As Norrick has shown when dealing with "humor” (), tellability must be explored in close connection with generic conventions, especially when the concept is used beyond conversational analysis. It is clear that parameters defining tellability differ completely when a story is told to captivate the audience, explain a fact, justify a behavior, reflect on a life trajectory, or assert one’s identity. The breach of a canonical order is more relevant in popular fiction or in personal anecdotes told to amuse than in experimental literature or in testimony before a judge (cf. Baroni : 66–71). On the other hand, despite Sternberg’s () reservations, there is a need to further clarify the relation between tellability and narrative interest. Finally, due to its connection with experienciality (Fludernik ), tellability could become a key concept for exploring the interface between life experience and its narrativisation, because it addresses directly the question of how and why some incidents become the object of a narration and others do not.
from the rocks of the river, swinging and
chirping over my head,
Calling my name from flower-beds, vines, tangled underbrush,
Lighting on every moment of my life,
Bussing my body with soft balsamic busses,
Noiselessly passing handfuls out of their hearts and giving them to be mine.
Several texts by Shara, an 8-year old writing a series of articles for the class news paper illustrate this process (Daiute & Griffin, 1993). When responding to the assignment "Write about what happened when third graders [...] visited the Gardner Museum, and why that was important," Shara offered a text that was her own story of the class trip. She began her story with the classic "who, what, when, where sentence," often taught in relation to journalistic narrative form: Shara then offered an associatively related set of events with a myriad of evaluative details, as in these few sentences excerpted from the longer narrative: Also reflecting her own point of view, Shara ended by reporting on her own personal experience after the class trip.
Developmental screening measures are administered to each child individually and are used to identify children who may demonstrate developmental delay with language or motor skills, or problems with vision or hearing. In such cases, the results of the screening measures should be used to determine whether a child needs further comprehensive diagnostic assessment. Information received from a single developmental assessment or screening should never serve as the basis for major decisions affecting a childs placement or enrollment. Developmental screenings should be viewed as just one component in a comprehensive early childhood education assessment system. Assessment should be tailored to a specific purpose and should be used only for the purpose for which it has consistently demonstrated reliable results.
Here memories of times long past, of friends new and old, of dreams born and forgotten, of affections kindled and discarded so deluge my mind that I am thoroughly overwhelmed by their sweetness so curiously mingled with their sorrow.
For children, the critical component of the creative arts is the process rather than the end result or product. Children develop independence, self-motivation and self-expression through concrete, hands-on, individualized learning in environments that stimulate creativity through music, dramatic play, dance and the visual arts. In many instances, creative arts in the preschool classroom are inextricably linked to other curriculum areas. When integrated in a developmentally appropriate way, creative arts promote curiosity, problem-solving abilities, verbal and nonverbal expression and can be used as a strategy for learning about different cultures and content areas.