not perceive the South Korean refugees as “subhuman,” if they had perceived the suffering of others completely and truly, as dignified human beings, would such a thing have been possible?

Now, nearly 70 years on, I am listening as hard as I can each day to what is being said on the news from America, and it sounds perilously familiar. “We have several scenarios.” “We will win.” “If war breaks out on the Korean Peninsula, 20,000 South Koreans will be killed every day.” “Don’t worry, war won’t happen in America. Only on the Korean Peninsula.”

To the South Korean government, which speaks only of a solution of dialogue and peace in this situation of sharp confrontation, the president of the United States has said, “They only understand one thing.” It’s an accurate comment. Koreans really do understand only one thing. We understand that any solution that is not peace is meaningless and that “victory” is just an empty slogan, absurd and impossible. People who absolutely do not want another proxy war are living, here and now, on the Korean Peninsula.

When I think about the months to come, I remember the candlelight of last winter. Every Saturday, in cities across South Korea, hundreds of thousands of citizens gathered and sang together in protest against the corrupt government, holding candles in paper cups, shouting that the president should step down. I, too, was in the streets, holding up a flame of my own. At the time, we called it the “candlelight rally” or “candlelight demonstration”; we now call it our “candlelight revolution.”

We only wanted to change society through the quiet and peaceful tool of candlelight, and those who eventually made that into a reality — no, the tens of millions of human beings who have dignity, simply through having been born into this world as lives, weak and unsullied — carry on opening the doors of cafes and teahouses and hospitals and schools every day, going forward together one step at a time for the sake of a future that surges up afresh every moment. Who will speak, to them, of any scenario other than peace?